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- @prefix dct: <http://purl.org/dc/terms/> .
- @prefix rdf: <http://www.w3.org/1999/02/22-rdf-syntax-ns#> .
- @prefix rdfs: <http://www.w3.org/2000/01/rdf-schema#> .
- @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 ;
- .
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