FreedomLab

In our Retroscope, in which we looked back on 2020, we wrote about the term “crisis”: a moment of truth when we must make decisive judgments on what is actually important and what isn’t. A crisis also always forces us to make a political and ethical choice to transform the current situation into a brighter, more positive future. This makes the coronavirus crisis a real crisis, which has set in motion important choices and developments in the domains of geopolitics, technology and culture. The question now is: how do we interpret the events of 2020, and how will we develop a narrative? This is a matter of how the coronavirus crisis can lead to a new consciousness and how we should understand ourselves. Firstly, we could characterize the coronavirus crisis as a “formative experience”, as a consequence of which a new generation will adopt a new set of values, norms and ideas. This is apparent in our scenarios from the Resilient World in the domains of technology, culture and geopolitics. The coronavirus crisis could also leave an imprint on our political, technical and social systems (just as the Second World War left an imprint on our socio-technical systems). “Imprint” is a term from biology and psychology, which refers to changing behavioral processes of humans (and animals) as a consequence of being exposed to external stimuli (e.g. imprinting in genetics and developmental psychology). The coronavirus crisis will also leave such an imprint on our subjective and objective consciousness.

It’s important how we formulate and understand this in language and concepts, express it in metaphors, media and stories. For example, think of the long-term consequences of pandemics on the development of modern institutions and public government services such as healthcare, and how we should understand and assess these new forms of “biopower”. What’s crucial in this is the narreme we develop; the wider framework from which we consider and position the coronavirus crisis and its consequences within a narrative axis. Northrop Frye (1912-1991) was an important thinker in the comparative narratology in literature. In his masterpiece Anatomy of Criticism (1957), Frye analyzes the narrative categories and patterns in different literary traditions, and devises an “anatomy” of historical modes, ethical symbols and archetypical myths and rhetorical genres.  How does this relate to the coronavirus crisis? And what can we expect from the so-called “post-corona narratives”?

The coronavirus crisis is best perceived from the tragic mode. The Ancient tragedy is about how people relate to their fate and ill-fortune, which serves to inspire pity and fear in the audience in order to achieve “catharsis”: emotional purification. The comedy, by contrast, is marked by protagonists making blunders and mistakes, while still ending happily, thus achieving catharsis in the audience through laughter, humor and enjoyment. The coronavirus crisis caught many people off guard, and is often seen as a manifestation of Fate (e.g. as a religious reprimand or nature’s pushback against the hubris of modern man). In this tragedy, we may apply the framework from Frye’s first essay to distinguish various tropes, such as the highly mimetic coronavirus tragedy (marked by the sacrifices people such as nurses make to fight the coronavirus) or the ironic tragedy (man’s weakness in the face of nature or other lifeforms). When we consider different types of “coronavirus symbols”, the first one we notice is the descriptive symbol of the virus that’s bringing humankind, and even entire “superorganisms” such as economic systems (e.g. healthcare or the economy) to their knees.

The visual symbol ties in closely with the use of metaphors, such as the prison as a metaphor for working from home, or the desert for the empty cities during lockdown. The mythical symbol displays the relationship to other symbols of our time that, as we’ve argued before, are metamodern in nature. The anagogic symbol represents the spiritual value of the coronavirus crisis, and whether it will lead to a better, more enlightened future or not. The mental side of the experience of the coronavirus crisis is also considered, such as the moods inspired by the coronavirus or our ideals in this post-corona world.

This brings us to the archetypical myths: which original images, figures and ideas emerge in our visualization of the coronavirus crisis? Describing these moods, ideals, experiences, in short: the mental side of the coronavirus, isn’t about explaining or categorizing various psychological phenomena – the cognitive and neurosciences are much better equipped to do this – but helps reveal the meaning of our world and existence in society. This means we can expect new media that – implicitly or explicitly – are a result of the moods of the coronavirus crisis and quarantine, in the same vein as the “post-9/11 media” or the “atomic culture” that arose after the bombings in Japan and the critical philosophy (e.g. the Frankfurter Schule) that came into being in response to the Second World War.

This shows that our visualization of the coronavirus crisis and the narrative we create about it is ultimately the product of how we interpret the historicity of the coronavirus crisis: is it the end of the world as we know it, thus an epoch of decay, or in fact the beginning of a better world and thus of spiritual reassessment? It’s interesting to see that “cyclical theories” such as the generational dynamics of Strauss and Howe, the theory concerning technological revolutions and hegemonic cycles and economic paradigm shifts point to such a turning point. They highlight that a post-corona world might look radically different, and that such a narrative might be constitutive or even performative in creating a better future.