grayspread-onto/grayspread.ttl

@prefix dct:  <http://purl.org/dc/terms/> .
#@prefix dctype: <http://purl.org/dc/dcmitype/> .
@prefix foaf: <http://xmlns.com/foaf/0.1/> .
#@prefix ore: <http://www.openarchives.org/ore/terms/> .
@prefix rdf: <http://www.w3.org/1999/02/22-rdf-syntax-ns#> .
@prefix rdfs: <http://www.w3.org/2000/01/rdf-schema#> .
#@prefix owl: <http://www.w3.org/2002/07/owl#> .
@prefix skos: <http://www.w3.org/2004/02/skos/core#> .
@prefix xsd: <http://www.w3.org/2001/XMLSchema#> .

@prefix : <http://onto.grayspread.net#> .
@prefix bart: <http://onto.grayspread.net/barthender#> .
@prefix berg: <http://onto.grayspread.net/bergsonica#> .
@prefix hvb: <http://onto.grayspread.net/hildegardens#> .
@prefix sonn: <http://onto.grayspread.net/sonnabendit#> .

: a skos:ConceptScheme ;
    rdfs:label      "Grayspread Ontology"@en ;
    dct:description
        """
Non-committal world view of Grayspread.

This documents represents the foundational ontology of
[grayspread.net](https://grayspread.net), which may take years before it
becomes public, so here's a bone.

For the non-technical folks, this document is the human-readable representation
of a machine-readable vocabulary called an *ontology*, which defines types of
things ("Classes") and their relationships ("Properties") found in the real
world. By way of naming things, a world view is defined so that
machines can learn our world in a multitude of biased ways.

There are many ontologies published on the web, each organizing a generic or
specific set of knowledge for some purpose. This is one of them, and its
purpose is to dissect an individual's creative and reasoning threads. It is
obviously tailored to that one individual, and probably quite useless for any
other purpose than entertainment."""@en ;
    dct:creator     "Stefano Cossu" ;
    dct:created     "2021-03-26"^^xsd:date ;
    .


## TYPES ##

berg:Image
    a rdfs:Class ;
    skos:prefLabel "Image"@en ;
    skos:scopeNote
        """
> Here I am in the presence of images, in the vaguest sense of the
word, images perceived when my senses are opened to them, unperceived when
they are closed. All these images act and react upon one another in all their
elementary parts according to constant laws which I call laws of nature, and,
as a perfect knowledge of these laws would probably allow us to calculate and
to foresee what will happen in each of these images, the future of the images
must be contained in their present and will add to them nothing new."""@en ;
.


berg:Body
    a rdfs:Class ;
    rdfs:subClassOf berg:Image ;
    skos:prefLabel "Body"@en ;
    skos:scopeNote
        """
> Psychologists who have studied infancy are well aware that our
representation is at first impersonal. Only little by little, and as a result
of experience, does it adopt our body as a center and become *our*
representation. The mechanism of this process is, moreover, easy to understand.
As my body moves in space, all the other images vary, while that image, my
body, remains invariable. I must, therefore, make it a center, to which I refer
all the other images.

*An instinct purchase at a used book website*"""@en ,

        """
> What is, for me, the present moment? The essence of time is that
it goes by; time already gone by is the past, and we call the present the
instant in which it goes by. No doubt there is a real present — a pure
conception, the invisible limit which separates past from the future. But the
real, concrete, live present — that of which I speak when I speak of my present
perception — that presence necessarily occupies a duration. […] The physical
state, then, that I call "my present", must be both a perception of the
immediate past and a determination of the immediate future.

*I actually was proud of myself to get this far in this book*"""@en ,

        """
> The body is an image of the mind,<br/>
> which like an effulgent light scattering forth<br/>
> its rays, is diffused through its members and senses,<br/>
> shining through in action, discourse, appearance, movement—<br/>
> even in laughter, if it is completely sincere and tinged with gravity.

*Big-shot quote on the last page of a book, which I almost missed.*"""@en ;
.


:Material
    a rdfs:Class ;
    rdfs:subClassOf berg:Image ;
    skos:prefLabel "Material"@en ;
    skos:scopeNote
        """
"""@en ;
.


:Place
    a rdfs:Class ;
    rdfs:subClassOf berg:Image ;
    skos:prefLabel "Place"@en ;
    skos:scopeNote
        """
"""@en ;
.


:Relic
    a rdfs:Class ;
    rdfs:subClassOf berg:Image ;
    skos:prefLabel "Relic"@en ;
    skos:scopeNote
        """
*Relic and Gesture* was an action performed by the author in 2014 as an
assignment during a Visual and Critical Studies class led by Joseph Grigely.
The action consisted in asking class mates to bring an object close to their
affections into the class on a specified day. The object would be placed on a
table and photographed with a pinhole camera. The film would be then developed
and frames of the film containing each object would be given to their owners,
with the request that they would send the author a digital reproduction
(photograph, scan, etc.) of their film fragment later."""@en ;
.


bart:Spectacle
    a rdfs:Class ;
    rdfs:subClassOf :Relic ;
    skos:prefLabel "Spectacle"@en ;
    skos:scopeNote
        """
> And the person or thing photographed is the target, a kind of
little simulacrum, any *eidolon* emitted by the object, which I should like to
call the *Spectrum* of the Photograph, because this word retains, through its
root, a relation to "spectacle" and adds to it that rather terrible thing which
is there in every photograph: the return of the dead.

*A college throwback.*"""@en ,

        """
> The spectacle, considered as the reigning society's method for paralysing
history and memory and for suppressing any history based on historical time,
represents a *false consciousness of time*.

*A thoroughly indigestible marxist.*"""@en ,

        """
> A document is the relic of a relic, one degree further removed from the
reality that generated an artifact or action.

*Notebook.*"""@en ;
.


berg:Movement
    a rdfs:Class ;
    skos:prefLabel "Movement"@en ;
    skos:scopeNote
        """
> […] the aim of Judo is to catch and demonstrate quickly the
‘living laws of motion’ occurring in not-yet-anticipated movement of the
opponent's body.

*A technical manual.*"""@en ,

        """
> […] even in the animal it is possible that vague images of the
past overflow into the present perception; […] but this past does not interest
the animal enough to detach it from the fascinating present, and its
recognition must be rather lived than thought. To call up the past in the form
of an image, we must be able to withdraw ourselves from the action of the
moment, we must have the power to value the useless, we must have the will to
dream. Man alone is capable of such effort. But even in him the past to which
he returns is fugitive, ever on the point of escaping him, as though his
backward turning memory were thwarted by the other, more natural memory, of
which the forwawrd movement bears him on to action and to life.

*A book that I started reading 4 times.*"""@en ;
.

berg:Memory
    a rdfs:Class ;
    skos:prefLabel "Memory" ;
    skos:scopeNote
        """
>“Very simply,” replied the Mayor. “You haven't once up to now come into
contact with our real authorities. All those contacts of yours have been
illusory, but because of your ignorance of the circumstances you take them to
be real. And as for the telephone: in my place, as you see, though I've
certainly enough to do with the authorities, there's no telephone. In inns and
such places it may be of real use—as much use, you would say, as a penny in the
music-box slot—but it's nothing more than that. Have you ever telephoned here?
Yes?  Well, then perhaps you'll understand what I say. In the Castle the
telephone works beautifully of course; I've been told it's being used there all
the time; that naturally speeds up the work a great deal. We can hear this
continual telephoning in our telephones down here as a humming and singing, you
must have heard it too. Now, this humming and singing transmitted by our
telephones is the only real and reliable thing you'll ever hear, everything
else is deceptive. There's no fixed connection with the Castle, no central
exchange that transmits our calls farther. When anybody calls up the Castle
from here, the instruments in all the subordinate departments ring, or rather
they would all ring if practically all the departments—I know it for a
certainty—didn't leave their receivers off. Now and then, however, a fatigued
official may feel the need of a little distraction, especially in the evenings
and at night, and may hang the receiver up. Then we get an answer, but an
answer of course that's merely a practical joke.”

*Kafka to the rescue.*"""@en ,
        """
"""@en ;
.


berg:ActingMemory
    a rdfs:Class ;
    skos:prefLabel "Acting Memory" ;
    skos:scopeNote
        """
> […] personal recollections, exactly localized, the series of which
represents the course of our past existence, make up, all together, the last
and largest enclosure of our memory. Essentially fugitive, they become
materialized only by chance, either when an accidentally precise determination
of our bodily attitude attracts them or when the very indetermination of that
attitude leaves a clear field to the caprices of their manifestation. […]

> Past images, reproduced exactly as they were, with all their details
and even with their affective coloring, are the images of idle fancy or of
dream: to act is just to induce this memory to shrink, or rather become thinned
and sharpened, so that it presents nothing thicker than the edge of a blade to
actual experience, into which it will thus be able to penetrate.

*A glimpse of pathos in an otherwise very dry book.*"""@en ,

        """
"""@en ;
.


:Event
    a rdfs:Class ;
    skos:prefLabel "Event" ;
    skos:scopeNote
        """
"""@en ;
.


## PROPERTIES ##

hvb:convergedInto
    a rdf:Property;
    skos:prefLabel "Converged Into"@en ;
    rdfs:label "Fan-In"@en ;
    rdfs:domain berg:Image ;
    rdfs:range berg:Movement ;
    skos:scopeNote
        """
> In this sense the individual mythologies at Kassel are the alternatives
that art presents time and time again. They are individual attmpts to confront
broader disorder with personal order. Those who refuse to see this will always
flip the relationship and insist that they are introducing a personal disorder
to the tacitly accepted broader order. Those who see it this way will always
succumb to the seductive, the edifying, the persuasive image. […]

*An anarchist.*"""@en ,

        """
> It happened in the year 1141 of the incarnation of the Son of God,
Jesus Christ, when I was forty-two years and seven months of age: the glow of a
powerful flash of lightning coming from the sky, which had opened up,
penetrated my brain and inflamed all of my heart and my breast, like a flame
that does not burn, but instead warms, like the sun warms what is touched by
its rays […]

*A timely one.*"""@en;
.

sonn:leftBehind
    a rdf:Property ;
    skos:prefLabel "Left Behind"@en ;
    skos:altLabel "Fan-Out"@en ;
    rdfs:domain berg:Movement ;
    rdfs:range :Relic ;
    skos:scopeNote
        """
> We, amnesiac all, condemned to live in an eternally fleeting
present, have created the most elaborate of human constructions, memory, to
buffer ourselves against the intolerable knowledge of the irreversible passage
of time and the irretrievability of its moments and events.

Geoffrey Sonnabend, *Obliscence: Theories of Forgetting and the Problem of
Matter*, 16. Cited in Worth, 1991, 64.
"""@en ,

        """
> All living things have a Cone of Obliscence by which the being experiences
experience. This cone is sometimes known as the Cone of True Memory (and
occasionally the Characteristic Cone). Sonnabend speaks of this cone as if it
were an organ, like the pancreas or spleen, and like those organs, its shape
and characteristics are unique to the individual and remain relatively
consistent over time.
>
> […] When [an intersection between the Cone of Obliscence and the Plane of
> Experience] occurs, a three-tier series of events ensues, which (from our
> perspective) would be described as:
>
>    (1) being involved in an experience<br/>
>    (2) remembering an experience<br/>
>    (3) having forgotten an experience.

Worth 1991, 65-66."""@en ,

        """
> "Forgetting" is simply the rejoining of our private property with the public
domain in a gradual fashion.

*Notebook*"""@en ,
        """
> To make a sculpture, first you make a sculpture, then you roll it
down a slope. What remains is the sculpture.

*Pinuccio Sciola, quoted from memory, some time between 1994 and 1998*"""@en ;
.

:initiated
    a rdf:Property ;
    rdfs:domain berg:Body ;
    rdfs:range berg:Movement ;
    skos:prefLabel "Initiated" ;
    skos:scopeNote """
"""@en ;
.

:caused
    a rdf:Property ;
    rdfs:range :Event ;
    skos:prefLabel "Caused" ;
    skos:scopeNote """
"""@en ;
.


:stored
    a rdf:Property ;
    rdfs:domain berg:Memory ;
    rdfs:range berg:Image ;
    skos:prefLabel "Stored" ;
    skos:scopeNote """
> Itself an image, the body cannot store up images, since it forms a part of
the imges, and this is why it is a chimerical enterprise to localize past or
even present perceptions in the brain: they are not in it; it is the brain that
is in them. But this special image which persists in the midst of the others,
and which I call my body, constitutes at every moment, as we have said, a
section of the universal becoming.

*Someone going metphysical.*"""@en ;
.