Bibliografías temáticas / Ontology in art

Literatura académica sobre el tema "Ontology in art"

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Publicado: 26 de julio de 2024
Última modificación: 27 de julio de 2024

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Artículos de revistas sobre el tema "Ontology in art"

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Fedoryka, Kateryna. "An Ontology of Art". Grazer Philosophische Studien 41 (1991): 255–56. http://dx.doi.org/10.5840/gps19914154.

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Hamilton, Andy y Gregory Currie. "An Ontology of Art." Philosophical Quarterly 40, n.º 161 (octubre de 1990): 538. http://dx.doi.org/10.2307/2220123.

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Wolterstorff, Nicholas y Gregory Currie. "An Ontology of Art". Journal of Aesthetics and Art Criticism 49, n.º 1 (1991): 79. http://dx.doi.org/10.2307/431653.

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Schtein, Sergey Yu. "ONTOLOGY OF “CONTEMPORARY ART”". Articult, n.º 3 (2017): 55–72. http://dx.doi.org/10.28995/2227-6165-2017-3-55-72.

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Levinson, Jerrold y Gregory Currie. "An Ontology of Art." Philosophy and Phenomenological Research 52, n.º 1 (marzo de 1992): 215. http://dx.doi.org/10.2307/2107757.

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Jones, Andrew Meirion. "Rock Art and Ontology". Annual Review of Anthropology 46, n.º 1 (23 de octubre de 2017): 167–81. http://dx.doi.org/10.1146/annurev-anthro-102116-041354.

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SHARPE, R. A. "The Ontology of Art". Philosophical Books 31, n.º 3 (12 de febrero de 2009): 183–85. http://dx.doi.org/10.1111/j.1468-0149.1990.tb00332.x.

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Davis, Whitney. "Schopenhauer's Ontology of Art". Qui Parle 15, n.º 1 (2004): 63–80. http://dx.doi.org/10.1215/quiparle.15.1.63.

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Bertram, Georg W. "Was ist Kunst?" Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 62, n.º 1 (2017): 78–95. http://dx.doi.org/10.28937/1000107637.

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Die Ontologie der Kunst wird meist als Ontologie von Kunstwerken ausgeführt. Dies führt dazu, dass in der Antwort auf die Frage, was Kunst ist, nichts dazu gesagt wird, worin der Wert der Kunst liegt. Es ist aber, wie ich argumentiere, erforderlich, diesen Wert zu bestimmen, will man sagen, was Kunst ist. Um dies zu leisten, gehe ich von der These aus, dass Kunst eine transformatorische Praxis ist, und schlage entsprechend vor, die Ontologie der Kunst als die Ontologie einer solchen Praxis anzulegen. Diese Praxis hat vier Elemente: erstens Kunstwerke, zweitens interpretative Aktivitäten, mittels deren diejenigen, die sich mit Kunstwerken auseinandersetzen, die von diesen realisierten Konfigurationen nachvollziehen, drittens sonstige Praktiken, die durch diese Aktivitäten reflektiert werden, und schließlich viertens Praktiken der Kunstkritik. In diesen vier Elementen realisiert sich das, was Kunst ist. So begriffen ist Kunst eine konstitutiv unsichere Praxis, die Menschen in ihren Selbstverständnissen so herausfordert, dass sie sich in diesen Selbstverständnissen weiterentwickeln. Usually, the ontology of art is executed as an ontology of artworks. This has the consequence that the answer to the question what art is says nothing about why art is valuable. But it is, I argue, necessary to determine the value of art if one wants to say what art is. In order to account for the value of art, I start with the claim that art is a practice of transformation. Thus, I propose to develop the ontology of art as the ontology of a practice of transformation. The practice in question has four elements: first artworks, second interpretive activities through which recipients and producers follow the constellations realized in artworks, third ordinary practices which are reflected through interpretive activities, and fourth practices of art criticism. By way of these four elements art is realized. According to the proposed conception, art is a profoundly unstable practice which challenges human beings and their self-understandings in such a way that they and their self-understandings develop further.
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Bertinetto, Alessandro. "Improvisation and ontology of art". Rivista di estetica, n.º 73 (1 de abril de 2020): 10–29. http://dx.doi.org/10.4000/estetica.6686.

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Tesis sobre el tema "Ontology in art"

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Cooke, Kirsten Sylvia. "Art ontology value : staging the ontology of art within systems of value". Thesis, University of Reading, 2016. http://centaur.reading.ac.uk/68583/.

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Weh, Michael. "Being art - a study in ontology". Thesis, St Andrews, 2007. http://hdl.handle.net/10023/213.

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Giombini, Lisa. "Music, restoration and ontology : a guide for the perplexed". Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0093/document.

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J’analyse la nature des relations entre art et métaphysique dans la tradition de la musique classique, de la performance, et de la restauration de l’art. La première partie de la thèse est dédiée à l’étude de l’ontologie de la musique. Le Chapitre 1 examine les théories concernant ce que c’est une œuvre musicale d’un point de vue ontologique, à savoir l’Idéalisme, le Nominalisme et le Platonisme en défendant l’idée qu’aucune de ces théories n’est entièrement satisfaisante. Cela conduit dans le Chapitre 2 à une discussion sur la méthodologie adéquate à l’enquête ontologique et à une analyse metamétaphysique de l’ontologie de l’art. Je considère quatre objections contre l’ontologie de l’art: l’eliminativisme, l’esthétisme, l’historicisme et le sémantisme. La deuxième partie est dédiée à une étude de l’art performatif et de la restauration. Dans le Chapitre 3, j’étudie le concept d’œuvre en général, en soutenant que ce n’est pas nécessaire de classer tout l’art sous ce notion : il faut faire une distinction entre œuvres et d’autres phénomènes artistiques pour donner sens aux pratiques artistiques non traditionnelles. Dans le Chapitre 4, je considère la notion de performance d’une perspective historique et philosophique: les performances peuvent être comprises à travers la comparaison avec jeux et expériences scientifiques. Enfin, j’examine pourquoi l’art performatif défie notre compréhension standard de l’appréciation artistique en introduisant les notions d’immersion et d’interaction. Dans le Chapitre 5, j’étudie le concept d’authenticité par rapport à la restauration. Je me réfère à l’œuvre de Cesare Brandi pour aborder les questions ontologiques que la restauration nous présente
I investigate the nature of the relationships between art and metaphysics in the tradition of classical music, performance art, and art restoration. The first part of the thesis is dedicated to musical ontology. I begin in Chapter 1 by analyzing theories of what a classical musical work is ontologically. I focus on Idealism, Nominalism and Platonism. I defend the view that none of these proposals is satisfactory nor able to resist objections. This leads in Chapter 2 to a discussion of the appropriate methodology for doing musical ontology. I thus propose a metametaphysical account of the ontology of art. I examine four objections against art ontology: Eliminativism, Aestheticism, Historicism and Semanticism. The second part of the thesis is devoted to the study of the cases of performance art and restoration. In Chapter 3 I investigate the concept of a work of art in general, arguing that there is no need to subsume all art under the work-concept. I claim that drawing a distinction between artworks and other art-phenomena is important to make sense of nontraditional contemporary art. In Chapter 4, I consider the notion of performance art both historically and philosophically. I contend that performances can be understood in the comparison with experiments and games. I examine the way in which performance art challenges our common understanding of art appreciation by introducing the contrasting notions of immersion and interaction. In Chapter 5, I consider the topic of art authenticity with regard to restoration. I refer to the work of Cesare Brandi to address some of the ontological problems that a philosophical analysis of restoration presents us with
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Turrin, Daniela Anna. "Slippages - exploring the aesthetic encounter from the perspective of Merleau Ponty's ontology /". Connect to full text, 2004. http://hdl.handle.net/2123/698.

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Thesis (M.V.A.)--Sydney College of the Arts, University of Sydney, 2005.
Title from title screen (viewed 26 May 2008). "Glass"--At the foot of t.p. Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
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Davies, Shaun, of Western Sydney Nepean University y Faculty of Visual and Performing Arts. "Sound art and the annihilation of sound". THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.

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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis
Master of Arts (Hons)
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Sretenovic, Vesela Allen Beverly. "Maurice Merleau-Ponty's ontology of vision in relation to contemporary installation art". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2004. http://wwwlib.umi.com/cr/syr/main.

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Charlton, James. "Catch | Bounce : towards a relational ontology of the digital in art practice". Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10377.

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How might ‘the digital’ be conceived of in an ‘expanded field’ of art practice, where ontology is flattened such that it is not defined by a particular media? This text, together with an installation of art work at the Exhibition Research Lab, Liverpool John Moores University (13-24 March), constitutes the thesis submission as a whole, such that in the practice of ‘reading’ the thesis, each element remains differentiated from the other and makes no attempt to ‘represent’ the other. In negating representation, such practices present a ‘radical’ rethinking of the digital as a differentiated in-itself, one that is not defined solely by entrenched computational narratives derived from set theory. Rather, following Nelson Goodman’s nominalistic rejection of class constructs, ‘the digital’ is thus understood in onto-epistemic terms as being syntactically and semantically differentiated (Languages of Art 161). In the context of New Zealand Post-object Art practices of the late 1960s, as read through Jack Burnham’s systems thinking, such a digitally differentiated ontology is conceived of in terms of the how of practice, rather than what of objects (“Systems Aesthetics”). After Heidegger, such a practice is seen as an event of becoming realised by the method of formal indication, such that what is concealed is brought forth as a thing-in-itself (The Event; Phenomenological Interpretations 26). As articulated through the researcher’s own sculptural practice – itself indebted to Post-object Art – indication is developed as an intersubjective method applicable to both artists and audience. However, the constraints imposed on the thing-in-itself by the Husserlian phenomenological tradition are also taken as imposing correlational limitations on the ‘digital’, such that it is inherently an in-itself for-us and thus not differentiated in-itself. To resolve such Kantian dialectics, the thesis draws on metaphysical arguments put forward by contemporary speculative ontologies – in particular the work of Quentin Meillassoux and Tristan Garcia (After Finitude; Form and Object). Where these contemporary continental philosophies provide a means of releasing events from the contingency of human ‘reason’, the thesis argues for a practice of ‘un-reason’ in which indication is recognized as being contingent on speculation. Practice, it is argued, was never reason’s alone to determine. Instead, through the ‘radical’ method of speculative indication, practice is asserted as the event through which the differentiated digital is revealed as a thing-in-itself of itself and not for us.
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Hammer, Steven Reginald. "Writing (Dirty) New Media: Technorhetorical Opacity, Chimeras, and Dirty Ontology". Diss., North Dakota State University, 2014. https://hdl.handle.net/10365/27537.

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There is little doubt that emerging technologies are changing the way we act, interact, create, and consume. Yet despite increased access to these technologies, consumers of technology too seldom interrogate the politics, subjectivities, and limitations of these technologies and their interfaces. Instead, many consumers approach emerging technologies as objective tools to be consumed, and engage in creative processes uncritically. This disquisition, following the work of Hawisher, Selfe, and Selfe, seeks ways to approach the problem of a “rhetoric of technology” that uncritically praises new technologies by drawing on avant-garde art traditions and object-oriented ontology. I argue that, by following the philosophies and practices of glitch, dirty new media, zaum, dada, circuit-bending, and others, we might approach writing technologies with the intention of critically misusing, manipulating, and revealing to ourselves and audiences the materiality of the media and technologies in use. In combination with these avant-garde practices and philosophies, I draw from object-oriented ontology to argue that we, as new media composers, never simply write on or through our technologies, but that we write in collaboration with them, for they are active and agential coauthors even (and especially) despite their status as nonhuman. I argue for an model that not only levels the ontological playing field between humans and nonhumans, but also one that embraces irregularities and “glitches” as essential features of systems and the actors within those systems. Finally, I provide examples of how to perform these models and philosophies, which I call object-oriented art.
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Psarologaki, Evangelia. "Beyond the physical threshold : enfolding the ontology of Immersive Experience". Thesis, University of Brighton, 2015. https://research.brighton.ac.uk/en/studentTheses/84b3b95e-602b-47e7-8805-b69ee61b1468.

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This doctoral thesis is the culmination of work conducted in the context of an interdisciplinary research project that has been practice-based yet theory-driven and contributes to the fields of fine art and architecture with a particular focus on critical theory. It seeks to map a shared theoretical vocabulary regarding the creation of space and to frame the language of an emergent art practice that is fundamentally architecturalised and constitutes lived experiences as temporal events within actual architectural settings: loci. In this context, the thesis sets out an ontological and topological perspective regarding the occurrence and operation of immersive experiences and sees the latter as more-than-visual localised events in a state of becoming rather than mere phenomena. The investigation expands the concept of immersion beyond a digitally constructed reality and sees the virtual as a complementary element of the actual for the formation of receptive atmospheres. The thesis attempts to establish a modality of an immersive spatial experience that is sensory, multiple as well as intimate in empirical terms, with reference to the philosophy of the event and particularly the complex spatial theories of Gilles Deleuze.
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Lamontagne, François. "Pour une ontologie du corps /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994.
Résumé disponible sur Internet. Diapositives à la fin du v. en pochette. CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
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Libros sobre el tema "Ontology in art"

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Currie, Gregory. An Ontology of Art. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20038-2.

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Currie, Gregory. An ontology of art. Basingstoke: Macmillan in association with the Scots Philosophical Club, 1989.

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Currie, Gregory. An ontology of art. New York: St. Martin's Press, 1989.

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Press, Duke University, ed. Autonomy: The social ontology of art under capitalism. Durham: Duke University Press, 2019.

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Lee, C. J. P. The metaphysics of mass art: Cultural ontology. Lewiston: Edwin Mellen Press, 1999.

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Gwilt, Ian. MadeKnown: Digital technologies & the ontology of making. Ultimo, N.S.W: Faculty of Design, Architecture and Building, University of Technology, Sydney, 2006.

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Kacʻitaże, Kaxa. Qopʻiereba da xeleba: Being and art. Tʻbilisi: Kʻartʻuli biograpʻiuli cʻentri, 2013.

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Knudsen, Donald L. A crushing truth for art: Martin Heidegger's meditation on truth and the work of art in Der Ursprung des Kunstwerkes. Toronto: Institute for Christian Studies, 1988.

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Bundgaard, Peer F. Investigations Into the Phenomenology and the Ontology of the Work of Art: What are Artworks and How Do We Experience Them? Cham: Springer Nature, 2015.

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Herrmann, Friedrich-Wilhelm von. Heideggers Philosophie der Kunst: Eine systematische Interpretation der Holzwege-Abhandlung "Der Ursprung des Kunstwerkes". 2a ed. Frankfurt am Main: Klostermann, 1994.

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Capítulos de libros sobre el tema "Ontology in art"

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Thomasson, Amie L. "The Ontology of Art". En The Blackwell Guide to Aesthetics, 78–92. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756645.ch4.

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Currie, Gregory. "Art Works as Action Types". En An Ontology of Art, 46–84. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20038-2_3.

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Currie, Gregory. "Introduction". En An Ontology of Art, 1–16. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20038-2_1.

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Currie, Gregory. "Empiricism". En An Ontology of Art, 17–45. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20038-2_2.

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Currie, Gregory. "Authenticity". En An Ontology of Art, 85–129. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-20038-2_4.

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Meskin, Aaron. "The Ontology of Comics". En The Art of Comics, 31–46. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444354843.ch2.

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Null, Gilbert T. "Art and Part: Mereology and the Ontology of Art". En The Prism of the Self, 255–75. Dordrecht: Springer Netherlands, 1995. http://dx.doi.org/10.1007/978-94-015-8408-1_16.

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Zurr, Ionat y Oron Catts. "The Reverse Ontology of Sentience: The Technologically Mediated Victimless Utopia". En Tissues, Cultures, Art, 77–102. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-25887-9_4.

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ElHassouni, Jalil y Abderrahim El Qadi. "Ontology Engineering Methodologies: State of the Art". En Proceedings of the 5th International Conference on Big Data and Internet of Things, 59–72. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-07969-6_5.

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Meinhold, Roman. "Pain and Catharsis in Art, Ritual and Therapy". En Cultural Ontology of the Self in Pain, 93–109. New Delhi: Springer India, 2015. http://dx.doi.org/10.1007/978-81-322-2601-7_5.

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Actas de conferencias sobre el tema "Ontology in art"

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Lukina, Galima. "The Ontology of S.I. Taneev's Art". En 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.99.

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Neykov, Neyko y Svetlana Stefanova. "State of Art in Collaborative Ontology Development". En 2021 Big Data, Knowledge and Control Systems Engineering (BdKCSE). IEEE, 2021. http://dx.doi.org/10.1109/bdkcse53180.2021.9627250.

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"ONTOLOGY EVALUATION - State of the Art, New Approach and Perspectives". En International Conference on Knowledge Engineering and Ontology Development. SciTePress - Science and and Technology Publications, 2011. http://dx.doi.org/10.5220/0003635003650368.

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Makovetskaya, Maria. "THE ONTOLOGY OF ART IN PHILOSOPHY OF NICOLAI HARTMANN". En NORDSCI Conference on Social Sciences. SAIMA CONSULT LTD, 2018. http://dx.doi.org/10.32008/nordsci2018/b1/v1/44.

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"[Cover art]". En 2010 7th Web Information Systems and Applications Conference (WISA 2010). Workshop on Semantic Web and Ontology (SWON2010). Workshop on Electronic Government Technology and Application (EGTA 2010). IEEE, 2010. http://dx.doi.org/10.1109/wisa.2010.53.

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Salma, SEKKAT, MOURAD Bouneffa y CHAOUI Habiba. "Ontology and Semantic Web in Logistic Applications: State of the Art". En 2019 7th Mediterranean Congress of Telecommunications (CMT). IEEE, 2019. http://dx.doi.org/10.1109/cmt.2019.8931374.

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Wongthongtham, Pornpit, Tharam Dillon y Elizabeth Chang. "State of the Art of Community-Driven Software Engineering Ontology Evolution". En 2011 IEEE 9th International Conference on Dependable, Autonomic and Secure Computing (DASC). IEEE, 2011. http://dx.doi.org/10.1109/dasc.2011.170.

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Li, Danzhu y Gerrit C. van der Veer. "Supporting the Experience of Stakeholders of Multimedia Art Towards an Ontology". En 17th IFIP TC.13 International Conference on Human-Computer Interaction. Cardiff University Press, 2020. http://dx.doi.org/10.18573/book3.ah.

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Mohammed, Moseed, Awanis Romli, Rozlina Mohamed, A. Noormazlinah y M. Noor Mohazan. "Eco-design based on ontology: State of the art and directions". En THE PHYSICS OF SURFACES: Aspects of the Kinetics and Dynamics of Surface Reaction. AIP, 2023. http://dx.doi.org/10.1063/5.0114132.

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BILGI, Levent. "ONTOLOGICAL THEORY IN LITERATURE". En 3. International Congress of Language and Literature. Rimar Academy, 2021. http://dx.doi.org/10.47832/lan.con3-3.

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Ontological theory has developed with unnamed ideas since Aristotle. Roman Ingarden talked about the layers of being in his works of art. Ontology has come to the fore especially when analyzing the texts of poetry. Ontological theory works by not paying attention to extra-textual elements in the analysis of a text. It focuses on the text itself. It tries to understand the layers of literary text. Ontological Theory in Turkish Literature came to the forefront with Takyettin Mengüşoğlu and İsmail Tunalı's work called Art Ontology. İsmail Tunalı's work named Art Ontology has been published. After the publication of Art Ontology, it is seen that the publications on ontology have increased. Later, Ontological Theory gradually became one of the criteria for evaluating the work of art in our literature. Key words: Ontology, Theory, Art, Work, Criticism.
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Informes sobre el tema "Ontology in art"

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Baader, Franz y Barbara Morawska. SAT Encoding of Unification in EL. Technische Universität Dresden, 2010. http://dx.doi.org/10.25368/2022.177.

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The Description Logic EL is an inexpressive knowledge representation language, which nevertheless has recently drawn considerable attention in the knowledge representation and the ontology community since, on the one hand, important inference problems such as the subsumption problem are polynomial. On the other hand, EL is used to define large biomedical ontologies. Unification in Description Logics has been proposed as a novel inference service that can, for example, be used to detect redundancies in ontologies. In a recent paper, we have shown that unification in EL is NP-complete, and thus of a complexity that is considerably lower than in other Description Logics of comparably restricted expressive power. In this paper, we introduce a new NP-algorithm for solving unification problem in EL, which is based on a reduction to satisfiability in propositional logic (SAT). The advantage of this new algorithm is, on the one hand, that it allows us to employ highly optimized state of the art SAT solverswhen implementing an EL-unification algorithm. On the other hand, this reduction provides us with a proof of the fact that EL-unification is in NP that is much simpler than the one given in our previous paper on EL-unification.
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2

Baader, Franz, Stefan Borgwardt y Marcel Lippmann. Query Rewriting for DL-Lite with n-ary Concrete Domains (Extended Version). Technische Universität Dresden, 2017. http://dx.doi.org/10.25368/2022.234.

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We investigate ontology-based query answering (OBQA) in a setting where both the ontology and the query can refer to concrete values such as numbers and strings. In contrast to previous work on this topic, the built-in predicates used to compare values are not restricted to being unary. We introduce restrictions on these predicates and on the ontology language that allow us to reduce OBQA to query answering in databases using the so-called combined rewriting approach. Though at first sight our restrictions are different from the ones used in previous work, we show that our results strictly subsume some of the existing first-order rewritability results for unary predicates.
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Balali, Vahid. System-of-Systems Integration for Civil Infrastructures Resiliency Toward MultiHazard Events. Mineta Transportation Institute, agosto de 2023. http://dx.doi.org/10.31979/mti.2023.2245.

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Civil infrastructure systems—facilities that supply principal services, such as electricity, water, transportation, etc., to a community—are the backbone of modern society. These systems are frequently subject to multi-hazard events, such as earthquakes. The poor resiliency of these infrastructures results in many human casualties and significant economic losses every year. An outline of a holistic view that considers how different civil infrastructure systems operate independently and how they interact and communicate with each other is required to have a resilient infrastructure system. More specifically a systems engineering approach is required to enable infrastructure to remain resilient in the case of extreme events, including natural disasters. To address these challenges, this research builds on the proposal that the infrastructure systems be equipped with state-of-the-art sensor networks that continuously record the condition and performance of the infrastructure. The sensor data from each infrastructure are then transferred to a data analysis system component that employs artificial intelligence techniques to constantly analyze the infrastructure’s resiliency and energy efficiency performance. This research models the resilient infrastructure problem as a System of Systems (SoS) comprised of the abovementioned components. It explores system integration and operability challenges and proposes solutions to meet the requirements of the SoS. An integration ontology, as well as a data-centric architecture, is developed to enable infrastructure resiliency toward multi-hazard events. The Federal Emergency Management Agency (FEMA), and infrastructure managers, such as Departments of Transportation (DOTs) and the Federal Highway Administration (FHWA), can learn from and integrate these solutions to make civil infrastructure systems more resilient for all.
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4

Borgwardt, Stefan, Ismail Ilkan Ceylan y Thomas Lukasiewicz. Ontology-Mediated Queries for Probabilistic Databases. Technische Universität Dresden, 2017. http://dx.doi.org/10.25368/2023.218.

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Probabilistic databases (PDBs) are usually incomplete, e.g., contain only the facts that have been extracted from the Web with high confidence. However, missing facts are often treated as being false, which leads to unintuitive results when querying PDBs. Recently, open-world probabilistic databases (OpenPDBs) were proposed to address this issue by allowing probabilities of unknown facts to take any value from a fixed probability interval. In this paper, we extend OpenPDBs by Datalog± ontologies, under which both upper and lower probabilities of queries become even more informative, enabling us to distinguish queries that were indistinguishable before. We show that the dichotomy between P and PP in (Open)PDBs can be lifted to the case of first-order rewritable positive programs (without negative constraints); and that the problem can become NP^PP-complete, once negative constraints are allowed. We also propose an approximating semantics that circumvents the increase in complexity caused by negative constraints.
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5

Tsidylo, Ivan M., Hryhoriy V. Tereshchuk, Serhiy V. Kozibroda, Svitlana V. Kravets, Tetiana O. Savchyn, Iryna M. Naumuk y Darja A. Kassim. Methodology of designing computer ontology of subject discipline by future teachers-engineers. [б. в.], septiembre de 2019. http://dx.doi.org/10.31812/123456789/3249.

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The article deals with the problem of the methodology of designing computer ontology of the subject discipline by the future teachers-engineers in the field of computer technologies. The scheme of ontology of the subject discipline is presented in which the set of concepts of the future computer ontology and the set of relations between them are represented. The main criteria of the choice of systems of computer ontologies for designing computer ontology of the subject discipline: software architecture and tools development; interoperability; intuitive interface are established. The selection of techniques for designing ontologies using computer ontology systems is carried out. The algorithm of designing computer ontology of the subject discipline by the future teachers-engineers in the field of computer technologies is proposed.
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Borgwardt, Stefan, Ismail Ilkan Ceylan y Thomas Lukasiewicz. Ontology-Mediated Query Answering over Log-Linear Probabilistic Data. Technische Universität Dresden, 2019. http://dx.doi.org/10.25368/2023.221.

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Large-scale knowledge bases are at the heart of modern information systems. Their knowledge is inherently uncertain, and hence they are often materialized as probabilistic databases. However, probabilistic database management systems typically lack the capability to incorporate implicit background knowledge and, consequently, fail to capture some intuitive query answers. Ontology-mediated query answering is a popular paradigm for encoding commonsense knowledge, which can provide more complete answers to user queries. We propose a new data model that integrates the paradigm of ontology-mediated query answering with probabilistic databases, employing a log-linear probability model. We compare our approach to existing proposals, and provide supporting computational results.
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7

Koopmann, Patrick y Jieying Chen. Deductive Module Extraction for Expressive Description Logics (Extended Version). Technische Universität Dresden, 2020. http://dx.doi.org/10.25368/2022.262.

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In deductive module extraction, we determine a small subset of an ontology for a given vocabulary that preserves all logical entailments that can be expressed in that vocabulary. While in the literature stronger module notions have been discussed, we argue that for applications in ontology analysis and ontology reuse, deductive modules, which are decidable and potentially smaller, are often sufficient. We present methods based on uniform interpolation for extracting different variants of deductive modules, satisfying properties such as completeness, minimality and robustness under replacements, the latter being particularly relevant for ontology reuse. An evaluation of our implementation shows that the modules computed by our method are often significantly smaller than those computed by existing methods.
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8

Baader, Franz, Martin Knechtel y Rafael Peñaloza. Computing Boundaries for Reasoning in Sub-Ontologies. Technische Universität Dresden, 2009. http://dx.doi.org/10.25368/2022.171.

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Consider an ontology T where every axiom is labeled with an element of a lattice (L, ≤). Then every element l of L determines a sub-ontology Tl, which consists of the axioms of T whose labels are greater or equal to l. These labels may be interpreted as required access rights, in which case Tl is the sub-ontology that a user with access right l is allowed to see, or as trust levels, in which case Tl consists of those axioms that we trust with level at least l. Given a consequence α (such as a subsumption relationship between concepts) that follows from the whole ontology T, we want to know from which of the sub-ontologies Tl determined by lattice elements l the consequence α still follows. However, instead of reasoning with Tl in the deployment phase of the ontology, we want to pre-compute this information during the development phase. More precisely, we want to compute what we call a boundary for α, i.e., an element μα of L such that α follows from T l iff l ≤ μα. In this paper we show that, under certain restrictions on the elements l used to define the sub-ontologies, such a boundary always exists, and we describe black-box approaches for computing it that are generalizations of approaches for axiom pinpointing in description logics. We also present first experimental results that compare the efficiency of these approaches on real-world ontologies.
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9

Baader, Franz, Stefan Borgwardt y Marcel Lippmann. On the Complexity of Temporal Query Answering. Technische Universität Dresden, 2013. http://dx.doi.org/10.25368/2022.191.

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Ontology-based data access (OBDA) generalizes query answering in databases towards deduction since (i) the fact base is not assumed to contain complete knowledge (i.e., there is no closed world assumption), and (ii) the interpretation of the predicates occurring in the queries is constrained by axioms of an ontology. OBDA has been investigated in detail for the case where the ontology is expressed by an appropriate Description Logic (DL) and the queries are conjunctive queries. Motivated by situation awareness applications, we investigate an extension of OBDA to the temporal case. As query language we consider an extension of the well-known propositional temporal logic LTL where conjunctive queries can occur in place of propositional variables, and as ontology language we use the prototypical expressive DL ALC. For the resulting instance of temporalized OBDA, we investigate both data complexity and combined complexity of the query entailment problem.
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Borgwardt, Stefan, Marco Cerami y Rafael Peñaloza. Subsumption in Finitely Valued Fuzzy EL. Technische Universität Dresden, 2015. http://dx.doi.org/10.25368/2022.212.

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Aus der Einleitung: Description Logics (DLs) are a family of knowledge representation formalisms that are successfully applied in many application domains. They provide the logical foundation for the Direct Semantics of the standard web ontology language OWL2. The light-weight DL EL, underlying the OWL2 EL profile, is of particular interest since all common reasoning problems are polynomial in this logic, and it is used in many prominent biomedical ontologies like SNOMEDCT and the Gene Ontology.
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