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database narrative
sean cubitt
15 March 2013
the idea becomes a machine that makes the art (Sol Lewitt)
http://en.wikipedia.org/wiki/Drumming_(Reich)
traditional narrative arc in a nutshell
Vanishing Point, 1971, Richard C. Sarafian
Richard Thompson
1952 Vincent Black Lightning
Said Red Molly to James that’s a fine motorbike
A girl could feel special on any such like
Said James to Red Molly, well my hat’s off to you
It’s a Vincent Black Lightning, 1952
And I’ve seen you at the corners and cafes it seems
Red hair and black leather, my favorite color scheme
And he pulled her on behind
And down to Box Hill they did ride
Said James to Red Molly, here’s a ring for your right hand
But I’ll tell you in earnest I’m a dangerous man
I’ve fought with the law since I was seventeen
I robbed many a man to get my Vincent machine
Now I’m 21 years, I might make 22
And I don’t mind dying, but for the love of you
And if fate should break my stride
Then I’ll give you my Vincent to ride
Come down, come down, Red Molly, called Sergeant McRae
For they’ve taken young James Adie for armed robbery
Shotgun blast hit his chest, left nothing inside
Oh, come down, Red Molly to his dying bedside
When she came to the hospital, there wasn’t much left
He was running out of road, he was running out of breath
But he smiled to see her cry
And said I’ll give you my Vincent to ride
Says James, in my opinion, there’s nothing in this world
Beats a 52 Vincent and a red headed girl
Now Nortons and Indians and Greeveses won’t do
They don’t have a soul like a Vincent 52
He reached for her hand and he slipped her the keys
He said I’ve got no further use for these
I see angels on Ariels in leather and chrome
Swooping down from heaven to carry me home
And he gave her one last kiss and died
And he gave her his Vincent to ride
http://www.youtube.com/watch?v=2lCH5JgWCZY
Initial situation	
1	 One of the family members leaves home		 distancing
2.	 Interdiction (or an order)				 interdiction
3.	 Interdiction transgressed (order not obeyed)		 transgression
4.	 The Villain tries to obtain information		 interrogation
5.	 The Villain receives information about his victim	 information
6.	 The Villain attempts to trick the victim		 trickery
7.	 The victim is tricked, so helping the Villain		 complicity
8.	 The Villain harms one of the family			 harm
8a.	 A family member needs or wants something		 lack
9.	 News of the harm or lack reaches the Hero		 mediation
10.	 The Hero accepts the quest or decides to act		 start of counter
								-action
11.	 The Hero leaves home				 departure
12.	 The Hero is tested by the Donor			 1st function
								of Donor
13.	 The Hero reacts					 reaction of Hero
14.	 Magic object given to Hero				 reception of
								magic object
15.	 Hero travels towards object of the quest		 journey
								(with guide)
16.	 Hero and Villain come into conflict	 	 	 combat
17.	
Hero receives a mark					mark
18.	
The Villain is defeated				victory
19.	 Inital hurt or lack repaired				 reparation
20.	
The Hero returns					return
21.	
The Hero is pursued					pursuit
22.	
The Hero is helped					help
	
	 Brothers steal the object of the quest	
variation
	 The Hero recommences the quest	
variation
	 The Hero is tested again	
variation
	 New reaction to the Donor	
variation
	 The Hero receives a new magic object	
variation
	 The Hero arrives once more near the object of the quest	
variation
23.	 The Hero arrives home incognito			 disguise
24.	 The False Hero tells lies				 lying	
25.	 The Hero is given a difficult task	 	 	 task
26.	 The task is accomplished				 task accomplished
27	 The Hero is recognised				 recognition
28.	 The False Hero or Villain is unmasked		 unmasking
29.	 The Hero gains a new appearance	 	 	 transfiguration
30.	 The False Hero or Villain is punished			 punishment
31.	 The Hero marries and ascends the throne		 marriage
Vladimir Propp - Narratology
and the russian folk tale
According to Propp all Russion folk tales contain some or all of the following narrative moments and no others. Even if some do not appear, the others always
appear in the same order (and some may be repeated)
Cadmus, the eldest brother of Europa, is sent by his father to find her after she had been wooed by Zeus in the form of a
bull. The Delphic Oracle tells him to give up the search, and instead to follow a cow and build a city wherever she would
sink down for weariness. Buying a cow, he follows her through Boetia to the place where Thebes now stands until she lies
down. His companions are attacked and killed by the serpent-dragon living in the nearby Castalian Spring, but Cadmus
kills the dragon and sacrifices the cow to Athena. She appears and tells him to sow the serpent’s teeth. When he obeys,
they spring from the ground as armed warrors, the Spartoi. Cadmus throws a stonme among them, and they begin to
destroy each other till only five are left. who serve Cadmus faithfully.
Cadmus resigned the throne of Thebes to his grandson Pentheus, who begat Labdacus, who begat Laius. Laius married
Jocasta and uled over Thebes. Childless, he consulted the Delphic Oracle, who told him that his son would kill him and
marry his mother. Jocasta fell pregnant and when the child was born, Laius pierced the boy’s feet with a nail and left him
on Mount Cithaeron. A shpherd found him and named him Oedipus because his feet were deformed. Growing in years,
Oedipus in his turn asked the Delphic Oracle what the future held for him. She replied ‘Away you wretch! You will kill
your father ansd marry your mother’. Not wishing to harm his adopted parents, Oedipus fled.
On the road he met proud King Laius, and slew him. Laius had been on the way to the Oracle to ask how to rind the city
of Thebes from the Sphynx, a terrible creature with a woman’s head, lion’s body, serpent’s tail and eagle’s wings. The
Sphynx would ask ebvery traveller the same rifddle. If they could not answer, she throttled and evoured them on the
spot.
As Oedipus travelled towards he Thebes he met the Sphynx. This was her riddle.
‘What creature walks on four legs in the morning, two legs at noon and three legs in the evening?’
‘Man’, he replied, ‘because he crawls on all fours as an infant, stands on his own two feet in his prime, and leans upon a
staff in his old age’. The Sphynx in horror leapt to her death from Mount Phicium.
As a reward for lifting this curse, Oedipus ascended the throne of Thebes and married the Queen, his own mother Jo-
casta, laius’ widow. She bore him two sons, Polyneices and Eteocles, and a daughter, Antigone. Finally however, a plague
descended on the city, and Tiresias, the blind seer, revealed that the King was a patricide and in an incestuous union.
Driven out of the city, Oedipus blinded himself in remorse, and dies, accompanied only by Antigone, in the sacred oak
grove at Colonnus.
His twin brother-sons, Eteocles and Polyneices, accursed by their father, fell to warring with each other, When Polynei-
ces finally fell in battle, the dictator Creon, who had seized power, decreed that no-one should give the corpse its sacred
rites. But Antigone buried her brother Polyneices, and as punishment was sent to be buried alive . . . .
Cadmus seeks
his sister Eu-
ropa, ravished
by Zeus
Cadmus kills the
dragon
Oedipus kills
his father, Lai-
us
The Spartoi kill
each other
Labdacos (Laius’
father) = lame?
Oedipus mar-
ries his moth-
er, Jocasta
Oedipus kills the
Sphynx
Laius (Oedipus’
father) = left-sid-
ed?
Eteocles kills
his brother,
Polyneices
Oedipus = swol-
len-foot ?
SYNTAGMATIC AXIS =>
<=
PARADIGMATIC
AXIS
=>
Lévi-Strauss explains that ‘the first column has as its common feature the overrating
of blood relations. It is obvious that the second column expresses the same thing
but inverted: underrating of blood relations. The third column refers to monsters
being slain. As to the fourth column . . . all the hypothetical meanings . . refer to
difficulties in walking .’ (Lévi-Strauss 1963: 214-5). He explains that dragon is ctho-
nian, that is, born of the earth, and is killed. The Sphynx kills men. Both share the
quality of denying the autocthonous (born of earth) origins of men. The fourth
column draws on a tradition in which men born of the earth have trouble walking
or are maimed, which therefore is characterised by the persistence of the autoctho-
nous origin of men.
Lévi-Strauss concludes that the Oedipus legend deals with ‘the inability, for a cul-
ture which holds the belief that man is autocthonous, . . . to find a satisfactory tran-
sition between this theory and the knowledge that human beings are actually born
from the union of man and woman Although the problem obviously cannot be
solved, the Oedipus myth provides a kind of logical tool which relates the original
problem – born of one or born of two? – to the derivative problem: born from dif-
ferent or born from same?’ (Lévi-Strauss 1963: 216).
Claude Lévi-Strauss, The Structural Study of Myth, http://people.ucsc.edu/~ktellez/levi-strauss.pdf
Zbig Rybczinski, The New Book, 1975
Plot Outline: http://en.wikipedia.org/wiki/The_Saragossa_Manuscript_(film)
Wojciech Has, The Saragossa Manuscript, 1965
Russian Ark, Alexander Sokurov, 2002
Run Lola Run, 1998, Tom Tykwer
Plot Outline: http://en.wikipedia.org/wiki/Lock,_Stock_and_Two_Smoking_Barrels
Lock, Stock and Two Smoking Barrels, Guy Ritchie, 1998
Databasenarrative
Databasenarrative
Databasenarrative
Databasenarrative
Databasenarrative
The Big Brother house
diagrams by Sergio Circone http://www.cisenet.com/index.php?p=5
Borges, Jorge Luis (1964). The Garden of the Forking Paths. In: Yates, Donald A. & Irby, James E. (eds.), Labyrinths. New York: New Directions.
http://www.coldbacon.com/writing/borges-garden.html
A broad rereading of the work confirmed the theory. In all fictional
works, each time a man is confronted with several alternatives, he
chooses one and eliminates the others; in the fiction of Ts’ui Pên,
he chooses – simultaneously – all of them. He creates, in this way,
diverse futures, diverse times which themselves also proliferate and
fork. Here, then, is the explanation of the novel’s contradictions.
Fang, let us say, has a secret; a stranger calls at his door; Fang
resolves to kill him. Naturally, there are several possible outcomes:
Fang can kill the intruder, the intruder can kill Fang, they both can
escape, they both can die, and so forth. In the work of Ts’ui Pên, all
possible outcomes occur; each one is the point of departure for
other forkings. Sometimes, the paths of this labyrinth converge: for
example, you arrive at this house, but in one of the possible pasts
you are my enemy, in another, my friend.

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Databasenarrative

  • 1. database narrative sean cubitt 15 March 2013 the idea becomes a machine that makes the art (Sol Lewitt) http://en.wikipedia.org/wiki/Drumming_(Reich)
  • 2. traditional narrative arc in a nutshell Vanishing Point, 1971, Richard C. Sarafian
  • 3. Richard Thompson 1952 Vincent Black Lightning Said Red Molly to James that’s a fine motorbike A girl could feel special on any such like Said James to Red Molly, well my hat’s off to you It’s a Vincent Black Lightning, 1952 And I’ve seen you at the corners and cafes it seems Red hair and black leather, my favorite color scheme And he pulled her on behind And down to Box Hill they did ride Said James to Red Molly, here’s a ring for your right hand But I’ll tell you in earnest I’m a dangerous man I’ve fought with the law since I was seventeen I robbed many a man to get my Vincent machine Now I’m 21 years, I might make 22 And I don’t mind dying, but for the love of you And if fate should break my stride Then I’ll give you my Vincent to ride Come down, come down, Red Molly, called Sergeant McRae For they’ve taken young James Adie for armed robbery Shotgun blast hit his chest, left nothing inside Oh, come down, Red Molly to his dying bedside When she came to the hospital, there wasn’t much left He was running out of road, he was running out of breath But he smiled to see her cry And said I’ll give you my Vincent to ride Says James, in my opinion, there’s nothing in this world Beats a 52 Vincent and a red headed girl Now Nortons and Indians and Greeveses won’t do They don’t have a soul like a Vincent 52 He reached for her hand and he slipped her the keys He said I’ve got no further use for these I see angels on Ariels in leather and chrome Swooping down from heaven to carry me home And he gave her one last kiss and died And he gave her his Vincent to ride http://www.youtube.com/watch?v=2lCH5JgWCZY
  • 4. Initial situation 1 One of the family members leaves home distancing 2. Interdiction (or an order) interdiction 3. Interdiction transgressed (order not obeyed) transgression 4. The Villain tries to obtain information interrogation 5. The Villain receives information about his victim information 6. The Villain attempts to trick the victim trickery 7. The victim is tricked, so helping the Villain complicity 8. The Villain harms one of the family harm 8a. A family member needs or wants something lack 9. News of the harm or lack reaches the Hero mediation 10. The Hero accepts the quest or decides to act start of counter -action 11. The Hero leaves home departure 12. The Hero is tested by the Donor 1st function of Donor 13. The Hero reacts reaction of Hero 14. Magic object given to Hero reception of magic object 15. Hero travels towards object of the quest journey (with guide) 16. Hero and Villain come into conflict combat 17. Hero receives a mark mark 18. The Villain is defeated victory 19. Inital hurt or lack repaired reparation 20. The Hero returns return 21. The Hero is pursued pursuit 22. The Hero is helped help Brothers steal the object of the quest variation The Hero recommences the quest variation The Hero is tested again variation New reaction to the Donor variation The Hero receives a new magic object variation The Hero arrives once more near the object of the quest variation 23. The Hero arrives home incognito disguise 24. The False Hero tells lies lying 25. The Hero is given a difficult task task 26. The task is accomplished task accomplished 27 The Hero is recognised recognition 28. The False Hero or Villain is unmasked unmasking 29. The Hero gains a new appearance transfiguration 30. The False Hero or Villain is punished punishment 31. The Hero marries and ascends the throne marriage Vladimir Propp - Narratology and the russian folk tale According to Propp all Russion folk tales contain some or all of the following narrative moments and no others. Even if some do not appear, the others always appear in the same order (and some may be repeated)
  • 5. Cadmus, the eldest brother of Europa, is sent by his father to find her after she had been wooed by Zeus in the form of a bull. The Delphic Oracle tells him to give up the search, and instead to follow a cow and build a city wherever she would sink down for weariness. Buying a cow, he follows her through Boetia to the place where Thebes now stands until she lies down. His companions are attacked and killed by the serpent-dragon living in the nearby Castalian Spring, but Cadmus kills the dragon and sacrifices the cow to Athena. She appears and tells him to sow the serpent’s teeth. When he obeys, they spring from the ground as armed warrors, the Spartoi. Cadmus throws a stonme among them, and they begin to destroy each other till only five are left. who serve Cadmus faithfully. Cadmus resigned the throne of Thebes to his grandson Pentheus, who begat Labdacus, who begat Laius. Laius married Jocasta and uled over Thebes. Childless, he consulted the Delphic Oracle, who told him that his son would kill him and marry his mother. Jocasta fell pregnant and when the child was born, Laius pierced the boy’s feet with a nail and left him on Mount Cithaeron. A shpherd found him and named him Oedipus because his feet were deformed. Growing in years, Oedipus in his turn asked the Delphic Oracle what the future held for him. She replied ‘Away you wretch! You will kill your father ansd marry your mother’. Not wishing to harm his adopted parents, Oedipus fled. On the road he met proud King Laius, and slew him. Laius had been on the way to the Oracle to ask how to rind the city of Thebes from the Sphynx, a terrible creature with a woman’s head, lion’s body, serpent’s tail and eagle’s wings. The Sphynx would ask ebvery traveller the same rifddle. If they could not answer, she throttled and evoured them on the spot. As Oedipus travelled towards he Thebes he met the Sphynx. This was her riddle. ‘What creature walks on four legs in the morning, two legs at noon and three legs in the evening?’ ‘Man’, he replied, ‘because he crawls on all fours as an infant, stands on his own two feet in his prime, and leans upon a staff in his old age’. The Sphynx in horror leapt to her death from Mount Phicium. As a reward for lifting this curse, Oedipus ascended the throne of Thebes and married the Queen, his own mother Jo- casta, laius’ widow. She bore him two sons, Polyneices and Eteocles, and a daughter, Antigone. Finally however, a plague descended on the city, and Tiresias, the blind seer, revealed that the King was a patricide and in an incestuous union. Driven out of the city, Oedipus blinded himself in remorse, and dies, accompanied only by Antigone, in the sacred oak grove at Colonnus. His twin brother-sons, Eteocles and Polyneices, accursed by their father, fell to warring with each other, When Polynei- ces finally fell in battle, the dictator Creon, who had seized power, decreed that no-one should give the corpse its sacred rites. But Antigone buried her brother Polyneices, and as punishment was sent to be buried alive . . . .
  • 6. Cadmus seeks his sister Eu- ropa, ravished by Zeus Cadmus kills the dragon Oedipus kills his father, Lai- us The Spartoi kill each other Labdacos (Laius’ father) = lame? Oedipus mar- ries his moth- er, Jocasta Oedipus kills the Sphynx Laius (Oedipus’ father) = left-sid- ed? Eteocles kills his brother, Polyneices Oedipus = swol- len-foot ? SYNTAGMATIC AXIS => <= PARADIGMATIC AXIS =>
  • 7. Lévi-Strauss explains that ‘the first column has as its common feature the overrating of blood relations. It is obvious that the second column expresses the same thing but inverted: underrating of blood relations. The third column refers to monsters being slain. As to the fourth column . . . all the hypothetical meanings . . refer to difficulties in walking .’ (Lévi-Strauss 1963: 214-5). He explains that dragon is ctho- nian, that is, born of the earth, and is killed. The Sphynx kills men. Both share the quality of denying the autocthonous (born of earth) origins of men. The fourth column draws on a tradition in which men born of the earth have trouble walking or are maimed, which therefore is characterised by the persistence of the autoctho- nous origin of men. Lévi-Strauss concludes that the Oedipus legend deals with ‘the inability, for a cul- ture which holds the belief that man is autocthonous, . . . to find a satisfactory tran- sition between this theory and the knowledge that human beings are actually born from the union of man and woman Although the problem obviously cannot be solved, the Oedipus myth provides a kind of logical tool which relates the original problem – born of one or born of two? – to the derivative problem: born from dif- ferent or born from same?’ (Lévi-Strauss 1963: 216). Claude Lévi-Strauss, The Structural Study of Myth, http://people.ucsc.edu/~ktellez/levi-strauss.pdf
  • 8. Zbig Rybczinski, The New Book, 1975
  • 10. Russian Ark, Alexander Sokurov, 2002
  • 11. Run Lola Run, 1998, Tom Tykwer
  • 19. diagrams by Sergio Circone http://www.cisenet.com/index.php?p=5
  • 20. Borges, Jorge Luis (1964). The Garden of the Forking Paths. In: Yates, Donald A. & Irby, James E. (eds.), Labyrinths. New York: New Directions. http://www.coldbacon.com/writing/borges-garden.html A broad rereading of the work confirmed the theory. In all fictional works, each time a man is confronted with several alternatives, he chooses one and eliminates the others; in the fiction of Ts’ui Pên, he chooses – simultaneously – all of them. He creates, in this way, diverse futures, diverse times which themselves also proliferate and fork. Here, then, is the explanation of the novel’s contradictions. Fang, let us say, has a secret; a stranger calls at his door; Fang resolves to kill him. Naturally, there are several possible outcomes: Fang can kill the intruder, the intruder can kill Fang, they both can escape, they both can die, and so forth. In the work of Ts’ui Pên, all possible outcomes occur; each one is the point of departure for other forkings. Sometimes, the paths of this labyrinth converge: for example, you arrive at this house, but in one of the possible pasts you are my enemy, in another, my friend.