If the story is both constantly shifting perspectives AND taken as a whole, then wouldn’t all perspectives have to simultaneously describe the storyform?
Even accepting that you can’t lock your feet down on what the perspective is, you can still lock your feet down on “this thing is the root of that conflict”. I mean, whatever process it illustrates, I think you have to agree that Hadley beat the inmate to death because he wouldn’t shut up. Maybe I’m wrong, but…that seems pretty concrete. You don’t really need any other part of the story to tell you that that’s why Hadley beat him.
Totally agree with this and get it. But it seems like Mental Relativity would suggest that this is only half of the picture in that the storyform describes both the story as a whole (a state) and as a flow through various points in sequential order (a process). If that’s accurate, then it seems that in order to analyze a story you would need to view the story as both a single unit and a flow. Without both halves of the picture, the storyform would look both right and wrong at the same time depending on perspective. (can you tell i’ve reading that memo from 1992 or whenever that was posted earlier?)
What I mean is that if you look for direct, concrete connections-like making too much noise leads to death-then it becomes difficult to see the connection to the overall plot that’s looking at the Future. You start talking about things that happened before that, and before that, and then you start asking questions like doesn’t this just lead to an infinite regress and can’t you really point anywhere on the quad?
But then, if you’re looking only at the overall picture, maybe you start pointing to individual pieces and either forcing them to fit somewhere they don’t fit because of this overall picture, or start making unnecessarily long chains to show that actually it was the Future that caused Hadley to beat the inmate to death and not his present noise making.
Combining the two, then, should give the fuller picture. That making noise leading to death isn’t a process specifically rooted in the Future (and is therefore a better descriptor of Domain than Plot on an individual moment level), but that it does play into an exploration of the Future by looking at the Future in that, I don’t know, they’re seeing a man lose his future by being beaten to death? They’re seeing what kind of future things they can expect to deal with in prison?
So the danger, then, seems to be in taking one view over the other and getting it wrong. Like if you tried to take an overall picture view that they were all dealing with Past because they all committed crimes then you would ignore all the future conflict like the kid being willing to testify and Norton losing his number man or his corruption getting exposed. Or if you took a direct connection view that because present noise making is in the OS it can be used in isolation to describe the OS Concern and not be strictly an illustration of the Domain.
***hope that makes sense and didn’t ramble too much. I was going to go in a whole different direction when I first started typing, but I like this train of thought much better.