This week’s reading by Will Luers discusses the concept of database narratives. It refers to how computer databases of sending and retrieving information can be used in conveying a narrative. Unlike linear narratives in both fiction and non-fiction types that rely on revealing information in a sequential order and giving the audience a sense of journey, the database narrative relies on spatial relations in order to hold the audience’s attention.

Luers says that “narrative emerges as an effect of navigation,” which in Korsakow films refers to how viewers choose which video they want to watch next, and how they create links between the patterns that emerge. His belief that “narration of the database is through the interface; its design, entry points, absences, spatial complexity and simultaneity” is quite an interesting point as it emphasizes the importance of the interface. This is something I didn’t really prioritize that much in terms of analyzing or creating a K-film, rather I have been more focused on the content and patterns created. Luers places a lot of importance on the interface, which is something I will now take into more careful consideration.

Questions from the reading:

“The temporal relations of events, that which plot works to structure as linear narrative, is just one of many structural relations available in a database narrative.” Can you please explain what temporal relations are present in K-films?

“A plotted interface provides micro and macro views, but also limits and delays access to those views.” How important is thinking about micro and macro views in Korsakow films?

Luers discusses how plotting the interface results in the narrative; does this mean that if we follow this method a narrative can be formed by using Korsakow, that does make sense?