Lev Manovich Database as a Symbolic Form the Database Logic

After the novel, and subsequently cinema privileged narrative as the key form of cultural expression of the modern age, the computer age introduces its correlate — database. Many new media objects do not tell stories; they don't have beginning or end; in fact, they don't have any development, thematically, formally or otherwise which would organize their elements into a sequence. Instead, they are collections of individual items, where every item has the same significance as any other. Why does new media favor database form over others? Can we explain its popularity by analyzing the specificity of the digital medium and of computer programming? What is the relationship between database and another form, which has traditionally dominated human culture — narrative? These are the questions I will address in this article. Before proceeding I need to comment on my use of the word database. In computer science database is defined as a structured collection of data. The data stored in a database is organized for fast search and retrieval by a computer and therefore it is anything but a simple collection of items. Different types of databases — hierarchical, network, relational and object-oriented — use different models to organize data. For instance, the records in hierarchical databases are organized in a treelike structure. Object-oriented databases store complex data structures, called "objects," which are organized into hierarchical classes that may inherit properties from classes higher in the chain. New media objects may or may not employ these highly structured database models; however, from the point of view of user's experience a large proportion of them are databases in a more basic sense. They appear as a collections of items on which the user can perform various operations: view, navigate, search. The user experience of such computerized collections is therefore quite distinct from reading a narrative or watching a film or navigating an architectural site. Similarly, literary or cinematic narrative, an architectural plan and database each present a different model of what a world is like. It is this sense of database as a cultural form of its own which I want to address here. Following art historian Ervin Panofsky's analysis of linear perspective as a "symbolic form" of the modern age, we may even call database a new symbolic form of a computer age (or, as philosopher Jean-Francois Lyotard called it in his famous 1979 book Postmodern Condition, "computerized society"), a new way to structure our experience of ourselves and of the world. Indeed, if after the death of God (Nietzche), the end of grand Narratives of Enlightenment (Lyotard) and the arrival of the Web (Tim Berners-Lee) the world appears to us as an endless and unstructured collection of images, texts, and other data records, it is only appropriate that we will be moved to model it as a database. But it is also appropriate that we would want to develops poetics, aesthetics, and ethics of this database. Let us begin by documenting the dominance of database form in new media. The most obvious examples of this are popular multimedia encyclopedias, which are collections by their very definition; as well as other commercial CD-ROM titles which are collections as well — of recipes, quotations,