Wide Image: Mythology
Structuralism: Claude Lévi-Strauss. Following the rule of heuretics curriculum, to treat one’s own materials as belonging to the disciplinary tradition, I applied Lévi-Strauss’s insights into the formal design of mythologies to my wide image. The wide mage in fact is a personal mythology, not only metaphorically but formally. Lévi-Strauss showed that individual instances of a myth manifest a system of relationships, covering all possible variations on the aporia (disaster in our terms) addressed by the myth. The system of relationships is that of proportional analogy (A is to B as C is to D), the figure of hypotyposis encountered throughout the tradition. The practice of myth-work applied to a mystory set (including the Career register documented, along with Family, Entertainment, Community) is to determine which stories/scenes are related in this proportional ratio, along what axes? In my case I found Family and Career related on an axis of space (The Sand and Gravel Plant scene, materializing the Choral metaphor of Plato and Derrida); Entertainment and History related on an axis of time. High Noon plays out almost in real time, intercutting between the clock in the sheriff’s office and the gunmen waiting for their boss to arrive on the noon train, while the sheriff tries to form a posse to fight them. Custer took his Seventh Cavalry far ahead of the rest of the advancing army, hoping to strike a quick blow against the Indians, to get the glory for himself, to propel him into candidacy for President of the United States in the 1876 election.. The symmetries formed in the crossings of this four-fold are provocative, suggestive of a diagram capable of translation into an original hypothesis for konsult.
–Noon Star Diagram