The Notion of the “Concept Instance”: Problems in Modeling Concept Change in SKOS

The U.S. National Science Foundation metadata registry under development for the National Science Digital Library (NSDL) is a repertory intended to manage both metadata schemes and schemas. The focus of this draft discussion paper is on the scheme side of the development work. In particular, the concern of the discussion paper is with issues around the creation of historical snapshots of concept changes and their encoding in SKOS. Through framing the problem as we see it, we hope to find an optimal solution to our need for a SKOS encoding of these snapshots. Since what we are seeking to model is concept change, it is necessary at the outset to make it clear that we are not talking about changes to a concept of such a nature that would require the declaration a new concept with its own URI.In the project, we avoid the use of the terms “version” and “versioning” with regard to changes in concepts and reserve their use to the significant changes of schemes as a whole. Significant changes triggering a new scheme version might include changes in scheme documentation that express a significant shift in the purpose, use or architecture of the scheme. We use the term “snapshot” to denote the state of a scheme at identifiable points in time. Thus, snapshots are identifiable views of a scheme that record the incremental changes that have occurred to concepts, relationships among concepts, and scheme documentation since the last snapshot. Aspects of concept change occur that we need to capture and make available both through the registry and through potentially in transmission of a scheme to other registries. We call these capturings “concept instances.”

The Gaze and the Circumvention of Power in Richard Strauss’ Salome

Richard Strauss’ opera “Salome” is a musical discourse of the uneven power dynamics between male and female with the idea of the gaze as its central narrative. Under the patriarchal premise of the male gaze, the men emerge as the gazers, while the women are relegated to the role of submissive objectification. This paper examines the way Salome manipulates this patriarchal notion of the gaze for her own gain, voluntarily offering herself as the object of the male gaze. I further postulated that Salome strategically oscillates between the stereotypical image of femme fatale and femme fragile, intentionally succumbing to the masculine-constructed demonization and idealization of female power. Consequently, this paper traces how Strauss’ music realizes those gender portrayals and Salome’s resistance against the male order, reflecting the use of musical analyses as a tool in understanding gender roles and power in operas.

Influence apart from Adoption: How Interaction between Programming and Scientific Practices Shapes Modes of Inquiry in Four Oceanography Teams

Thesis (Ph.D.)--University of Washington, 2016-06

How peripheral a phenomenon is it?: On the interaction of DP-internal ellipsis, degree inversion, and islands

Thesis (Ph.D.)--University of Washington, 2016-06

On f-vectors of polytopes and matroids

Thesis (Ph.D.)--University of Washington, 2016-08