Drammar: A Comprehensive Ontological Resource on Drama

Lombardo, V.; Damiano, Rossana; Pizzo, Antonio

doi:10.1007/978-3-030-00668-6_7

Cited by 10 publications

(3 citation statements)

References 20 publications

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“…Drammar is a good case in point which presents an integrated model enfolding the terminology for preserving and annotating dramatic media objects as sets of evolving entities [105]. It tackles the representation of drama via a three-layered ontology design: an action layer that organizes a succession of incidents consistent with the literary chronology; a motivational layer centered on the intention of the embodied agent who is achieving a goal; and inally, a dramatic layer predominantly structured on the scenes.…”

Section: Beyond Movement: Linking Data For Knowledgementioning

confidence: 99%

Digitizing Intangible Cultural Heritage Embodied: State of the Art

Hou

Kenderdine

Picca

et al. 2022

J. Comput. Cult. Herit.

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Intangible cultural heritage (ICH) as a field of research and site for digital efforts has grown significantly since the UNESCO 2003 Convention for the Safeguarding of Intangible Heritage. In contrast to tangible heritage, where cultural identities are manifested through physical objects, intangible cultural expressions are defined through tacit reliances and embodied practices. Such practices are usually bodily communicated, enacted, socially transmitted, and constantly evolving. Burgeoning trends in computational heritage and ICT applications have played a crucial role in safeguarding ICH as they produce versatile resources while making them accessible to the public. Nevertheless, most of the inventions are object-centric and cater to conserving material-based knowledge bases. Few endeavors thus far have fully supported the recording, representing, and reviving of the living nature of ICH. One of the challenges now faced is to find appropriate forms, together with efficient methods, to document the ephemeral aspects of intangible heritage. Another barrier is to find effective ways to communicate the knowledge inextricably linked to people. In response, recent efforts have embarked on capturing the “live” and “active” facets of the embodied cultures, which entails addressing technological and curatorial complexity to communicate the material and immaterial aspects within a meaningful context. Meanwhile, advancements in experimental museology have opened up new modes of experiential narratives, particularly through visualization, augmentation, participation, and immersive embodiment. Novel practices of cultural data computation and data sculpting have also emerged toward the ideal of knowledge reconstruction. This article outlines state-of-the-art models, projects, and technical practices that have advanced the digitization lifecycle for ICH resources. The review focuses on several critical but less studied tasks within digital archiving, computational encoding, conceptual representation, and interactive engagement with the intangible cultural elements. We aim to identify the advancements and gaps in the existing conventions, and to envision opportunities for transmitting embodied knowledge in intangible heritage.

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Section: Beyond Movement: Linking Data For Knowledgementioning

confidence: 99%

Digitizing Intangible Cultural Heritage Embodied: State of the Art

Hou

Kenderdine

Picca

et al. 2022

J. Comput. Cult. Herit.

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“…Although knowledge graphs and schema constructed for this challenge are our original work, related works include EventKG [8], ECG [9], and Drammer [10]. Knowledge graphs such as Wikidata and DBpedia focus on entities of persons and objects, but EventKG is a Knowles graph that describes 690,000 historic and modern events to generate question answering and history (timeline) from specific aspects.…”

Section: Related Workmentioning

confidence: 99%

Report on the First Knowledge Graph Reasoning Challenge 2018

Kawamura

Egami

Tamura

et al. 2020

Semantic Technology

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A new challenge for knowledge graph reasoning started in 2018. Deep learning has promoted the application of artificial intelligence (AI) techniques to a wide variety of social problems. Accordingly, being able to explain the reason for an AI decision is becoming important to ensure the secure and safe use of AI techniques. Thus, we, the Special Interest Group on Semantic Web and Ontology of the Japanese Society for AI, organized a challenge calling for techniques that reason and/or estimate which characters are criminals while providing a reasonable explanation based on an open knowledge graph of a well-known Sherlock Holmes mystery story. This paper presents a summary report of the first challenge held in 2018, including the knowledge graph construction, the techniques proposed for reasoning and/or estimation, the evaluation metrics, and the results. The first prize went to an approach that formalized the problem as a constraint satisfaction problem and solved it using a lightweight formal method; the second prize went to an approach that used SPARQL and rules; the best resource prize went to a submission that constructed word embedding of characters from all sentences of Sherlock Holmes novels; and the best idea prize went to a discussion multi-agents model. We conclude this paper with the plans and issues for the next challenge in 2019.

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“…introduced a graphical interface for the annotation and visualization of drama that we applied to the analysis of Stanislavski's Action Analysis in Albert et al (2016); Lombardo et al (2015b) coupled an earlier release of the ontological representation with a rule-based calculation of characters' emotions, verified against manual annotation provided by students and scholars (Lombardo et al, 2015a); proposed the use of Drammar to safeguard drama as a form of intangible cultural heritage, underlying the tangible media (Lombardo et al, 2017b). In 2018, the Drammar ontology resource was released with a conference paper (Lombardo et al, 2018), with a permanent URL address and the registration to the Linked Open Vocaularies (LOV) platform. 3 In this contribution, we address specifically the design of Drammar, accounting for the commitments that have informed its design and describing the development of the ontology from a set of elements distilled from drama scholarship.…”

Section: Introductionmentioning

confidence: 99%

The ontology of drama

Damiano

Lombardo

Pizzo

2019

Self Cite

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In this paper, we describe the ontology of drama called Drammar. Pervasive in old and new media, and relevant from a multi-disciplinary perspective that ranges from literary criticism and semiotics to aesthetics and psychology, the manifestations of drama are ubiquitous in today's culture, overcoming the boundaries of genres and formats. Drawing from an extensive survey of the literature on drama, Drammar formalizes the elements of drama in a media-and task-independent way. Drammar is encoded in OWL2 to provide an interoperable formal model for representing and studying drama in a variety of systems. Issued by a research initiative carried out in an interdisciplinary way over a decade, Drammar abstracts from the media and languages by which drama is conveyed, providing a formal systematization of the core notions about drama that leverages the theories and models of agency in the tradition of Artificial Intelligence. In this paper, we illustrate the ontology, describing its design and motivations through examples and use cases.

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Drammar: A Comprehensive Ontological Resource on Drama

Cited by 10 publications

References 20 publications

Digitizing Intangible Cultural Heritage Embodied: State of the Art

Digitizing Intangible Cultural Heritage Embodied: State of the Art

Report on the First Knowledge Graph Reasoning Challenge 2018

The ontology of drama

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