University of Minnesota Duluth
Stroupe | WRIT 4250
A Narrative of Lev Manovich’s Chapter 5
Manovich begins by introducing the idea of a “database logic” or “database complex,” and argues that it has contemporary significance far beyond computer culture (219). He then distinguishes the idea of a database from what was once the dominant cultural logic—narrative (225). He says that new media creation is essentially a matter of constructing an interface to a database, but that these interfaces continue to express a tension between database and narrative "imaginations" (228).
Manovich then historicizes this tension by comparing the database/narrative dichotomy to older distinctions from linguistics and cultural theory, such the paradigm/syntagm dichotomy (229). He says that new media remains a "battleground" between these two logics, and in new media we see a merging of database and narrative into new forms.
Manovich then spends the rest of the chapter defining one of these new forms: navigable space.
He illustrates this idea, first, with the examples of the computer games Myst and Doom, and goes on to argue that navigable space is not just a new genre of database interface, but a new cultural form (248). He then historicizes the tensions between database and narrative by comparing that dichotomy to the distinctions made by art historians between the "aggregate" and "systematic" treatment of space (haptic and optic) in Western art (254).
With this historical content in mind, then, Manovich looks at examples of classic navigable spaces from computer culture, and distinguishes the roles of navigator (flaneur) and explorer, and argues that the flaneur/explorer distinction is parallel to differences between European and American ideals of individuality (subjectivity) (268). The American model is the dominant one in computer games (271).
Despite these historical continuities, Manovich ends by arguing that "navigable space" (as opposed to pure database) is not an archaic relic or hold-over, but a genuine expression of postmodern sensibility. He then supports this idea by comparing navigable space in new media to "non-spaces" in post-modern architecture and urban design (279). He concludes by saying that new media is defined by the complementary "imaginations" of database and navigable space (formerly narrative) (284).
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