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From Decline of the West to Dawn of Day: Dan Brown's Origin As A JANUS HEAD From Decline of the West to Dawn of Day: Dan Brown’s Origin as a Diagnostic of the Present Hub Zwart All rights reserved. Copyright © 2020 by Trivium Publications, Pittsburgh, PA 53 JANUS HEAD ABSTRACT This paper subjects Dan Brown’s most recent novel Origin to a philosophical reading. Origin is regarded as a literary window into contemporary technoscience, inviting us to explore its transformative momentum and disruptive impact, focusing on the cultural significance of artificial intelligence and computer science: on the way in which established world-views are challenged by the incessant wave of scientific discoveries made possible by super-computation. While initially focusing on the tension between science and religion, the novel’s attention gradually shifts to the increased dependence of human beings on smart technologies and artificial (or even “synthetic”) intelligence. Origin’s message, I will argue, reverberates with Oswald Spengler’s The Decline of the West, which aims to outline a morphology of world civilizations. Although the novel starts with a series of oppositions, most notably between religion and science, the eventual tendency is towards convergence, synthesis and sublation, exemplified by Sagrada Família as a monumental symptom of this transition. Three instances of convergence will be highlighted, namely the convergence between science and religion, between humanity and technology and between the natural sciences and the humanities. Keywords: Dan Brown; Decline of the West; Artificial Intelligence; Synthetic Intelligence; Origin of Life; Philosophy of Culture 54 JANUS HEAD JANUS HEAD From Decline of the West to Dawn of Day: Dan Brown’s Origin as a Diagnostic of the Present Introduction explored and assessed. Although initially the past in order to develop a prognostics Dan Brown is an American novelist focussing on the tension between science of the future (p. 3). All world historical famous for authoring best-sellers such as and religion, the novel’s attention gradu- constellations, Spengler argues, begin The Da Vinci Code (2003), The Lost Symbol ally shifts to the increased dependence of as a local phenomenon (as “culture”), but (2009) and Inferno (2013). Origin (2017) is human beings on smart technologies and gradually expand into a style of thinking his fifth novel featuring Robert Langdon artificial (or even “synthetic”) intelligence. which affects a whole world (“civilisation”), (a Harvard expert in religious iconog- Origin is a techno-thriller with a message, until an inevitable process of decline and raphy) as key protagonist. Dan Brown’s conveying a diagnostic of the present decadence sets in. Spengler’s objective two most recent novels can be regarded and a prognostic of the future, claiming is to perform historical research in a as science novels, moreover, describing that we are on the cusp of a global cultur- way that is comparable to how Johann the inner dynamics and transformative al transition, exemplified (spiritually and Wolfgang von Goethe performed plant socio-cultural impact of contemporary architecturally) by Sagrada Famíla, the research (p. 34), namely by focussing on research fields: virology in the case of In- last of the great Cathedrals, the Omega a limited set of typical cultural forms: ferno, artificial intelligence in the case of point in spiritual architecture, but also on a particular Gestalt, recognisable in Origin. In these novels, Robert Langdon a building which, according to Brown’s all stages and domains of a particular (a humanities professor) is confronted novel, heralds the next quantum leap in culture. Spengler’s method is also compa- with a scientific genius (Bertrand Zobrist human culture, announcing something rable to the work of Goethe’s friend and in Inferno, Edmond Kirsch in Origin) who completely different: the dawn of a contemporary Alexander von Humboldt is about to reveal an unsettling scientific new civilisation, a new style of thinking. (1845-1862), who characterised the breakthrough to a global audience, Whereas the previous epoch was an era overall physiognomy (Gesamtbild) of thereby inciting the animosity of influ- of negativity and conflict (science versus global landscape types. Spengler’s aim ential organisations representing the religion, science versus art, technology is to discern the typical gestalt or physi- global establishment: the World Health versus nature, etc.), the new era purports ognomy of a particular culture: the basic Organisation in Inferno, the Parliament of to be one of convergence (of syncretism formula which determines all its practices the World’s Religions in Origin. even): of science and art, technology and and expressions, the distinctive form nature, science and religion, and so on. which pervades all the research fields, art This paper subjects Origin to a phil- And Sagrada Famíla, with its biomimetic forms and political institutions to which a osophical reading. Brown’s novel, I will design (p. 279), its “living architecture” of particular culture (gradually evolving into argue, can be regarded as a literary win- “almost biological quality” (p. 235), cap- a world civilisation) gives rise. dow into contemporary technoscience, tures this transition towards convergence From a philosophical perspective, inviting us to explore its transformative in stone. momentum and disruptive impact Spengler’s approach concurs with Hegel’s (Zwart 2019a). While Inferno focusses on Conceptual framework view that a core idea realises itself at a the societal risks and benefits of biomo- certain historical stage. This idea is like a Origin’s message, I will argue, re- force or program which manifests itself lecular technoscience, Origin addresses verberates with Oswald Spengler’s The the cultural relevance of science: the as a particular worldview and zeitgeist Decline of the West, subtitled “Outlines of (Hegel 1832/1970). Another philosoph- way in which established world-views a morphology of world history”, the first are challenged by the incessant wave ical source of inspiration was Friedrich part of which was published a century Nietzsche who, in Beyond Good and Evil of scientific discoveries facilitated by ago (Spengler 1918). As indicated by its computer science. The novel can be (1886/1980, § 23) already presented his subtitle, Spengler’s classic presents a own thinking as a “morphology” of the regarded as a literary laboratory, where “morphology” of civilisations (1918, p. 4): technology-driven scenarios are enacted, Will to Power. Although Spengler himself a form of historiography which studies was critical of these precursors (rebuking 55 JANUS HEAD both Hegel and Nietzsche for their insuf- Empire. During this upscaling period, Edmond Kirsch Ambra Vidal ficient understanding and appreciation however, a rival culture already began of mathematics compared to Baroque to take shape, referred to by Spengler as (science) (art) philosophers such as Descartes and Lei- Magical thinking, exemplified by medie- bniz),1 his morphology can be regarded val Christianity and Islam, with astrology, Robert Bishop as a dialectical genealogy of worldviews. numerology and alchemy as key areas of Every civilisation entails a transvalua- inquiry. “Waiting for the Kingdom” was its Langdon Valdespino tion of values (1918, p. 451), Spengler basic formula, for individuals spent their contends, negating and sublating what lives in detachment, preparing them- (humanities) (religion) existed before into something wholly selves (via ascetic practices and spiritual new. Moreover, Spengler predicted that exercises) for the coming of a wholly In the prologue of the novel, Edmond the present “Faustian” culture, as a ma- different era. The subsequentFaustian Kirsch pays a visit to the monastery of terialisation of the Will to Power, driven culture originated in the late medieval Montserrat (about 45 kilometres north- by disruptive expansion and exponential period, exemplified by gothic cathedrals west of Barcelona, famous for its statue growth, by powerful machinery and in- in the realm of architecture and by gothic of the Black Virgin, but also for serving dustrial labour, is about to be eclipsed by experimental research (scientia exper- as the Grail Castle in Wagner’s Parsifal). a new type of culture, a new Dawn of Day, imentalis) in the natural sciences. This Besides beings a celebrity scientist and as Nietzsche (1881/1980) phrased it – a style of thinking was driven by the Will to a militant atheist, Edmond is famous for theme which is taken up by contempo- Power as its guiding idea and formula. As his gift for prognostication, i.e. his accu- rary philosophers such as Peter Sloterdijk indicated, however, Spengler predicted rate predictions of imminent scientific (1999), whose “spherical” approach to that Faustian culture is now heading for breakthroughs. He travels to Montserrat history builds explicitly on Spengler’s decline, and the big question therefore is: to meet a delegation of representatives classic. what comes next? Is it possible to discern of the Parliament of the World’s Religions, the contours of a new emerging culture? led by Bishop Valdespino. Edmond grants In this paper I will argue that artistic doc- them a preview of a multimedia video-re- uments such as Dan Brown’s novel, pub- cording which he is about to release and lished a century after Spengler’s book, which allegedly solves the riddle of the may help us to assess this transition in origin of life. Edmond is an outspoken more detail. Origin provides a diagnostic critic of all religions and it is as if he puts of the present while presenting an the trump card on the table which he is outline of the dawning era (a prognostic about to play. Although Valdespino and of the future), notably by focussing on a his colleagues find the content quite decisive factor, something Spengler was disturbing, Edmond is determined to Although Spengler purports to develop not yet aware of, namely the transfor- present his video (urbi et orbi as it were) a global perspective of history, the mative role of computers and other hy- to an elite audience (“hundreds of VIPs”, focus is nonetheless on Western civili- per-intelligent, post-Faustian machines.
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