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### The Crystal Image, Quantum Physics, and the Semiotic Chora in Deleuze and Guattari's Thought: A Study Through Loki and COVID-19
In the realm of philosophical inquiry and media analysis, Deleuze and Guattari's (D&G) concepts of the crystal-image and the semiotic chora offer profound insights into the intersection of time, representation, and ontology. These ideas become particularly relevant when examining contemporary television series like Marvel's *Loki*, especially within the context of the COVID-19 pandemic. ### Crystal-Images and Temporal Multiplicity Deleuze and Guattari's notion of the crystal-image encapsulates multiple temporalities and realities within a single frame, challenging linear perceptions of time. This concept resonates with quantum physics, where particles exist in multiple states simultaneously until observed. The crystal-image operates similarly, as a superposition of temporalities that invites deeper engagement with narrative structures. In *Loki*, the crystal-image is vividly portrayed through the Time Variance Authority (TVA) and its manipulation of timelines. The TVA's control over the "sacred timeline" reflects an attempt to impose a singular, chronological order, while the existence of variants, such as different versions of Loki, embodies the multiplicity and disruption inherent in the crystal-image. ### Quantum Theory and Variant Temporality Quantum theory's focus on variant temporality highlights how different states can coexist, generating new spaces and embodiments of temporality. In *Loki*, this is represented through the figures of variants, each embodying different temporal experiences and possibilities. The show's exploration of variant timelines underscores the generative nature of quantum temporality, where each decision and event creates a branching reality, much like the multiple states of particles in quantum mechanics. This quantum perspective is not just a narrative device but also a means to explore deeper emotional and existential themes. Variants like Loki and Sylvie are not merely different versions of the same character; they are embodiments of different temporalities and emotional experiences. The show uses these variants to delve into complex emotions such as grief, love, and identity, illustrating how these feelings are embedded in our temporal existence. ### The Semiotic Chora and Its Implications The semiotic chora, rooted in Plato's narratives, is an unformed, pre-symbolic space that defies representation and categorization. D&G's reference to the chora challenges the application of traditional semiotic analysis to cinematic experiences. The impossibility of fully capturing the chora through signs and symbols suggests that some cinematic experiences transcend language and require a different analytical framework. In *Loki*, the chora can be seen in the liminal spaces and moments that disrupt traditional narrative and semiotic interpretation. The show's exploration of identity, time, and reality pushes viewers to question the nature of existence itself, aligning with the chora's unrepresentable space. ### WandaVision and the Semiotic Chora Marvel's *WandaVision* similarly blends multiple realities and temporalities, creating a narrative that disrupts linear storytelling. The show's structure, where different eras of television are interwoven, mirrors the crystal-image's ability to encapsulate multiple temporal layers. This interweaving challenges traditional semiotic analysis and invites viewers to engage with the narrative on a deeper, more complex level. In *WandaVision*, the embodiment of temporality through Wanda's grief and love provides a poignant exploration of how emotions are deeply intertwined with our experience of time. The series uses the framework of different television eras to reflect Wanda's psychological state, showing how her emotional journey disrupts and reshapes her reality. ### Matter, Representation, and Ontology Penelope Ingram's analysis of matter and representation in *Disability Media Studies* emphasizes the importance of understanding media as both created and creative within a socio-political context. Media representations are an apparatus influenced by the inseparability of the observer and the observed, highlighting the entangled nature of matter and discourse (Karen Barad, 2007). This perspective unveils the possibilities of using popular media to untangle shifts in the ontology of society. ### Loki, COVID-19, and Temporal Disruption The production of *Loki* was significantly impacted by the COVID-19 pandemic, which paused filming and influenced the show's narrative development. Director Kate Herron noted that the pandemic allowed for a deeper exploration of the relationship between Loki and Sylvie, introducing a love story that became a pivotal element of the series. This narrative shift reflects the broader temporal disruption caused by the pandemic, where time seemed to stand still and traditional structures of daily life were upended. ### The Variant as a Metaphor The concept of the "variant" in *Loki* serves as an intensive articulation of Deleuze's logic of paradox. Variants disrupt the singular, chronological timeline imposed by the TVA, embodying the chaotic potential of multiple realities and identities. This disruption mirrors the temporal and societal upheaval caused by the pandemic, where established norms and structures were challenged, and new possibilities emerged. ### Ethical Ontology and the Variant The series *Loki* ultimately calls for an ethical ontology of variants, embracing the potential of creative subjectivities and identities that emerge from the disruption of linear time. This perspective aligns with Judith Butler's notion that ethics requires risking ourselves at moments of unknowingness, allowing for a transformation that challenges the self-sufficient "I." ### Conclusion Through a refractive reading of *Loki* and its production during the COVID-19 pandemic, we can see how D&G's concepts of the crystal-image and the semiotic chora offer profound insights into contemporary media and philosophical thought. The series highlights the importance of embracing temporal multiplicity and the disruptive potential of variants, encouraging a move towards a more complex and ethical engagement with the world. ### References - Deleuze, Gilles, and Félix Guattari. *A Thousand Plateaus*. University of Minnesota Press, 1987. - Barad, Karen. *Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning*. Duke University Press, 2007. - Butler, Judith. *Giving an Account of Oneself*. Fordham University Press, 2005. - Ingram, Penelope. "Matter and Being: Ontology and the Ethics of the Other." *Disability Media Studies*. Edited by Elizabeth Ellcessor and Bill Kirkpatrick, NYU Press, 2017. - Herron, Kate. Interview with Deadline. July 2021. [Deadline Interview](https://deadline.com/2021/07/loki-tom-hiddleston-interview-marvel-disney-finale-essex-serpent-1234791363/amp/) By exploring the intersections of philosophy, media studies, and contemporary television, we can better understand the complexities and possibilities of our current moment. *Loki* and *WandaVision* serve as powerful examples of how popular media can reflect and shape our understanding of time, identity, and the ethical implications of technological and societal change.
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This paper examines how collective and individual events create identity and ethics, arguing for a compassionate matrixial view that can be used to bridge the seemingly impossible gaps in the contemporary political sphere. Under the specter of Covid, we see alterations in the spatio-temporal fabric of human interactions enforced by social distancing and the enduring rhythms of lockdown/confinement experiences. Lockdowns have influenced our relationship with home, others, ourselves, and ethics. Spatial-Temporal dynamics between certainty and never-ending uncertainty are not only metaphors for the issues at stake in this analysis of representation and matter, they are constitutive in nature.
Linking post-structuralist, neo-materialist and psychoanalytic theories on subjectivity through a co-poetic embodiment of Khora, I argue the event of covid calls for a new ethical orientation that sees events as a co-creative border-space-times in which we are co-responsible for each-other.[1] This co-event creates communal relations to trauma through what has been experienced as a void in time. The Void itself can be brought to light by an investigation into feminist and post-structuralist writings on Khora. I articulate the concept of Khora as a collapse of the distinction between time and space. Khora is an uncanny home that is accessed through the waves of isolation and co-presence. Covid’s ruptures in our normal communal life demand a new ethical orientation to the trauma of isolation and disease. In the face of the impossible, we can use the trauma of Covid which is co-produced and co-subjective and belongs to shared border spaces, to create a new unexpected home of co-inhabit(u)ation. [2] This new home is the site of our ethical possibilities in the face of uncertainty. Matrixial love emerges within Khora, at the site of risk, in the face of the unknown. In our, co-inhabit(u)ation, we face ourselves as Other, a space of being-with. Bracha Ettinger’s matrixial borderspace is brought into a conversation with my own birthing experience, and a review of current and historical maternal care practices. The analysis illuminates the shared psychic and material spaces of mother/child in pregnancy. Through examining birth in personal narratives, art and politics, the dissertation takes matrixial ethics to the body. Through reading Ettinger alongside Jean-Luc Nancy, Karen Barad, and Gilles Deleuze, the dissertation creates new patterns and fissures of analysis.[3] This process of defractive reading is metamorphic and a khoratic affirmation of being-with, in which two, three, four, and more come together and retain their difference, unveiling temporality-with.[4] Through attention to race, gender, and socio-political fissures within birth, fear, and pain, and its bio-ethical realities we articulate the temporal-spatial-material ethics of maternal care as an abyss that must be turned inside out to get us towards our risky ethical gesture.[5] Alongside obstetrics, the echoes and praxis of midwifery offer an alternative viewpoint which is seen as a matrixial-khora-praxis, that centers on birth as an unfolding event not a due date, seeing birth as part of life instead of a disease. This maternal event placed ethics allows us to prioritize compassion and individuality. We are all at risk, at all times, yet we must continue to act compassionately and in fact, it is our responsibility. Only an ethics of matrixial compassion can bridge the focus on statistics and disease prevention that threatens to place us pitted against ourselves, our friends, our families, and our bodies as a host to never-ending variants against which there is no border. To co-inhabit(u)ation with Covid, we must embrace a risky ethical quest, towards an embodied matrixial love. Endnotes: [1] Jacques Derrida, On The Name, trans. David Wood, John P. Leavey Jr, and Ian McLeod (Stanford: Stanford University Press, 1995) p. 89-127 Jean-Luc Nancy and Aurelien Barrau, What’s These Worlds Coming to? trans. Travis Holloway and Flor Mechain. (New York: Fordham University Press, 2015) p.1-7, 29-33, 77-88. Jean-Luc Nancy, Being Singular Plural, trans.Robert D. Richardson and Anne E. O'Byrne (Stanford: Stanford University Press, 2000) p. 159-176 [2]Bracha Ettinger, The Matrixial Borderspace, ed. Brian Massumi (Minneapolis: University of Minnesota Press) p. 64, p. 159, p. 160 [3] Irigaray Speculum of The Other Woman p. 306 [4]Luise von Flotow and Carolyn Shread. 2014. “Metramorphosis in Translation: Refiguring the Intimacy of Translation beyond the Metaphysics of Loss.” Signs: Journal of Women in Culture & Society 39 (3): 592–96. doi:10.1086/674298. [5]Vergès, Françoise, and Kaiama L. Glover. The Wombs of Women: Race, Capital, Feminism. Durham: Duke University Press, 2020. muse.jhu.edu/book/77189. |
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