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................1 of 41

What’s the Story?Complex Networks | @networksvox

CSYS/MATH 303, Spring, 2016

Prof. Peter Dodds | @peterdodds

Dept. of Mathematics & Statistics | Vermont Complex Systems CenterVermont Advanced Computing Core | University of Vermont

Licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 License.

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................2 of 41

These slides are brought to you by:

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................3 of 41

Outline

Narrativium

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................4 of 41

(Sir Terry) Pratchett’s Narrativium:.

.

“The most common element on thedisc, although not included in the listof the standard five: earth, fire, air,water and surprise. It ensures thateverything runs properly as a story.”

“A little narrativium goes a long way:the simpler the story, the better youunderstand it. Storytelling is theopposite of reductionism: 26 lettersand some rules of grammar are nostory at all.”

.

.

“Heroes only win when outnumbered, and thingswhich have a one-in-a-million chance of succeedingoften do so.”

COcoNuTS

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................4 of 41

(Sir Terry) Pratchett’s Narrativium:.

.

“The most common element on thedisc, although not included in the listof the standard five: earth, fire, air,water and surprise. It ensures thateverything runs properly as a story.”

“A little narrativium goes a long way:the simpler the story, the better youunderstand it. Storytelling is theopposite of reductionism: 26 lettersand some rules of grammar are nostory at all.”

.

.

“Heroes only win when outnumbered, and thingswhich have a one-in-a-million chance of succeedingoften do so.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

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................4 of 41

(Sir Terry) Pratchett’s Narrativium:.

.

“The most common element on thedisc, although not included in the listof the standard five: earth, fire, air,water and surprise. It ensures thateverything runs properly as a story.”

“A little narrativium goes a long way:the simpler the story, the better youunderstand it. Storytelling is theopposite of reductionism: 26 lettersand some rules of grammar are nostory at all.”

.

.

“Heroes only win when outnumbered, and thingswhich have a one-in-a-million chance of succeedingoften do so.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

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References

................4 of 41

(Sir Terry) Pratchett’s Narrativium:.

.

“The most common element on thedisc, although not included in the listof the standard five: earth, fire, air,water and surprise. It ensures thateverything runs properly as a story.”

“A little narrativium goes a long way:the simpler the story, the better youunderstand it. Storytelling is theopposite of reductionism: 26 lettersand some rules of grammar are nostory at all.”

.

.

“Heroes only win when outnumbered, and thingswhich have a one-in-a-million chance of succeedingoften do so.”

COcoNuTS

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................5 of 41

.The story trap by Philip Ball, 2015-11-12..

.

“We use neat stories to explain everything from sportsmatches to symphonies. Is it time to leave the nursery of themind?”

“…we might wonder if the ultimate intelligibility of theuniverse will be determined not so much by the capacity ofour minds to formulate the appropriate concepts andequations, but by whether we can find a meaningful story totell about it.”

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................6 of 41

.Competing storytelling organizations:..

.

News. Art. Music industry. Books, magazines. Movie studios, Netflix, HBO, Disney. Video Games. Social media: Facebook, Medium, Tumblr, blogs.

.Cultural products from Pantheon:..

.

Writers, artists, movie directors, video gamedirectors.

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................6 of 41

.Competing storytelling organizations:..

.

News. Art. Music industry. Books, magazines. Movie studios, Netflix, HBO, Disney. Video Games. Social media: Facebook, Medium, Tumblr, blogs.

.Cultural products from Pantheon:..

.

Writers, artists, movie directors, video gamedirectors.

COcoNuTS

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................7 of 41

.Understanding the Sociotechnocene—Stories:..

.

xkcd.com/904/

Perhaps: A true science of stories. Claim: Homo narrativus—we run

on stories. Claim: The narrative hierarchy and

the Scalability of stories. Research: Extraction of metaphors,

frames, narratives, and stories fromlarge-scale text.

Research: The taxonomy of humanstories.

Harness: Sociotechnical algorithmsfor measuring/predicting decisions,contagion, demographics, weather, …

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................7 of 41

.Understanding the Sociotechnocene—Stories:..

.

xkcd.com/904/

Perhaps: A true science of stories. Claim: Homo narrativus—we run

on stories. Claim: The narrative hierarchy and

the Scalability of stories. Research: Extraction of metaphors,

frames, narratives, and stories fromlarge-scale text.

Research: The taxonomy of humanstories.

Harness: Sociotechnical algorithmsfor measuring/predicting decisions,contagion, demographics, weather, …

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................7 of 41

.Understanding the Sociotechnocene—Stories:..

.

xkcd.com/904/

Perhaps: A true science of stories. Claim: Homo narrativus—we run

on stories. Claim: The narrative hierarchy and

the Scalability of stories. Research: Extraction of metaphors,

frames, narratives, and stories fromlarge-scale text.

Research: The taxonomy of humanstories.

Harness: Sociotechnical algorithmsfor measuring/predicting decisions,contagion, demographics, weather, …

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

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References

................7 of 41

.Understanding the Sociotechnocene—Stories:..

.

xkcd.com/904/

Perhaps: A true science of stories. Claim: Homo narrativus—we run

on stories. Claim: The narrative hierarchy and

the Scalability of stories. Research: Extraction of metaphors,

frames, narratives, and stories fromlarge-scale text.

Research: The taxonomy of humanstories.

Harness: Sociotechnical algorithmsfor measuring/predicting decisions,contagion, demographics, weather, …

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................7 of 41

.Understanding the Sociotechnocene—Stories:..

.

xkcd.com/904/

Perhaps: A true science of stories. Claim: Homo narrativus—we run

on stories. Claim: The narrative hierarchy and

the Scalability of stories. Research: Extraction of metaphors,

frames, narratives, and stories fromlarge-scale text.

Research: The taxonomy of humanstories.

Harness: Sociotechnical algorithmsfor measuring/predicting decisions,contagion, demographics, weather, …

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

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................7 of 41

.Understanding the Sociotechnocene—Stories:..

.

xkcd.com/904/

Perhaps: A true science of stories. Claim: Homo narrativus—we run

on stories. Claim: The narrative hierarchy and

the Scalability of stories. Research: Extraction of metaphors,

frames, narratives, and stories fromlarge-scale text.

Research: The taxonomy of humanstories.

Harness: Sociotechnical algorithmsfor measuring/predicting decisions,contagion, demographics, weather, …

COcoNuTS

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Power

Shapes

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................8 of 41

Adjacent narratives—why mistruths andconspiracy theories exist and flourish:

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................9 of 41

.1999 Gallup poll:..

.

6% of Americans said the lunar landings were fake. 5% were undecided.

.Video replay:..

.

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................10 of 41

.Story Wars:..

.

Nicholas Hénin,French Journalist,held captive for 10months.

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

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Power

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

Power

Shapes

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

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Power

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

Power

Shapes

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................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

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References

................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................11 of 41

.From the end of the interview:..

.

NICOLAS HENIN: No, it was just like in a movie. And, by the way,even the people going to Syria, joining ISIS in Syria to fight, eventhese people see himself as movie characters. They play theirown movie. This is why I think that the most powerful way tofight ISIS are not bombs. It is to kill the narrative. We have towrite another movie. We have to build other heroes. And this iswhy I believe that the French are making big mistakes in the waysthey, they fight ISIS.

We created, for instance, accounts on the social media named“Stop Jihadism,” and this is [BLEEP], like they did not understandanything. And I did understand why we are so bad. It’s justbecause in France we don’t know how to write TV series properly.

[BROOKE LAUGHS]

Just because we have no imagination, we cannot just tell beautifulstories, create beautiful characters, beautiful heroes.

And this is what we have to do because in our world, in oursocieties what do people want? They want to become heroes.They want to be famous. They want to be, to be recognized.

COcoNuTS

Narrativium

Power

Shapes

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................12 of 41

.The American Dream = Rags to Riches..

.

The story that anyone can become King or Queen. Story of individual, not the collective. But we know about fame and success:

The presence of outsized fame in a social systemmeans social imitation is a driver of value.

Stories of societies can only hold if they have beenand remain believable.

COcoNuTS

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................12 of 41

.The American Dream = Rags to Riches..

.

The story that anyone can become King or Queen. Story of individual, not the collective. But we know about fame and success:

The presence of outsized fame in a social systemmeans social imitation is a driver of value.

Stories of societies can only hold if they have beenand remain believable.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................12 of 41

.The American Dream = Rags to Riches..

.

The story that anyone can become King or Queen. Story of individual, not the collective. But we know about fame and success:

The presence of outsized fame in a social systemmeans social imitation is a driver of value.

Stories of societies can only hold if they have beenand remain believable.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................12 of 41

.The American Dream = Rags to Riches..

.

The story that anyone can become King or Queen. Story of individual, not the collective. But we know about fame and success:

The presence of outsized fame in a social systemmeans social imitation is a driver of value.

Stories of societies can only hold if they have beenand remain believable.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

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References

................12 of 41

.The American Dream = Rags to Riches..

.

The story that anyone can become King or Queen. Story of individual, not the collective. But we know about fame and success:

The presence of outsized fame in a social systemmeans social imitation is a driver of value.

Stories of societies can only hold if they have beenand remain believable.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................12 of 41

.The American Dream = Rags to Riches..

.

The story that anyone can become King or Queen. Story of individual, not the collective. But we know about fame and success:

The presence of outsized fame in a social systemmeans social imitation is a driver of value.

Stories of societies can only hold if they have beenand remain believable.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................13 of 41

.If not Trump, what?, David Brooks, New YorkTimes:..

.

“We’ll probably need a new national story. Up untilnow, America’s story has been some version of therags-to-riches story, the lone individual who risesfrom the bottom through pluck and work. But thatstory isn’t working for people anymore, especially forpeople who think the system is rigged.”

“I don’t know what the new national story will be, butmaybe it will be less individualistic and moreredemptive. Maybe it will be a story aboutcommunities that heal those who suffer fromaddiction, broken homes, trauma, prison and loss, astory of those who triumph over the isolation, socialinstability and dislocation so common today.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................14 of 41

.Claim: Stories must have real substance toendure..

.

Enormous disasters: Fabrications of realexperiences. Plain old making stuff up: A million little pieces

... Oprah will get you. Wikipedia’s has a list of famous fake memoirs. Expansive plagiarism: How Opal Mehta Got

Kissed, Got Wild, and Got a Life.#kudos

Self-plagiarism and more standard badness: JonahLehrer.Amazingly: Made up Bob Dylan quotes.

Lance Armstrong. Also got to meet Oprah.

Enormous power: Fiction that speaks to realexperiences.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................15 of 41

.Kurt Vonnegut on the shapes of stories:..

.

COcoNuTS

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Power

Shapes

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Essence

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................16 of 41

Kurt Vonnegut on the shapes of stories:

COcoNuTS

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................17 of 41

Kurt Vonnegut on the shapes of stories:

COcoNuTS

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................18 of 41

The New Yorker, December 16, 2013, p. 56.

COcoNuTS

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................19 of 41

.Ron Swanson:..

.

“I hate metaphors.

That’s why my favorite book isMoby Dick. No frou-frou symbolism. Just agood, simple tale about a man who hates ananimal.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................19 of 41

.Ron Swanson:..

.

“I hate metaphors. That’s why my favorite book isMoby Dick.

No frou-frou symbolism. Just agood, simple tale about a man who hates ananimal.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................19 of 41

.Ron Swanson:..

.

“I hate metaphors. That’s why my favorite book isMoby Dick. No frou-frou symbolism.

Just agood, simple tale about a man who hates ananimal.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................19 of 41

.Ron Swanson:..

.

“I hate metaphors. That’s why my favorite book isMoby Dick. No frou-frou symbolism. Just agood, simple tale about a man who hates ananimal.”

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................21 of 41

.The emotional shapes of stories—Moby Dick:..

.

0.2 0.4 0.6 0.8 1 1.2 1.4 1.6 1.8 2

x 105

4

4.5

5

5.5

6

6.5

7

Word number i

havg

Moby Dick, ∆h=2.0, smoothing T=3162

0.2 0.4 0.6 0.8 1 1.2 1.4 1.6 1.8 2

x 105

5

5.2

5.4

5.6

5.8

6

6.2

6.4

6.6

Word number i

havg

Moby Dick, ∆h=2.0, smoothing T=10000

0.2 0.4 0.6 0.8 1 1.2 1.4 1.6 1.8 2

x 105

5.2

5.4

5.6

5.8

6

6.2

6.4

6.6

Word number i

havg

Moby Dick, ∆h=2.0, smoothing T=31623

−↑ missing

−↑ shot

−↑ poor

+↓ great

+↓ bed

−↑ die

−↑ evil

−↑ lonely

−↑ blind

fear −↓

−↑ cowards

sky +↑

−↑ hated

−↑ shooting

−↑ fatal

havg(Last 10%)=5.69< havg(Fir st 25%)=6.20

C

Σ +↓ Σ +↑

Σ −↑ Σ −↓

Σ

Partly inspired by Vonnegut’s Shapes of Stories.

Online, interactive Emotional Shapes of Stories for10,000+ books:

Online, interactive Emotional Shapes of Stories for10,000+ books:

Online, interactive Emotional Shapes of Stories for1,000+ movie scripts:

COcoNuTS

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Essence

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References

................25 of 41

The game story space of professional sports: Australian Rules Football

Dilan Patrick Kiley,1, ∗ Andrew J. Reagan,1, † Lewis Mitchell,2, ‡

Christopher M. Danforth,1, § and Peter Sheridan Dodds1, ¶

1Department of Mathematics & Statistics, Vermont Complex Systems Center,

Computational Story Lab, & the Vermont Advanced Computing Core,

The University of Vermont, Burlington, VT 05401.2School of Mathematical Sciences, North Terrace Campus, The University of Adelaide, SA 5005, Australia

(Dated: May 3, 2016)

Sports are spontaneous generators of stories. Through skill and chance, the script of each gameis dynamically written in real time by players acting out possible trajectories allowed by a sport’srules. By properly characterizing a given sport’s ecology of ‘game stories’, we are able to capture thesport’s capacity for unfolding interesting narratives, in part by contrasting them with random walks.Here, we explore the game story space afforded by a data set of 1,310 Australian Football League(AFL) score lines. We find that AFL games exhibit a continuous spectrum of stories rather thandistinct clusters. We show how coarse-graining reveals identifiable motifs ranging from last minutecomeback wins to one-sided blowouts. Through an extensive comparison with biased random walks,we show that real AFL games deliver a broader array of motifs than null models, and we provideconsequent insights into the narrative appeal of real games.

PACS numbers: 89.65.-s, 89.20.-a, 05.40.Jc, 02.50.Ey

I. INTRODUCTION

While sports are often analogized to a wide array ofother arenas of human activity—particularly war—wellknown story lines and elements of sports are converselyinvoked to describe other spheres. Each game generatesa probablistic, rule-based story [1], and the stories ofgames provide a range of motifs which map onto nar-ratives found across the human experience: dominant,one-sided performances; back-and-forth struggles; under-dog upsets; and improbable comebacks. As fans, peopleenjoy watching suspenseful sporting events—unscriptedstories—and following the fortunes of their favorite play-ers and teams [2–4].

Despite the inherent story-telling nature of sportingcontests—and notwithstanding the vast statistical anal-yses surrounding professional sports including the manyobservations of and departures from randomness [5–11]—the ecology of game stories remains a largely unexplored,data-rich area [12]. We are interested in a number of ba-sic questions such as whether the game stories of a sportform a spectrum or a set of relatively isolated clusters,how well models such as random walks fare in reproduc-ing the specific shapes of real game stories, whether ornot these stories are compelling to fans, and how differ-ent sports compare in the stories afforded by their variousrule sets.

Here, we focus on Australian Rules Football, a highskills game originating in the mid 1800s. We describe

∗ dilan.kiley@uvm.edu† andrew.reagan@uvm.edu‡ lewis.mitchell@adelaide.edu.au§ chris.danforth@uvm.edu¶ peter.dodds@uvm.edu

Australian Rules Football in brief and then move on toextracting and evaluating the sport’s possible game sto-ries. Early on, the game evolved into a winter sportquite distinct from other codes such as soccer or rugbywhile bearing some similarity to Gaelic football. Playedas state-level competitions for most of the 1900s withthe Victorian Football League (VFL) being most promi-nent, a national competition emerged in the 1980s withthe Australian Football League (AFL) becoming a for-mal entity in 1990. The AFL is currently constituted by18 teams located in five of Australia’s states.

Games run over four quarters, each lasting around 30minutes (including stoppage time), and teams are eachcomprised of 18 on-field players. Games (or matches) areplayed on large ovals typically used for cricket in the sum-mer and of variable size (generally 135 to 185 meters inlength). The ball is oblong and may be kicked or hand-balled (an action where the ball is punched off one handwith the closed fist of the other) but not thrown. Mark-ing (cleanly catching a kicked ball) is a central featureof the game, and the AFL is well known for producingmany spectacular marks and kicks for goals [13].

The object of the sport is to kick goals, with the cus-tomary standard of highest score wins (ties are relativelyrare but possible). Scores may be 6 points or 1 point asfollows, some minor details aside. Each end of the groundhas four tall posts. Kicking the ball (untouched) throughthe central two posts results in a ‘goal’ or 6 points. If theball is touched or goes through either of the outer twosets of posts, then the score is a ‘behind’ or 1 point. Finalscores are thus a combination of goals (6) and behinds(1) and on average tally around 100 per team. Poor con-ditions or poor play may lead to scores below 50, whilescores above 200 are achievable in the case of a ‘thrash-ing’ (the record high and low scores are 239 and 1). Winsare worth 4 points, ties 2 points, and losses 0.

Typeset by REVTEX

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6“The game story space of professionalsports: Australian Rules Football”Kiley, Reagan, Mitchell, Danforth, andDodds.Physical Review E, , , 2016. [5]

COcoNuTS

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................26 of 41

0

50

100

150

200

2/0.86

2AA

60

40

20

0

20

11/5.71

64AB

0

50

100

150

200

1/0.53

1AC

40

20

0

20

40

11/6.06

67AD

20

0

20

40

60

7/4.0

71AE

50

0

50

100

150

25/15.13

14AF

50

0

50

100

12/7.29

41AG

20

0

20

40

60

48/31.56

43AH

50

0

50

100

22/15.01

21AI

40

20

0

20

40

29/19.8

52AJ

50

0

50

100

46/32.1

29AK

50

0

50

100

150

19/13.8

10AL

50

0

50

100

32/23.33

13AM

40

20

0

20

40

34/25.59

65AN

20

0

20

40

19/14.34

53AO

50

0

50

7/5.46

40AP

40

20

0

20

40

34/26.54

49AQ

50

0

50

100

14/11.63

34AR

20

0

20

40

60

34/28.26

47AS

50

0

50

100

21/18.12

42AT

50

0

50

100

150

6/5.18

4AU

50

0

50

16/14.05

61AV

50

0

50

41/36.45

51AW

40

20

0

20

40

26/23.16

55AX

50

0

50

100

36/32.18

26AY

50

0

50

100

19/17.41

16AZ

50

0

50

100

25/22.95

17BA

20

0

20

40

60

37/34.16

44BB

0

50

100

150

200

3/2.79

3BC

50

0

50

100

24/22.44

27BD

50

0

50

100

35/32.98

30BE

50

0

50

100

24/22.62

18BF

20

0

20

40

60

24/23.08

37BG

50

0

50

100

3/2.94

15BH

50

0

50

100

35/34.41

35BI

50

0

50

100

19/18.76

22BJ

20

0

20

40

60

14/13.85

60BK

20

0

20

40

29/29.28

58BL

50

0

50

100

20/20.66

19BM

50

0

50

100

2/2.1

25BN

50

0

50

100

13/13.83

57BO

40

20

0

20

40

27/28.95

59BP

0

50

100

150

6/6.47

5BQ

40

20

0

20

40

16/17.29

70BR

40

20

0

20

11/11.89

69BS

50

0

50

100

150

7/7.66

9BT

50

0

50

100

14/15.39

12BU

50

0

50

13/14.3

66BV

20

0

20

40

60

19/21.24

46BW

50

0

50

100

150

9/10.1

8BX

20

0

20

40

60

15/16.98

63BY

40

20

0

20

40

7/8.05

68BZ

20

0

20

40

60

19/22.2

38CA

50

0

50

100

17/20.17

31CB

20

0

20

40

60

25/29.73

39CC

40

20

0

20

40

12/14.69

56CD

50

0

50

100

150

10/12.69

11CE

50

0

50

100

26/33.43

33CF

50

0

50

100

150

10/12.88

7CG

50

0

50

100

14/18.46

28CH

20

0

20

40

60

25/33.73

48CI

20

0

20

40

60

13/17.8

45CJ

20

0

20

40

19/26.26

62CK

50

0

50

100

11/16.68

32CL

50

0

50

100

150

8/12.95

6CM

50

0

50

100

12/20.74

24CN

0 30 60 90 12040

20

0

20

40

20/36.06

54CO

0 30 60 90 12020

0

20

40

15/28.25

50CP

0 30 60 90 12020

0

20

40

60

9/17.19

36CQ

0 30 60 90 12050

0

50

100

12/24.7

23CR

0 30 60 90 12050

0

50

100

10/22.67

20CS

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................27 of 41

.The very tiresome Great Man Theory:..

.

“The Power of Myth”by Campbell and Moyers (1991). [4]

“The Hero with a Thousand Faces”by Joseph Campbell (2008). [3]

.

.Highly influential but it’s a trap!

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................27 of 41

.The very tiresome Great Man Theory:..

.

“The Power of Myth”by Campbell and Moyers (1991). [4]

“The Hero with a Thousand Faces”by Joseph Campbell (2008). [3]

.

.Highly influential but it’s a trap!

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................28 of 41

.How to write a screenplay:..

.

“Save the Cat!”by Blake Snyder (2005). [6]

9 acts. Someone important to the main characters gets

toasted in the second act, blah, blah. Believes irony is key. Logline = one or two sentence summary. Logline fails to be a summary of logline.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................28 of 41

.How to write a screenplay:..

.

“Save the Cat!”by Blake Snyder (2005). [6]

9 acts. Someone important to the main characters gets

toasted in the second act, blah, blah. Believes irony is key. Logline = one or two sentence summary. Logline fails to be a summary of logline.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................28 of 41

.How to write a screenplay:..

.

“Save the Cat!”by Blake Snyder (2005). [6]

9 acts. Someone important to the main characters gets

toasted in the second act, blah, blah. Believes irony is key. Logline = one or two sentence summary. Logline fails to be a summary of logline.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................28 of 41

.How to write a screenplay:..

.

“Save the Cat!”by Blake Snyder (2005). [6]

9 acts. Someone important to the main characters gets

toasted in the second act, blah, blah. Believes irony is key. Logline = one or two sentence summary. Logline fails to be a summary of logline.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................28 of 41

.How to write a screenplay:..

.

“Save the Cat!”by Blake Snyder (2005). [6]

9 acts. Someone important to the main characters gets

toasted in the second act, blah, blah. Believes irony is key. Logline = one or two sentence summary. Logline fails to be a summary of logline.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................29 of 41

.Seven “good” stories?:..

.

“The Seven Basic Plots: Why We TellStories”by Christopher Booker (2005). [2]

Seven Gateways to the Underworld (?) Overcoming the Monster ×2 and the Thrilling

escape from Death (plot). Rags to Riches (plot). The Quest (plot). Voyage and Return (plot). Comedy ×2 (plot but really structure). Tragedy ×3 (plot). Rebirth (plot). The Dark Power: From Shadow into Light (master

structure).

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................30 of 41

The taxonomy of stories:

.Folkloristics:..

.

Academic area formallystarted around 1900.

Aarne–Thompsonclassificationsystems

Motif-based taxonomy. Online classification

database

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................31 of 41

.

.

60 COMMUNICATIONS OF THE ACM | JULY 2012 | VOL. 55 | NO. 7

contributed articles

DOI:10.1145/2209249.2209267

A searchable meta-graph can connect even troublesome house elves and other supernatural beings to scholarly folk categories.

BY JAMES ABELLO, PETER BROADWELL,

AND TIMOTHY R. TANGHERLINI

Computational Folkloristics

Japan). By exploring the traditional

expressions of group members across

time and space, scholars can develop

a sophisticated understanding of the

complex processes of culture develop-

ment and change.

Since inception of the field in the

19th century, folkloristics has been

based on a three-part process: ˲ Fieldwork consisting of the identi-

fication of a folk group and the collec-

tion of its traditions; ˲ Archiving, editing, and publishing

these collections; and ˲ Analyzing the collected folklore

based on a single or combination of

multiple theoretical perspectives.

For the most part, folklorists limit

their studies to small, well-defined

collections or subsets of much larger

collections. A study corpus is often

selected based on criteria like genre

or topic. The “variants” in the result-

ing study corpus are then subjected to

“close readings”; from an ethnograph-

ic perspective, close readings focus on

analysis of the symbolic aspects of the

expression as an important meaning-

making process for storytellers and

their audiences. Conclusions drawn

from close readings are subsequently

abstracted to make more general com-

ments about the changing contours of

the cultural ideology of the group in

question. This approach has worked

well for generations of folklorists, par-

ticularly in the context of the relatively

small size of accessible collections

and the general alignment of research

THE STUDY OF folklore, or folkloristics, is predicated on two premises: traditional expressive culture circulates across and within social networks, and discrete “performances” of traditional expressive forms serve an important role as the locus for the ongoing negotiation of cultural ideology (norms, beliefs, and values). The underlying assumption is that folklore emerges from the dialectic tension between individual members of a cultural group on the one hand and the “traditions” of that group on the other. This ongoing tug-of-war ensures that traditional expressive culture is constantly changing, adjusting to the needs of the individuals within a group.

The goal of any folkloristic investigation is to understand how traditional expressions create meaning for the people who create and receive them; studies range from a consideration of fairy-tale telling by 19th-century peasants (such as in the classic works of the Grimm brothers) to analysis of rumor propagation in the aftermath of disasters (such as Hurricane Katrina in 2005 and the 2011 tsunami in

key insights

The field of computational folkloristics

weds algorithmic approaches to classic

interpretive problems from the field of

folklore.

A multimodal network representation of

a folklore corpus (hypergraphs) liberates

folklore exploration from the limitations

of existing classification schemes.

Imagine a system in which the

complexities of a folklore corpus can be

explored at different levels of resolution,

from the broad perspective of “distant

reading” down to the narrow perspective

of traditional “close reading.”

“Computational folkloristics”Abello, Broadwell, and Broadwell,Communications of the ACM, 55, 60–70, 2012. [1]

Motivation: “As a simple, historical example from the Danishmaterials, no one has yet classi ed (according to the ATUindex) the several thousand fairy tales in the collections ofthe Danish Folklore Archive (http://www.dafos.dk), nordoes it seem anyone ever will.”

‘Imagine a system in which the complexities of a folklorecorpus can be explored at different levels of resolution, fromthe broad perspective of “distant reading” down to thenarrow perspective of traditional “close reading.”’

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................31 of 41

.

.

60 COMMUNICATIONS OF THE ACM | JULY 2012 | VOL. 55 | NO. 7

contributed articles

DOI:10.1145/2209249.2209267

A searchable meta-graph can connect even troublesome house elves and other supernatural beings to scholarly folk categories.

BY JAMES ABELLO, PETER BROADWELL,

AND TIMOTHY R. TANGHERLINI

Computational Folkloristics

Japan). By exploring the traditional

expressions of group members across

time and space, scholars can develop

a sophisticated understanding of the

complex processes of culture develop-

ment and change.

Since inception of the field in the

19th century, folkloristics has been

based on a three-part process: ˲ Fieldwork consisting of the identi-

fication of a folk group and the collec-

tion of its traditions; ˲ Archiving, editing, and publishing

these collections; and ˲ Analyzing the collected folklore

based on a single or combination of

multiple theoretical perspectives.

For the most part, folklorists limit

their studies to small, well-defined

collections or subsets of much larger

collections. A study corpus is often

selected based on criteria like genre

or topic. The “variants” in the result-

ing study corpus are then subjected to

“close readings”; from an ethnograph-

ic perspective, close readings focus on

analysis of the symbolic aspects of the

expression as an important meaning-

making process for storytellers and

their audiences. Conclusions drawn

from close readings are subsequently

abstracted to make more general com-

ments about the changing contours of

the cultural ideology of the group in

question. This approach has worked

well for generations of folklorists, par-

ticularly in the context of the relatively

small size of accessible collections

and the general alignment of research

THE STUDY OF folklore, or folkloristics, is predicated on two premises: traditional expressive culture circulates across and within social networks, and discrete “performances” of traditional expressive forms serve an important role as the locus for the ongoing negotiation of cultural ideology (norms, beliefs, and values). The underlying assumption is that folklore emerges from the dialectic tension between individual members of a cultural group on the one hand and the “traditions” of that group on the other. This ongoing tug-of-war ensures that traditional expressive culture is constantly changing, adjusting to the needs of the individuals within a group.

The goal of any folkloristic investigation is to understand how traditional expressions create meaning for the people who create and receive them; studies range from a consideration of fairy-tale telling by 19th-century peasants (such as in the classic works of the Grimm brothers) to analysis of rumor propagation in the aftermath of disasters (such as Hurricane Katrina in 2005 and the 2011 tsunami in

key insights

The field of computational folkloristics

weds algorithmic approaches to classic

interpretive problems from the field of

folklore.

A multimodal network representation of

a folklore corpus (hypergraphs) liberates

folklore exploration from the limitations

of existing classification schemes.

Imagine a system in which the

complexities of a folklore corpus can be

explored at different levels of resolution,

from the broad perspective of “distant

reading” down to the narrow perspective

of traditional “close reading.”

“Computational folkloristics”Abello, Broadwell, and Broadwell,Communications of the ACM, 55, 60–70, 2012. [1]

Motivation: “As a simple, historical example from the Danishmaterials, no one has yet classi ed (according to the ATUindex) the several thousand fairy tales in the collections ofthe Danish Folklore Archive (http://www.dafos.dk), nordoes it seem anyone ever will.”

‘Imagine a system in which the complexities of a folklorecorpus can be explored at different levels of resolution, fromthe broad perspective of “distant reading” down to thenarrow perspective of traditional “close reading.”’

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................32 of 41

.

.

The Phylogeny of Little Red Riding Hood

Jamshid J. Tehrani*

Department of Anthropology and Centre for the Coevolution of Biology and Culture, Durham University, Science Site, South Road, Durham, United Kingdom

Abstract

Researchers have long been fascinated by the strong continuities evident in the oral traditions associated with differentcultures. According to the ‘historic-geographic’ school, it is possible to classify similar tales into ‘‘international types’’ andtrace them back to their original archetypes. However, critics argue that folktale traditions are fundamentally fluid, and thatmost international types are artificial constructs. Here, these issues are addressed using phylogenetic methods that wereoriginally developed to reconstruct evolutionary relationships among biological species, and which have been recentlyapplied to a range of cultural phenomena. The study focuses on one of the most debated international types in theliterature: ATU 333, ‘Little Red Riding Hood’. A number of variants of ATU 333 have been recorded in European oraltraditions, and it has been suggested that the group may include tales from other regions, including Africa and East Asia.However, in many of these cases, it is difficult to differentiate ATU 333 from another widespread international folktale, ATU123, ‘The Wolf and the Kids’. To shed more light on these relationships, data on 58 folktales were analysed using cladistic,Bayesian and phylogenetic network-based methods. The results demonstrate that, contrary to the claims made by critics ofthe historic-geographic approach, it is possible to identify ATU 333 and ATU 123 as distinct international types. They furthersuggest that most of the African tales can be classified as variants of ATU 123, while the East Asian tales probably evolved byblending together elements of both ATU 333 and ATU 123. These findings demonstrate that phylogenetic methods providea powerful set of tools for testing hypotheses about cross-cultural relationships among folktales, and point towards excitingnew directions for research into the transmission and evolution of oral narratives.

Citation: Tehrani JJ (2013) The Phylogeny of Little Red Riding Hood. PLoS ONE 8(11): e78871. doi:10.1371/journal.pone.0078871

Editor: R. Alexander Bentley, Bristol University, United Kingdom

Received July 30, 2013; Accepted September 20, 2013; Published November 13, 2013

Copyright: � 2013 Jamshid J. Tehrani. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permitsunrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.

Funding: The author was supported by an RCUK Fellowship during a part of the time in which the research was carried out. The funders had no role in studydesign, data collection and analysis, decision to publish, or preparation of the manuscript

Competing Interests: The author has declared that no competing interests exist.

* E-mail: jamie.tehrani@durham.ac.uk

Introduction

The publication of Jacob and Wilhelm Grimm’s Children’s and

Household Tales (1812–1814) [1] two hundred years ago sparked

enormous public and academic interest in traditional stories told

among ‘‘the common people’’, and helped establish folklore as a

field for serious academic inquiry. Inspired by the Grimms’

methods, a new generation of researchers ventured outside the

library and into the villages and households of the rural peasantry

to collect colourful tales of magical beasts, wicked stepmothers,

enchanted objects, and indefatigable heroes [2]. One of the most

unexpected and exciting discoveries to emerge from these studies

was the recurrence of many of the same plots in the oral traditions

associated with different – and often widely separated – societies

and ethnic groups. Thus, the Brothers Grimm noted that many of

the ostensibly ‘‘German’’ folktales which they compiled are

recognisably related to stories recorded in Slavonic, Indian,

Persian and Arabic oral traditions [3]. These similarities have

attracted the attention of folklorists, literary scholars, anthropol-

ogists, cognitive scientists and others for a variety of reasons: For

example, cognate tales in other cultures have been studied to try

and reconstruct the origins and forms of classic western fairy tales

before they were first written down [2] [4]. Other researchers have

examined the distributions of common plot elements within and

across regions to make inferences about past migration, cross-

cultural contact, and the impact of geographical distance and

language barriers on cultural diffusion [5] [6]. Last, it has been

suggested that patterns of stability and change in stories can

furnish rich insights into universal and variable aspects of the

human experience, and reveal how psychological, social and

ecological processes interact with one another to shape cultural

continuity and diversity [7] [8] [9].

Unfortunately, since folktales are mainly transmitted via oral

rather than written means, reconstructing their history and

development across cultures has proven to be a complex challenge.

To date, the most ambitious and sustained effort in this area has

been carried out by folklorists associated with the so-called

‘‘historic-geographic’’ school, which was established toward the

end of the nineteenth century [10]. These researchers have sought

to classify similar folktales from different oral literatures into

distinct ‘‘international types’’ based on consistencies in their

themes, plots and characters. The most comprehensive and up-to-

date reference work in this field, the Aarne-Uther-Thompson

(ATU) index, identifies more than two thousand international

types distributed across three hundred cultures worldwide [11].

Exponents of the historic-geographic school believed that each

international type could be traced back to an original ‘‘archetype’’

tale that was inherited from a common ancestral population, or

spread across societies through trade, migration and conquest.

Over time, the tales’ original forms were then adapted to suit

different cultural norms and preferences, giving rise to locally

distinct ‘‘ecotypes’’ [5]. The historic-geographic method sought to

reconstruct this process by assembling all the known variants of the

international type and sorting them by region and chronology.

Rare or highly localised forms were considered to be of likely

PLOS ONE | www.plosone.org 1 November 2013 | Volume 8 | Issue 11 | e78871

“The phylogeny of Little Red RidingHood”Jamshid J. Tehrani,PLoS ONE, 8, e78871, 2013. [7]

ATU 123

53

59

49

59

13

62

35

13

1322

23

18

13

8

25

20

26

13

24

12

11

17

19

84

11

1461

22

5

67

9328

20

21

33

78

27

75

69

77

65

AFRICAN

63

ATU 333

12

43

38

87

87

33

EAST ASIAN

44

33

47

Aesop1

Aesop2

Grimm

RH1RH2

RH3

IranIbo

Perrault

GM1GM3

GM2

GM4

Liege

Catt2

Catt3Catt5

Catt1

Catt4TG1Huang

TG6TG5

TG4

TG2TG3

TG12TG13

TG14

TG9

TG7TG11 TG10

TG8

India

WK9

WK5

Africa1

Africa2

Africa4

Africa5Antigua

Africa3 WK16

WK1

WK4

WK11

WK13

WK8

WK10WK7

WK12

WK17

WK3

WK2

WK14

WK15WK6

Figure 2. Majority-rules consensus of the most parsimonious trees returned by the cladistic analysis of the tales. Major groupings arelabelled by region or ATU international type and indicated by the coloured nodes. Sub-types are indicated in the taxa labels (RH = Little Red RidingHood; GM = Story of Grandmother; Catt = Catterinella; WK = The Wolf and the Kids; TG = Tiger Grandmother). Variants by particular authors, orfrom countries/ethnic groups that are discussed in the text have individual labels. Numbers beside the edges represent the level of support forindividual clades returned by the bootstrap analysis.doi:10.1371/journal.pone.0078871.g002

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................33 of 41

.Famous folklore scholar:..

.

Comic Book Guy(CBG).

Real name: Jeffrey“Jeff” Albertson.

Master’s degree inFolklore andMythology.

Thesis: translatedLord of the Rings intoKlingon.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................33 of 41

.Famous folklore scholar:..

.

Comic Book Guy(CBG).

Real name: Jeffrey“Jeff” Albertson.

Master’s degree inFolklore andMythology.

Thesis: translatedLord of the Rings intoKlingon.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................33 of 41

.Famous folklore scholar:..

.

Comic Book Guy(CBG).

Real name: Jeffrey“Jeff” Albertson.

Master’s degree inFolklore andMythology.

Thesis: translatedLord of the Rings intoKlingon.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................33 of 41

.Famous folklore scholar:..

.

Comic Book Guy(CBG).

Real name: Jeffrey“Jeff” Albertson.

Master’s degree inFolklore andMythology.

Thesis: translatedLord of the Rings intoKlingon.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................34 of 41

The taxonomy of stories:

.Fundamental arcs:..

.

Kill the Monster. Rags to Riches (and Riches to

Rags—Metamophosis). The Journey: a Search or a Quest. Romance. Narratives in Left Nullspace: All Stories of The

Many.

.What about comedies?..

.

Comedies are not in themselves a story, but a wayof telling stories.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................34 of 41

The taxonomy of stories:

.Fundamental arcs:..

.

Kill the Monster. Rags to Riches (and Riches to

Rags—Metamophosis). The Journey: a Search or a Quest. Romance. Narratives in Left Nullspace: All Stories of The

Many.

.What about comedies?..

.

Comedies are not in themselves a story, but a wayof telling stories.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................34 of 41

The taxonomy of stories:

.Fundamental arcs:..

.

Kill the Monster. Rags to Riches (and Riches to

Rags—Metamophosis). The Journey: a Search or a Quest. Romance. Narratives in Left Nullspace: All Stories of The

Many.

.What about comedies?..

.

Comedies are not in themselves a story, but a wayof telling stories.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................34 of 41

The taxonomy of stories:

.Fundamental arcs:..

.

Kill the Monster. Rags to Riches (and Riches to

Rags—Metamophosis). The Journey: a Search or a Quest. Romance. Narratives in Left Nullspace: All Stories of The

Many.

.What about comedies?..

.

Comedies are not in themselves a story, but a wayof telling stories.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................34 of 41

The taxonomy of stories:

.Fundamental arcs:..

.

Kill the Monster. Rags to Riches (and Riches to

Rags—Metamophosis). The Journey: a Search or a Quest. Romance. Narratives in Left Nullspace: All Stories of The

Many.

.What about comedies?..

.

Comedies are not in themselves a story, but a wayof telling stories.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................34 of 41

The taxonomy of stories:

.Fundamental arcs:..

.

Kill the Monster. Rags to Riches (and Riches to

Rags—Metamophosis). The Journey: a Search or a Quest. Romance. Narratives in Left Nullspace: All Stories of The

Many.

.What about comedies?..

.

Comedies are not in themselves a story, but a wayof telling stories.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................34 of 41

The taxonomy of stories:

.Fundamental arcs:..

.

Kill the Monster. Rags to Riches (and Riches to

Rags—Metamophosis). The Journey: a Search or a Quest. Romance. Narratives in Left Nullspace: All Stories of The

Many.

.What about comedies?..

.

Comedies are not in themselves a story, but a wayof telling stories.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................35 of 41

Stories are algorithms for life:.Homo narrativus:..

.

Provide dynamic paths and trajectories. If this, then that. Convey and reinforce how to behave, how not to

behave. Full ecology of stories =

Competing, self-defending operating system forpeople’s minds.

.Aphorisms as algorithms:..

.

Pride cometh before the fall. A stitch in time saves nine. Look before you leap. Anti-aphorism: The one who hesitates is lost.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................36 of 41

The unifying theme of existence isexistence:

.The three fundamental events of (non-clone) life:..

. Hatchings. Matchings.

Dispatchings.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................37 of 41

The essence of all stories?

.It’s survival—Life and Death:..

.

Kill the Monster: Bare survival. Rags to Riches: Flourishing. Romance: Matchings and Hatchings. Journey/Odyssey: Search for a salvation, a “Holy

Grail”.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................37 of 41

The essence of all stories?

.It’s survival—Life and Death:..

.

Kill the Monster: Bare survival. Rags to Riches: Flourishing. Romance: Matchings and Hatchings. Journey/Odyssey: Search for a salvation, a “Holy

Grail”.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................37 of 41

The essence of all stories?

.It’s survival—Life and Death:..

.

Kill the Monster: Bare survival. Rags to Riches: Flourishing. Romance: Matchings and Hatchings. Journey/Odyssey: Search for a salvation, a “Holy

Grail”.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................37 of 41

The essence of all stories?

.It’s survival—Life and Death:..

.

Kill the Monster: Bare survival. Rags to Riches: Flourishing. Romance: Matchings and Hatchings. Journey/Odyssey: Search for a salvation, a “Holy

Grail”.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................37 of 41

The essence of all stories?

.It’s survival—Life and Death:..

.

Kill the Monster: Bare survival. Rags to Riches: Flourishing. Romance: Matchings and Hatchings. Journey/Odyssey: Search for a salvation, a “Holy

Grail”.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................38 of 41

A basic algorithm for your future:

.Modern basic science in three steps:..

.

1. Find interesting/meaningful/importantphenomena, optionally involving spectacularamounts of data.

2. Describe what you see.3. Explain it.

.If you succeed at 1–3:..

.

4 Create.5 Share.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................38 of 41

A basic algorithm for your future:

.Modern basic science in three steps:..

.

1. Find interesting/meaningful/importantphenomena, optionally involving spectacularamounts of data.

2. Describe what you see.3. Explain it.

.If you succeed at 1–3:..

.

4 Create.5 Share.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................38 of 41

A basic algorithm for your future:

.Modern basic science in three steps:..

.

1. Find interesting/meaningful/importantphenomena, optionally involving spectacularamounts of data.

2. Describe what you see.3. Explain it.

.If you succeed at 1–3:..

.

4 Create.5 Share.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................38 of 41

A basic algorithm for your future:

.Modern basic science in three steps:..

.

1. Find interesting/meaningful/importantphenomena, optionally involving spectacularamounts of data.

2. Describe what you see.3. Explain it.

.If you succeed at 1–3:..

.

4 Create.5 Share.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................38 of 41

A basic algorithm for your future:

.Modern basic science in three steps:..

.

1. Find interesting/meaningful/importantphenomena, optionally involving spectacularamounts of data.

2. Describe what you see.3. Explain it.

.If you succeed at 1–3:..

.

4 Create.5 Share.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................38 of 41

A basic algorithm for your future:

.Modern basic science in three steps:..

.

1. Find interesting/meaningful/importantphenomena, optionally involving spectacularamounts of data.

2. Describe what you see.3. Explain it.

.If you succeed at 1–3:..

.

4 Create.5 Share.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................38 of 41

A basic algorithm for your future:

.Modern basic science in three steps:..

.

1. Find interesting/meaningful/importantphenomena, optionally involving spectacularamounts of data.

2. Describe what you see.3. Explain it.

.If you succeed at 1–3:..

.

4 Create.5 Share.

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................39 of 41

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................40 of 41

References I

[1] J. Abello, P. Broadwell, and T. R. Tangherlini.Computational folkloristics.Communications of the ACM, 55:60–70, 2012.pdf

[2] C. Booker.The Hero with a Thousand Faces.Continuum, 2005.

[3] J. Campbell.The Hero with a Thousand Faces.New World Lbirary, third edition, 2008.

[4] J. Campbell and B. Moyers.The Power of Myth.Anchor, 1991. pdf

COcoNuTS

Narrativium

Power

Shapes

Taxonomy

Essence

Coda

References

................41 of 41

References II

[5] D. P. Kiley, A. J. Reagan, L. Mitchell, C. M. Danforth,and P. S. Dodds.The game story space of professional sports:Australian Rules Football.Available online athttp://arxiv.org/abs/1507.03886, 2016. pdf

[6] B. Snyder.Save the Cat!Michael Wiese Productions, 2005.

[7] J. J. Tehrani.The phylogeny of Little Red Riding Hood.PLoS ONE, 8:e78871, 2013. pdf