8. Each suit/discourse is structured by two dynamics: a) narrative; b) history. In the narrative dynamic there is a conflict between a dominant and subordinate point of view. The default is told from the hegemonic point of view (patriarchal, nationalist, etc). The conflicts are as follows: Family = Ron vs Barbara Jo. Entertainment = (Miami Vice). The interest here for us is not Crockett and Tubbs vs crooks, but at one level Crockett vs Tubbs, and more directly, NeoNoir protagonists in relation to their women. You may recall that one of the odd features of Miami Vice, given its genre, is the absence of the femme fatale type. History = Coast Guard vs Creole. Career = (Theory): scientific or empirical consulting in general, and advertising agencies in particular, vs the FRE. The networked capacities of hypermedia combined with the "card-like" units of meaning in the random shuffle of the interface metaphor, allow both points of view (or multiple pov's) to appear in the consultation. This is the "ficelle" principle: a supporting character may be promoted to protagonist. The hegemonic narrative outcome is guided by the values embodied in Ron-Crockett-Coast Guard-Science. The shuffle of cards may, however, equally produce Barbara Jo-(femme something)-Creoles-FRE. Or some permutation among these, resulting in a chimera. A match across these registers is one source of the epiphany effect, as well as of divination. The answer to the personal problem formed by the querent in the Family suit comes in the form of a parable through a match with one or more of the other registers.

Features of Chora