This article provides an account of the cultural changes induced by the pandemic, and draws on the tradition of critical theory (especially the work of Horkheimer and Adorno, and Fromm) and the work of Bernard Stiegler to critically assess their impact. It is argued that the rise of online forms of consumption based around streaming have had a deleterious impact on the critical faculties of the individual, and argues that the practice of walking – as proposed by Frederic Gros – (...) could potentially provide a remedy to the problems caused by the increase of uncritical cultural consumption. In this respect, it provides an original account of the relevance of both the tradition of critical theory and the work of Stiegler to the pandemic, together with providing a discussion around the act of walking as an active measure that one can implement in one’s life to counteract and (hopefully) overcome the detrimental effects that the commodification of leisure time has fostered during the pandemic. (shrink)

The global COVID-19 pandemic that started in 2020 coincided with another incident that made global news, namely the release of the video of the killing of George Floyd by Minneapolis police in the United States. While the novelty of the pandemic wore off relatively quickly when things “went back to normal”, the death of George Floyd inspired a radical global movement relating to the treatment of black people (by both police and civilians) worldwide, namely the “Black Lives Matter” (BLM) movement. (...) The force of the 2020 BLM movement arguably resulted in greater social activism relating to the treatment of minorities in the US and UK in a matter of a few weeks than the almost unfathomable number of deaths from COVID-19. The aim of this article is to critically analyse this particular phenomenon through the lens of so-called “memory culture”, and specifically the role of spectacle in digital mnemotechnologies in circulating videos, images and appeals to empathetic engagement with the collective memories of violence against black minorities in the West. This trend supports the argument that will be made, namely that we live in a memory culture which has become obsessed with the fetishisation of the spectacle in order to induce the collective imagination, leading towards empathy for different groups. This provides a perspective on how the notion of the spectacle seems to be more effective in our contemporary memory culture at garnering sociopolitical action than appeals to scientific reason, or even just narratives unaccompanied by shocking videos or images. (shrink)