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Wind itself, many have noted, is invisible. In both the archive and the field, we encountered the difficulty of getting wind into view ourselves, foregrounded by the many strategies developed to capture wind with the help of various proxies, instruments, and representations. Facing this difficulty, we here draw together work from elemental media theory and feminist new materialism to develop a novel theoretical and methodological approach to wind we call “elemental chiasmus.” We begin by acknowledging wind’s ephemeral nature. Instead of delineating wind as a definite object, we argue that wind is momentarily stabilised and rendered legible when it metaphorically “diffracts” through other elemental media. Across three sections, we trace different practices of elemental mediation which provide wind with a specific shape: In “Aeolian sensing,” we highlight past and present practices of atmospheric sensing which give wind horizontal and vertical shape by diffracting through particulate matter, sound, and electromagnetic waves. In “Aeolian geology,” we undertake an elemental reading of John Muir’s field notes to highlight his application of elemental chiasmus in making sense of both long-term geologic change and short-term changes in wind and weather. In “Aeolian art,” we finally turn to the artistic work of Leonardo Da Vinci and Vincent Van Gogh to demonstrate how their related strategies of linear disegno and pastose capture wind by diffracting it through water and oil. Viewed together, wind “comes to matter” or accrues meaning through an iterative and open “diffractive reading” across elements; a method we call elemental chiasmus.

Human beings are ontological designers. We build the tools, and then the tools reshape our identities. The ontological status in an electronically mediated world always implies a referential whole, a “totality” that endows “language”, “events,” and “actions” with meaning and significance. The ontological discourse is all about the chain of signifiers; surprisingly, the events of appropriation by which the being is (un)folded depend on a synchronic axis. The twist is that the axis can only be visible on a diachronic background. Questions of the existence of a digital being are always associated with the notions of time and space. Being-in is different than being in as it is located in the “now.” The spatiality of “now” in cyberspace is essential as this “now” talks about the forms of time—past, present and future of Dasein via the unconscious. Each post we share, and each comment we put on cyberspace opens the possibilities for new ways of thinking—a thinking pattern involves the other avatars through the interplay of who they are and what they experience in “the desert of the real” (Zizek, 2001, p. 13).  Thus, the function of the “in-between” becomes différance, and in this act of deferral emerges the prospect of “poíēsis.” Bernard Stiegler, in his book Techniques and Time: The Fault of Epimetheus (1998, p.140), describes that the epiphylogenesis of man “[b]estows its identity upon the human individual: the accents of his speech, the style of his approach, the force of his gesture, the unity of his world.” Identity is like a (un)concealed truth, a whole of potentialities yet to be discovered but never arrive at the ending.  Language is a special equipment to understand the notions of identity, especially in the Heideggerian world, where “essence” precedes “existence”. That is why we refer to beings in their connection to other beings. To know why and how they connect to other beings and even to the digital “spectre” (in Derridean understanding), we must revisit the Lacanian understanding of lack and Freud’s tripartite structure of the human psyche. The subject splits in the course of its striving to fulfil the lack forged by the desire of others. Therefore, the signifying chain is an automata—a lifeless network of signified jouissance in the virtual world.  Lacan’s Seminar XI is primarily taken up for its potential to radically suspend Heideggerian questions of the primary meaning of Being. Therefore, this paper shall explore the genealogy of the “essence” of a digital being taking up multiple roles in a true post-human world by highlighting the newly emerged socio-cultural avenues cohabited with artificial intelligence and human beings—a world where the matrix disguises itself in its simulation. Keywords: Dasein, Unconscious, Simulacra, Cyberspace, Lacan

The study highlights the increasing diversity of digital and postdigital art along with its rising or even defining influence on various phenomena and spheres of sociocultural reality. Based on ideological attitudes and value orientations, the media reality, through the ontologization of digital and postdigital art, becomes a social model of understanding reality and social life, while organizing communication, interpretation of meanings, and translation of ideas in a special way. In counterpoint to the scientific, technocratic paradigm, which in many respects dominates the digital and postdigital realm, the digital and postdigital space simultaneously becomes an arena for the revival of archaic consciousness. The essential and content foundations and aspects of the digital and postdigital manifest the categorical, conceptual, and essential ideas of art in general. They interact with the social, cultural, political, as well as geographical and topological, environments to the point of creating new cultural, social, symbolic, and material phenomena, hybrid and transformed forms. The essence of beauty is accessed through representations, mediated by symbolic, semantic, and essential agents. The study addresses specific aspects of digital art from the standpoint of materialistic approaches, postmodern concepts, network theories, and social constructivism. Particular attention is paid to the ontologization of art objects in the framework of object-oriented philosophy. Art objects acquire their ontological status from their own authenticity and gain their reality from the outside. Digital and postdigital art combines the immanent with the transcendent, which makes its objects possible or necessary, perceivable or real. Digital and postdigital art is marked by duality and ambivalence, which form a holistic unity in the aspects of object-subject relations and the social and non-human sections of reality.

\"Radical Duality\" is a practical approach based on my own ontology beyond arguments of “eternal return” (Deleuze) and speculative realism. In this ontology, I find the philosophical idea of “the Time after that” an extremely creative concept of time, a concept that is emblematic of capitalism’s dynamism. Within this artistic practice, then, three elements, “Media,” “Theme,” and “Method” define creative acts, thus correlating to each other. Any medium used for creative activities is a variable (in this piece, just sound). “Method” is a factor which strongly describes the characteristics of a creator. This, in turn, poses questions about relations. “Method” determines the relations between media, and “Media” change themselves according to “how these media relate to each other,” so every artist should think about “what the meaning of the relating is.”For myself, the relation is “a multiplicity of radical duality which consists of the discrete and the continuous.” For this piece, I first made a patch with MAX/MSP. In this patch, then, I created two primitive faders ― “the discrete” and “the continuous” ―, whose values affect the whole sound. Additionally, I made four more faders ― “continuation of discreteness”, “discreteness of continuation”, “continuation of continuation”, and “discreteness of discreteness” ― whose values change various parameters of this complex patch. Also, I quoted Franz Schubert’s 7th symphony and JS Bach's “Dona nobis pacem” for expressing a “bottomless void” as \"Theme\", where the story progresses from hardship to relief. Since “Radical Duality” treats media as variables, those variables do not have to be limited to music. We can treat visuals, concepts, digital content, bodies, photos and so on as media, then change these forms completely, defining new relations each time.

Semantic embedding of knowledge graphs has been widely studied and used for prediction and statistical analysis tasks across various domains such as Natural Language Processing and the Semantic Web. However, less attention has been paid to developing robust methods for embedding OWL (Web Ontology Language) ontologies, which contain richer semantic information than plain knowledge graphs, and have been widely adopted in domains such as bioinformatics. In this paper, we propose a random walk and word embedding based ontology embedding method named OWL2Vec*, which encodes the semantics of an OWL ontology by taking into account its graph structure, lexical information and logical constructors. Our empirical evaluation with three real world datasets suggests that OWL2Vec* benefits from these three different aspects of an ontology in class membership prediction and class subsumption prediction tasks. Furthermore, OWL2Vec* often significantly outperforms the state-of-the-art methods in our experiments.

To support semantic inter-operability between the biomedical information systems, it is necessary to determine the correspondences between the heterogeneous biomedical concepts, which is commonly known as biomedical ontology matching. Biomedical concepts are usually complex and ambiguous, which makes matching biomedical ontologies a challenge. Since none of the similarity measures can distinguish the heterogeneous biomedical concepts in any context independently, usually several similarity measures are applied together to determine the biomedical concepts mappings. However, the ignorance of the effects brought about by different biomedical concept mapping's preference on the similarity measures significantly reduces the alignment's quality. In this study, a non-dominated sorting genetic algorithm (NSGA)-III-based biomedical ontology matching technique is proposed to effectively match the biomedical ontologies, which first utilises an ontology partitioning technique to transform the large-scale biomedical ontology matching problem into several ontology segment-matching problems, and then uses NSGA-III to determine the optimal alignment without tuning the aggregating weights. The experiment is conducted on the anatomy track and large biomedic ontologies track which are provided by the Ontology Alignment Evaluation Initiative (OAEI), and the comparisons with OAEI's participants show the effectiveness of the authors' approach.

In this article, I examine the concept of a natural class and propose a definition of \"ontological category\" in terms of that concept. Let's say a class is \"large\" if its membership comprises a significant proportion of the things which are there. Let's say a class is \"high\" if it is not a proper subclass of any natural class. Then a natural class is a primary ontological category if and only if (a) there are large natural classes, and (b) it is a high class. (Secondary, tertiary, etc., ontological categories are defined by an extension of this definition). I defend the definition, consider various ways in which it might be modified, and apply it to the problem of constructing a taxonomy of ontologies.

In the history of Indian philosophy, dharma has been re-evaluated and challenged multiple times by various schools of thought: is it is an injunction from above or one codified in scriptures? What happens when a scripture is authorless and what is then the validity of dharma? Can one follow dharma if it brings unfavorable results? It is in this context that Bhagvad Gita attempts to deal with dharma in a fictional context of a battle and in doing so raises more complex questions - it addresses the very paradox laying at the heart of dharma in a paradoxical manner. This paper looks at dharma in an ontological sense: the living dharma of Gita is a significant intervention, since Gita attempts to explain and thus justify the paradox of one’s being by proposing life of living dharma (not living a life of dharma).