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+@prefix dct: <http://purl.org/dc/terms/> .
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+#@prefix dctype: <http://purl.org/dc/dcmitype/> .
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+@prefix foaf: <http://xmlns.com/foaf/0.1/> .
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+#@prefix ore: <http://www.openarchives.org/ore/terms/> .
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+@prefix rdf: <http://www.w3.org/1999/02/22-rdf-syntax-ns#> .
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+@prefix rdfs: <http://www.w3.org/2000/01/rdf-schema#> .
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+#@prefix owl: <http://www.w3.org/2002/07/owl#> .
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+@prefix skos: <http://www.w3.org/2004/02/skos/core#> .
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+@prefix xsd: <http://www.w3.org/2001/XMLSchema#> .
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+
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+@prefix : <http://onto.grayspread.net#> .
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+@prefix bart: <http://onto.grayspread.net/barthender#> .
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+@prefix berg: <http://onto.grayspread.net/bergsonica#> .
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+@prefix hvb: <http://onto.grayspread.net/hildegardens#> .
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+@prefix sonn: <http://onto.grayspread.net/sonnabendit#> .
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+
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+: a skos:ConceptScheme ;
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+ rdfs:label "Grayspread Ontology"@en ;
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+ dct:description
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+ """
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+Non-committal world view of Grayspread.
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+
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+This documents represents the foundational ontology of
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+[grayspread.net](https://grayspread.net), which may take years before it
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+becomes public, so here's a bone.
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+
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+For the non-technical folks, this document is the human-readable representation
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+of a machine-readable vocabulary called an *ontology*, which defines types of
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+things ("Classes") and their relationships ("Properties") found in the real
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+world. By way of naming things, a world view is defined so that
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+machines can learn our world in a multitude of biased ways.
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+
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+There are many ontologies published on the web, each organizing a generic or
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+specific set of knowledge for some purpose. This is one of them, and its
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+purpose is to dissect an individual's creative and reasoning threads. It is
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+obviously tailored to that one individual, and probably quite useless for any
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+other purpose than entertainment."""@en ;
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+ dct:creator "Stefano Cossu" ;
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+ dct:created "2021-03-26"^^xsd:date ;
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+ .
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+
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+
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+## TYPES ##
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+
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+berg:Image
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+ a rdfs:Class ;
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+ skos:prefLabel "Image"@en ;
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+ skos:scopeNote
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+ """
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+> Here I am in the presence of images, in the vaguest sense of the
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+word, images perceived when my senses are opened to them, unperceived when
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+they are closed. All these images act and react upon one another in all their
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+elementary parts according to constant laws which I call laws of nature, and,
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+as a perfect knowledge of these laws would probably allow us to calculate and
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+to foresee what will happen in each of these images, the future of the images
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+must be contained in their present and will add to them nothing new."""@en ;
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+.
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+
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+
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+berg:Body
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+ a rdfs:Class ;
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+ rdfs:subClassOf berg:Image ;
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+ skos:prefLabel "Body"@en ;
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+ skos:scopeNote
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+ """
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+> Psychologists who have studied infancy are well aware that our
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+representation is at first impersonal. Only little by little, and as a result
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+of experience, does it adopt our body as a center and become *our*
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+representation. The mechanism of this process is, moreover, easy to understand.
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+As my body moves in space, all the other images vary, while that image, my
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+body, remains invariable. I must, therefore, make it a center, to which I refer
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+all the other images.
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+
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+*An instinct purchase at a used book website*"""@en ,
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+
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+ """
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+> What is, for me, the present moment? The essence of time is that
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+it goes by; time already gone by is the past, and we call the present the
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+instant in which it goes by. No doubt there is a real present — a pure
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+conception, the invisible limit which separates past from the future. But the
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+real, concrete, live present — that of which I speak when I speak of my present
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+perception — that presence necessarily occupies a duration. […] The physical
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+state, then, that I call "my present", must be both a perception of the
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+immediate past and a determination of the immediate future.
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+
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+*I actually was proud of myself to get this far in this book*"""@en ,
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+
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+ """
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+> The body is an image of the mind,<br/>
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+> which like an effulgent light scattering forth<br/>
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+> its rays, is diffused through its members and senses,<br/>
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+> shining through in action, discourse, appearance, movement—<br/>
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+> even in laughter, if it is completely sincere and tinged with gravity.
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+
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+*Big-shot quote on the last page of a book, which I almost missed.*"""@en ;
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+.
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+
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+
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+:Material
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+ a rdfs:Class ;
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+ rdfs:subClassOf berg:Image ;
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+ skos:prefLabel "Material"@en ;
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+ skos:scopeNote
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+ """
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+"""@en ;
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+.
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+
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+
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+:Place
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+ a rdfs:Class ;
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+ rdfs:subClassOf berg:Image ;
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+ skos:prefLabel "Place"@en ;
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+ skos:scopeNote
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+ """
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+"""@en ;
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+.
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+
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+
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+:Relic
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+ a rdfs:Class ;
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+ rdfs:subClassOf berg:Image ;
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+ skos:prefLabel "Relic"@en ;
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+ skos:scopeNote
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+ """
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+*Relic and Gesture* was an action performed by the author in 2014 as an
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+assignment during a Visual and Critical Studies class led by Joseph Grigely.
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+The action consisted in asking class mates to bring an object close to their
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+affections into the class on a specified day. The object would be placed on a
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+table and photographed with a pinhole camera. The film would be then developed
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+and frames of the film containing each object would be given to their owners,
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+with the request that they would send the author a digital reproduction
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+(photograph, scan, etc.) of their film fragment later."""@en ;
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+.
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+
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+
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+bart:Spectacle
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+ a rdfs:Class ;
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+ rdfs:subClassOf :Relic ;
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+ skos:prefLabel "Spectacle"@en ;
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+ skos:scopeNote
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+ """
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+> And the person or thing photographed is the target, a kind of
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+little simulacrum, any *eidolon* emitted by the object, which I should like to
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+call the *Spectrum* of the Photograph, because this word retains, through its
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+root, a relation to "spectacle" and adds to it that rather terrible thing which
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+is there in every photograph: the return of the dead.
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+
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+*A college throwback.*"""@en ,
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+
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+ """
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+> The spectacle, considered as the reigning society's method for paralysing
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+history and memory and for suppressing any history based on historical time,
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+represents a *false consciousness of time*.
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+
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+*A thoroughly indigestible marxist.*"""@en ,
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+
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+ """
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+> A document is the relic of a relic, one degree further removed from the
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+reality that generated an artifact or action.
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+
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+*Notebook.*"""@en ;
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+.
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+
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+
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+berg:Movement
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+ a rdfs:Class ;
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+ skos:prefLabel "Movement"@en ;
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+ skos:scopeNote
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+ """
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+> […] the aim of Judo is to catch and demonstrate quickly the
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+‘living laws of motion’ occurring in not-yet-anticipated movement of the
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+opponent's body.
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+
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+*A technical manual.*"""@en ,
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+
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+ """
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+> […] even in the animal it is possible that vague images of the
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+past overflow into the present perception; […] but this past does not interest
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+the animal enough to detach it from the fascinating present, and its
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+recognition must be rather lived than thought. To call up the past in the form
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+of an image, we must be able to withdraw ourselves from the action of the
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+moment, we must have the power to value the useless, we must have the will to
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+dream. Man alone is capable of such effort. But even in him the past to which
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+he returns is fugitive, ever on the point of escaping him, as though his
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+backward turning memory were thwarted by the other, more natural memory, of
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+which the forwawrd movement bears him on to action and to life.
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+
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+*A book that I started reading 4 times.*"""@en ;
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+.
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+
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+berg:Memory
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+ a rdfs:Class ;
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+ skos:prefLabel "Memory" ;
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+ skos:scopeNote
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+ """
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+>“Very simply,” replied the Mayor. “You haven't once up to now come into
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+contact with our real authorities. All those contacts of yours have been
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+illusory, but because of your ignorance of the circumstances you take them to
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+be real. And as for the telephone: in my place, as you see, though I've
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+certainly enough to do with the authorities, there's no telephone. In inns and
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+such places it may be of real use—as much use, you would say, as a penny in the
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+music-box slot—but it's nothing more than that. Have you ever telephoned here?
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+Yes? Well, then perhaps you'll understand what I say. In the Castle the
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+telephone works beautifully of course; I've been told it's being used there all
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+the time; that naturally speeds up the work a great deal. We can hear this
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+continual telephoning in our telephones down here as a humming and singing, you
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+must have heard it too. Now, this humming and singing transmitted by our
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+telephones is the only real and reliable thing you'll ever hear, everything
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+else is deceptive. There's no fixed connection with the Castle, no central
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+exchange that transmits our calls farther. When anybody calls up the Castle
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+from here, the instruments in all the subordinate departments ring, or rather
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+they would all ring if practically all the departments—I know it for a
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+certainty—didn't leave their receivers off. Now and then, however, a fatigued
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+official may feel the need of a little distraction, especially in the evenings
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+and at night, and may hang the receiver up. Then we get an answer, but an
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+answer of course that's merely a practical joke.”
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+
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+*Kafka to the rescue.*"""@en ,
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+ """
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+"""@en ;
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+.
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+
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+
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+berg:ActingMemory
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+ a rdfs:Class ;
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+ skos:prefLabel "Acting Memory" ;
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+ skos:scopeNote
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+ """
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+> […] personal recollections, exactly localized, the series of which
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+represents the course of our past existence, make up, all together, the last
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+and largest enclosure of our memory. Essentially fugitive, they become
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+materialized only by chance, either when an accidentally precise determination
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+of our bodily attitude attracts them or when the very indetermination of that
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+attitude leaves a clear field to the caprices of their manifestation. […]
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+
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+> Past images, reproduced exactly as they were, with all their details
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+and even with their affective coloring, are the images of idle fancy or of
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+dream: to act is just to induce this memory to shrink, or rather become thinned
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+and sharpened, so that it presents nothing thicker than the edge of a blade to
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+actual experience, into which it will thus be able to penetrate.
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+
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+*A glimpse of pathos in an otherwise very dry book.*"""@en ,
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+
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+ """
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+"""@en ;
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+.
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+
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+
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+:Event
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+ a rdfs:Class ;
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+ skos:prefLabel "Event" ;
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+ skos:scopeNote
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+ """
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+"""@en ;
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+.
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+
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+
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+## PROPERTIES ##
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+
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+hvb:convergedInto
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+ a rdf:Property;
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+ skos:prefLabel "Converged Into"@en ;
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+ rdfs:label "Fan-In"@en ;
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+ rdfs:domain berg:Image ;
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+ rdfs:range berg:Movement ;
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+ skos:scopeNote
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+ """
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+> In this sense the individual mythologies at Kassel are the alternatives
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+that art presents time and time again. They are individual attmpts to confront
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+broader disorder with personal order. Those who refuse to see this will always
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+flip the relationship and insist that they are introducing a personal disorder
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+to the tacitly accepted broader order. Those who see it this way will always
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+succumb to the seductive, the edifying, the persuasive image. […]
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+
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+*An anarchist.*"""@en ,
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+
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+ """
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+> It happened in the year 1141 of the incarnation of the Son of God,
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+Jesus Christ, when I was forty-two years and seven months of age: the glow of a
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+powerful flash of lightning coming from the sky, which had opened up,
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+penetrated my brain and inflamed all of my heart and my breast, like a flame
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+that does not burn, but instead warms, like the sun warms what is touched by
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+its rays […]
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+
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+*A timely one.*"""@en;
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+.
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+
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+sonn:leftBehind
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+ a rdf:Property ;
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+ skos:prefLabel "Left Behind"@en ;
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+ skos:altLabel "Fan-Out"@en ;
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+ rdfs:domain berg:Movement ;
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+ rdfs:range :Relic ;
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+ skos:scopeNote
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+ """
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+> We, amnesiac all, condemned to live in an eternally fleeting
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+present, have created the most elaborate of human constructions, memory, to
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+buffer ourselves against the intolerable knowledge of the irreversible passage
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+of time and the irretrievability of its moments and events.
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+
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+Geoffrey Sonnabend, *Obliscence: Theories of Forgetting and the Problem of
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+Matter*, 16. Cited in Worth, 1991, 64.
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+"""@en ,
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+
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+ """
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+> All living things have a Cone of Obliscence by which the being experiences
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+experience. This cone is sometimes known as the Cone of True Memory (and
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+occasionally the Characteristic Cone). Sonnabend speaks of this cone as if it
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+were an organ, like the pancreas or spleen, and like those organs, its shape
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+and characteristics are unique to the individual and remain relatively
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+consistent over time.
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+>
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+> […] When [an intersection between the Cone of Obliscence and the Plane of
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+> Experience] occurs, a three-tier series of events ensues, which (from our
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+> perspective) would be described as:
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+>
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+> (1) being involved in an experience<br/>
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+> (2) remembering an experience<br/>
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+> (3) having forgotten an experience.
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+
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+Worth 1991, 65-66."""@en ,
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+
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+ """
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+> "Forgetting" is simply the rejoining of our private property with the public
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+domain in a gradual fashion.
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+
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+*Notebook*"""@en ,
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+ """
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+> To make a sculpture, first you make a sculpture, then you roll it
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+down a slope. What remains is the sculpture.
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+
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+*Pinuccio Sciola, quoted from memory, some time between 1994 and 1998*"""@en ;
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+.
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+
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+:initiated
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+ a rdf:Property ;
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+ rdfs:domain berg:Body ;
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+ rdfs:range berg:Movement ;
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+ skos:prefLabel "Initiated" ;
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+ skos:scopeNote """
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+"""@en ;
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+.
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+
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+:caused
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+ a rdf:Property ;
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+ rdfs:range :Event ;
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+ skos:prefLabel "Caused" ;
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+ skos:scopeNote """
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+"""@en ;
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+.
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+
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+
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+:stored
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+ a rdf:Property ;
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+ rdfs:domain berg:Memory ;
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+ rdfs:range berg:Image ;
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+ skos:prefLabel "Stored" ;
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+ skos:scopeNote """
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+> Itself an image, the body cannot store up images, since it forms a part of
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+the imges, and this is why it is a chimerical enterprise to localize past or
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+even present perceptions in the brain: they are not in it; it is the brain that
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+is in them. But this special image which persists in the midst of the others,
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+and which I call my body, constitutes at every moment, as we have said, a
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+section of the universal becoming.
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+
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+*Someone going metphysical.*"""@en ;
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+.
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+
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+
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