@prefix : . @prefix post: . @prefix schema: . @prefix rdf: . @prefix rdfs: . @prefix xsd: . @prefix prov: . <> a schema:BlogPosting ; schema:name "The World is Changing: AI For Creativity \u2014 RDF Knowledge Graph"@en ; schema:url ; schema:about :mainArticle ; schema:accountablePerson ; schema:dateCreated "2026-09-24"^^xsd:date ; prov:wasGeneratedBy :generationActivity . :mainArticle a schema:SocialMediaPosting ; schema:name "The World is Changing: AI For Creativity"@en ; schema:abstract "Jeffrey Katzenberg's X post \"The World is Changing: AI For Creativity\" (posted 11:00 AM, Sep 23, 2026) argues that AI's arrival in creative work is the latest replay of a much older pattern: Sousa's fight over the phonograph, the pit musicians' fight over \"canned music,\" Disney's move from hand-drawn cels to CAPS, DreamWorks' sunset of hand-drawn animation. His throughline: resisting the technology risks irrelevance; the fight that actually gets settled is over the terms — credit, consent, compensation. This collection models the essay as a knowledge graph: its fourteen sections, six path-forward steps, FAQs, glossary, the essay's historical precedents and its people and companies, and the claims it makes with their evidence status."@en ; schema:author :jeffreyKatzenberg ; schema:publisher :xPlatform ; schema:accountablePerson ; schema:datePublished "2026-09-23"^^xsd:date ; schema:url ; schema:hasPart :secLuxo ; schema:hasPart :secLove ; schema:hasPart :secSousa ; schema:hasPart :secCanned ; schema:hasPart :secKodak ; schema:hasPart :secWalt ; schema:hasPart :secCAPS ; schema:hasPart :secToyStory ; schema:hasPart :secHowWhy ; schema:hasPart :secReasoning ; schema:hasPart :secPathForward ; schema:hasPart :secTerms ; schema:hasPart :secJobs ; schema:hasPart :secComingSoon ; schema:hasPart :faqSection, :glossarySection, :glossarySet, :howtoAIForCreativity, :checklistAIFC ; schema:about :jeffreyKatzenberg, :wndrCo, :pixar, :disney, :dreamWorks, :johnPhilipSousa, :steveJobs, :georgeLucas ; prov:wasGeneratedBy :generationActivity . :secLuxo a schema:CreativeWork ; schema:name "An animated scene, a Luxo Jr. memory"@en ; schema:description "A few months ago in his Silicon Valley office, Katzenberg watched a tech founder demo a fully realized, beautifully lit, well-composed AI-generated animated scene. It gave him exactly the feeling he had in 1986 watching Luxo Jr. — the first time he saw a computer-animated 3D character take a breath and seem, against all reason, to have life. Later that day, an artist friend of thirty years, 350 miles south in the city where he spent most of his career, texted after seeing a similar video: \"Is this the end of us?\" His answer: \"Certainly not.\""@en ; schema:position "1"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secLove a schema:CreativeWork ; schema:name "Hollywood's fear is really love"@en ; schema:description "Katzenberg says he deeply understands the fear and resistance toward AI in the creative community: he has watched gifted animators rebuild a single second of film for the tenth time and sat in screening rooms where four years of people's labor played out in minutes, knowing the name of every person who brought those images to life. The creative process is a calling — from the outside the resistance looks like obstruction, from the inside it is love. People do not fight this hard for things they don't care about; Hollywood's pushback is the collective effort of people deeply passionate about their craft."@en ; schema:position "2"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secSousa a schema:CreativeWork ; schema:name "Sousa and the phonograph"@en ; schema:description "In 1906, the most famous composer in America, John Philip Sousa, published an essay titled \"The Menace of Mechanical Music,\" warning that the phonograph would become \"a substitute for human skill, intelligence and soul.\" Katzenberg argues Sousa's fight was really about money — the machines were playing his compositions and their builders weren't paying him a cent — and his campaign helped create the Copyright Act of 1909. Sousa did not stop the technology; he changed the terms under which it could use his work."@en ; schema:position "3"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secCanned a schema:CreativeWork ; schema:name "The menace of \"canned music\""@en ; schema:description "When synchronized sound came to the movies, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world — and when the soundtrack arrived, one composer's work went into thousands of theaters. The union fought back with newspaper ads warning against \"canned music,\" one showing a mechanical man tearing the strings out of a harp while an angel wept. They were not fools or Luddites, and they were right: those pit jobs did not come back. Yet sound also gave the world the movie musical, the modern score, sound effects, sound design, and audio engineering — an art form vastly larger than the one it disrupted — and helped keep Hollywood at the forefront of world entertainment."@en ; schema:position "4"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secKodak a schema:CreativeWork ; schema:name "Kodak, Blockbuster, Apple, Netflix"@en ; schema:description "The essay's refrain: to resist technology is to risk irrelevance — \"Just look at Kodak or Blockbuster\" — while to embrace technology is to open doors of new possibility — \"Just consider Apple and Netflix.\""@en ; schema:position "5"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secWalt a schema:CreativeWork ; schema:name "What I learned from Walt Disney"@en ; schema:description "Tapped in the mid-1980s to lead Disney's animation division at an inflection point, Katzenberg found a cumbersome, unforgiving production system: a single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time, with every revision carrying a cost measured in months. In the Disney archives he found recordings, writings, notes, and storyboards of Walt himself — who talked about character, emotion, bold choices, and refining a scene until it genuinely moved people, never about pencils or paintbrushes. Walt was a technologist forever hunting for state-of-the-art tools, often inventing them; he defined animation not by the tools but by whether the audience believed the character. His principles were timeless. The tools were not."@en ; schema:position "6"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secCAPS a schema:CreativeWork ; schema:name "CAPS: technology expands the canvas"@en ; schema:description "Disney co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. The essay's examples: The Little Mermaid's shimmering final scene, Beauty and the Beast's sweeping ballroom sequence, Aladdin's vast Cave of Wonders and the Magic Carpet as an intricate character, and The Lion King's stampede. \"Technology didn't diminish the craft, it expanded the canvas. It gave artists more room to create.\""@en ; schema:position "7"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secToyStory a schema:CreativeWork ; schema:name "Toy Story and the hand-drawn sunset"@en ; schema:description "Disney's release of Pixar's Toy Story was proof that a fully computer-animated film could carry real emotional weight — make audiences laugh, cry, and believe. At DreamWorks, Katzenberg made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio: the right thing to do, but not without pain — it cost talented people their place in an industry where they had worked their whole lives. Some made the leap to the new tools and did the finest work of their careers; some never did."@en ; schema:position "8"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secHowWhy a schema:CreativeWork ; schema:name "\"It's not the how, it's the why\""@en ; schema:description "Tools are never the point, Katzenberg writes; the instruments change with every generation, and what endures is taste and imagination — the magical ability to make an audience feel. He anchors the passage in George Lucas's line: \"It's not the how, it's the why.\""@en ; schema:position "9"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secReasoning a schema:CreativeWork ; schema:name "Reasoning is not creating"@en ; schema:description "Katzenberg asked one of the leading AI models what the difference is between reasoning and creating. Reasoning is evaluative and analytical: it operates on what already exists — facts, premises, evidence — and moves toward a conclusion already implied by the input. Creating is generative: it produces something that didn't exist before, with no single right answer waiting to be found; taste, intuition, and vision fill the gap where deduction runs out. Silicon Valley has been perfecting reasoning; Hollywood has been practicing creating for more than a century. AI today operates almost entirely on the reasoning side — brilliant at deducing, evaluating, optimizing, and pattern-matching — but without the human things: empathy, devotion, serendipity, the creativity of a person trying to say something only they could say. \"When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul.\" One day AI may close the gap — \"Impossible is no longer improbable\" — but today the line is real, even leading technologists acknowledge we are not there yet, and no one in the field can articulate a scientific path across it."@en ; schema:position "10"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secPathForward a schema:CreativeWork ; schema:name "A path forward: the north and the south"@en ; schema:description "In 2016 Katzenberg closed his Hollywood chapter with the sale of DreamWorks and co-founded WndrCo in Northern California, which has backed more than 50 founders — and he notes the last great animation revolution also came from the north, since Pixar was forged in Silicon Valley's technological breakthroughs rather than Hollywood's studio conventions. His proposal: the north's builders have made something extraordinary and earned optimism, but they have not made an artist; the knowledge of what makes a story matter lives 350 miles to the south, inside people whose life's work informed the very models being built. The right path includes them by design — with credit, with consent, and with compensation: \"Build this with the storytellers. Not on top of them.\" Taste, he writes, is not something that can be synthesized; it is uniquely human. At the same time, Hollywood must accept that AI is not going away — the energy spent trying to make it disappear should go into deciding the terms on which it will exist, because the north needs something it cannot build and cannot buy: the creativity that conjures a single right answer from a blank page."@en ; schema:position "11"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secTerms a schema:CreativeWork ; schema:name "The terms, not the technology"@en ; schema:description "Katzenberg argues these disruptions were never settled by the technology but by the terms: Sousa did not stop the phonograph, he helped write the law that made sure composers got paid; and two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906 — consent, compensation, the basic recognition that human creative work has a price that must be paid. The tools-versus-no-tools argument is a trap, he writes: first, everyone must agree that there should be terms — then comes the crucial debate about what fairness requires."@en ; schema:position "12"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secJobs a schema:CreativeWork ; schema:name "What I learned from Steve Jobs"@en ; schema:description "Katzenberg recalls Steve Jobs's line: \"It's in Apple's DNA that technology alone is not enough. It's technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing.\" Jobs was describing a device, Katzenberg writes — but he could just as easily have been describing this tale of two cities."@en ; schema:position "13"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :secComingSoon a schema:CreativeWork ; schema:name "What I see coming soon"@en ; schema:description "As the barriers and the costs come down, Katzenberg predicts more films will get made, not fewer; studios will take more risks; there will be more seats at the table; and entirely new forms of storytelling will appear. He points to filmmakers like Steven Spielberg, James Cameron, and Peter Jackson, who embraced new visual tools as instruments rather than shortcuts and expanded cinema in the process, and to the pattern of synchronized sound, color, and computer animation redefining the medium's boundaries and growing it larger each time. He closes: \"Assuredly, I don't have all the answers, but I am confident that the creative opportunities will expand yet again. ... The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.\""@en ; schema:position "14"^^xsd:integer ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . post:evidenceStatus a rdf:Property ; rdfs:label "evidence status"@en ; rdfs:comment "Uncertainty label on a claim or a captured URL: how the article sources or qualifies it, e.g. tester-reported and not independently verified."@en . :howtoAIForCreativity a schema:HowTo ; schema:name "A path forward for AI and creativity"@en ; schema:description "The essay\u2019s six path-forward moves as executable steps: agree on the terms before the tools, build with storytellers, spend the energy on the terms, learn to wield the new instruments, judge the work by whether the audience believes it, and work from the reasoning/creating gap."@en ; schema:hasPart post:stepTermsFirst ; schema:step post:stepTermsFirst ; schema:hasPart post:stepBuildWith ; schema:step post:stepBuildWith ; schema:hasPart post:stepSpendOnTerms ; schema:step post:stepSpendOnTerms ; schema:hasPart post:stepWieldInstruments ; schema:step post:stepWieldInstruments ; schema:hasPart post:stepJudgeByBelief ; schema:step post:stepJudgeByBelief ; schema:hasPart post:stepKnowTheGap ; schema:step post:stepKnowTheGap ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . post:stepTermsFirst a schema:HowToStep ; schema:name "Agree on the terms before the tools"@en ; schema:position "1"^^xsd:integer ; schema:text "What: Before debating what fairness requires, get everyone to agree that there should be terms at all. Why it matters: The tools-versus-no-tools argument is a trap: the essay's history — Sousa and the phonograph, the pit musicians and sound, the 2023 strikes — was never settled by the technology but by the terms. How: Table the binary argument. Start every AI-and-creativity conversation by writing down the starting frame the essay names: credit, consent, compensation — then argue about what fairness requires within it."@en ; schema:isPartOf :howtoAIForCreativity ; prov:wasGeneratedBy :generationActivity . :secTerms schema:hasPart post:stepTermsFirst . post:stepTermsFirst schema:isPartOf :secTerms . post:stepBuildWith a schema:HowToStep ; schema:name "Build with storytellers, not on top of them"@en ; schema:position "2"^^xsd:integer ; schema:text "What: Include the creative community in AI products by design — with credit, with consent, and with compensation. Why it matters: The knowledge of what makes a story matter lives with the people whose life's work informed the very models being built — and taste, the essay argues, is not something that can be synthesized; it is uniquely human. How: Commission, license, and credit creative input into AI products: name the artists, get their consent, pay them. Treat storytellers as builders of the system, not as raw material under it."@en ; schema:isPartOf :howtoAIForCreativity ; prov:wasGeneratedBy :generationActivity . :secPathForward schema:hasPart post:stepBuildWith . post:stepBuildWith schema:isPartOf :secPathForward . post:stepSpendOnTerms a schema:HowToStep ; schema:name "Spend the energy on the terms, not on making AI disappear"@en ; schema:position "3"^^xsd:integer ; schema:text "What: Accept that AI is not going away, and redirect the energy spent trying to make it disappear into deciding the terms on which it will exist. Why it matters: Hollywood's resistance is love of craft — but fighting the technology itself repeats the pattern the essay says ends in irrelevance, while the north needs something it cannot build and cannot buy: genuine creativity. The terms are everything. How: Ask of each AI initiative: what are the terms for the artists whose work trained it? Negotiate those terms the way Sousa did — as the price of using the work, not as a veto on the technology."@en ; schema:isPartOf :howtoAIForCreativity ; prov:wasGeneratedBy :generationActivity . :secPathForward schema:hasPart post:stepSpendOnTerms . post:stepSpendOnTerms schema:isPartOf :secPathForward . post:stepWieldInstruments a schema:HowToStep ; schema:name "Learn to wield the new instruments"@en ; schema:position "4"^^xsd:integer ; schema:text "What: Artists: pick up the new tools and use them, rather than waiting for the engineers to define what they're for. Why it matters: The essay's pattern: Edison invented the motion picture but made terrible movies; it took Chaplin, Lloyd, Keaton, and others to make movies emotional. The artists who learn to wield these instruments will do things the engineers never dreamed of — they always have. How: Treat the model as an instrument, not an author: bring the taste, intuition, and vision the essay says deduction can't supply, and aim for what only you could say."@en ; schema:isPartOf :howtoAIForCreativity ; prov:wasGeneratedBy :generationActivity . :secComingSoon schema:hasPart post:stepWieldInstruments . post:stepWieldInstruments schema:isPartOf :secComingSoon . post:stepJudgeByBelief a schema:HowToStep ; schema:name "Judge the work by whether the audience believes it"@en ; schema:position "5"^^xsd:integer ; schema:text "What: Evaluate creative work — human or AI-assisted — by whether the audience believes the character and feels what was intended, not by which tools made it. Why it matters: This is Walt's principle from the Disney archives: he talked about character, emotion, and bold choices until a scene genuinely moved people, never about pencils or paintbrushes. Principles are timeless; tools are not. How: For each piece, ask: does the audience believe the character? Does the scene move people? If yes, the tools did their job — whatever they were."@en ; schema:isPartOf :howtoAIForCreativity ; prov:wasGeneratedBy :generationActivity . :secWalt schema:hasPart post:stepJudgeByBelief . post:stepJudgeByBelief schema:isPartOf :secWalt . post:stepKnowTheGap a schema:HowToStep ; schema:name "Work from the reasoning/creating gap"@en ; schema:position "6"^^xsd:integer ; schema:text "What: Treat the line between reasoning and creating as real: use AI where it is strong — deducing, evaluating, optimizing, pattern-matching — and keep the creating with people. Why it matters: The essay's distinction: reasoning operates on what already exists toward a conclusion already implied; creating produces something that didn't exist, with no single right answer. Even leading technologists acknowledge we are not across that line yet, and no one in the field can articulate a scientific path to crossing it. Understanding the gap is where common ground lives. How: Route analytical work to the model and generative authorship to people: let the statistics do the statistics, and let the soul do the soul."@en ; schema:isPartOf :howtoAIForCreativity ; prov:wasGeneratedBy :generationActivity . :secReasoning schema:hasPart post:stepKnowTheGap . post:stepKnowTheGap schema:isPartOf :secReasoning . :glossarySection a schema:CreativeWork ; schema:name "AI-for-creativity glossary"@en ; schema:description "The essay\u2019s key terms as a schema:DefinedTermSet."@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :glossarySet a schema:DefinedTermSet ; schema:name "AI-for-creativity glossary"@en ; schema:description "Key terms from the Katzenberg essay, defined in the post\u2019s own words."@en ; schema:hasDefinedTerm :termMechanicalMusic ; schema:hasDefinedTerm :termMenaceEssay ; schema:hasDefinedTerm :termCopyrightAct1909 ; schema:hasDefinedTerm :termCannedMusic ; schema:hasDefinedTerm :termOrchestraPits ; schema:hasDefinedTerm :termCAPS ; schema:hasDefinedTerm :termLuxoJr ; schema:hasDefinedTerm :termWndrCo ; schema:hasDefinedTerm :termTaste ; schema:hasDefinedTerm :termReasoning ; schema:hasDefinedTerm :termCreating ; schema:hasDefinedTerm :termStatisticsNotSoul ; schema:hasDefinedTerm :termNorthSouth ; schema:hasDefinedTerm :termQuibi ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :termMechanicalMusic a schema:DefinedTerm ; schema:name "Mechanical music"@en ; schema:description "John Philip Sousa's 1906 term for music reproduced by machines such as the phonograph, which he called \"a substitute for human skill, intelligence and soul.\""@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termMenaceEssay a schema:DefinedTerm ; schema:name "\"The Menace of Mechanical Music\""@en ; schema:description "Sousa's 1906 essay warning against the phonograph. Katzenberg's reading: the essay was really about money — the machines played Sousa's compositions without paying him — and the campaign around it helped create the Copyright Act of 1909."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termCopyrightAct1909 a schema:DefinedTerm ; schema:name "Copyright Act of 1909"@en ; schema:description "The law Sousa's campaign helped create. In the essay's telling, it is the model outcome: the technology was not stopped, but the terms under which it could use creators' work were changed."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termCannedMusic a schema:DefinedTerm ; schema:name "\"Canned music\""@en ; schema:description "The musicians' union's term for recorded film soundtracks. The union took out newspaper ads across the country warning against it — one showing a mechanical man tearing the strings out of a harp while an angel wept."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termOrchestraPits a schema:DefinedTerm ; schema:name "Orchestra pits"@en ; schema:description "Where tens of thousands of musicians made their living before synchronized sound, scoring every film live, every night, in movie houses in towns all over the world. When the soundtrack arrived, those jobs did not come back."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termCAPS a schema:DefinedTerm ; schema:name "CAPS (Computer Animation Production System)"@en ; schema:description "The system Disney co-developed with a young Northern California company called Pixar, replacing hand-painted cels with CGI — the essay's case study for technology expanding the creative canvas rather than diminishing the craft."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termLuxoJr a schema:DefinedTerm ; schema:name "Luxo Jr."@en ; schema:description "Pixar's 1986 short. Katzenberg invokes it as his benchmark for a computer-animated 3D character taking a breath and seeming, against all reason, to have life — the feeling the AI-generated animated scene in the essay's opening gave him."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termWndrCo a schema:DefinedTerm ; schema:name "WndrCo"@en ; schema:description "The investment firm Katzenberg co-founded in Northern California in 2016 after selling DreamWorks. The essay says it has backed more than 50 founders building the next generation of technology."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termTaste a schema:DefinedTerm ; schema:name "Taste"@en ; schema:description "In the essay's terms, the human capacity that fills the gap where deduction runs out — alongside intuition and vision. \"Taste is not something that can be synthesized, it is uniquely human.\""@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termReasoning a schema:DefinedTerm ; schema:name "Reasoning"@en ; schema:description "The essay's definition, relayed from a leading AI model: a fundamentally evaluative and analytical cognitive mode that operates on what already exists — facts, premises, evidence — and moves toward a conclusion already implied by the input. What Silicon Valley has been perfecting, and where AI today operates almost entirely."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termCreating a schema:DefinedTerm ; schema:name "Creating"@en ; schema:description "The essay's definition: a fundamentally generative cognitive mode that produces something that didn't exist before, with no single right answer waiting to be found. What Hollywood has been practicing for more than a century, and what AI — \"statistics, not soul\" — has not yet reached."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termStatisticsNotSoul a schema:DefinedTerm ; schema:name "\"Statistics, not soul\""@en ; schema:description "The essay's line about bot-generated art: when the bot generates a piece of art, it is not trying to communicate anything — it emulates things that have been done. By contrast, human creativity is about doing something new, driven by empathy, devotion, and serendipity."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termNorthSouth a schema:DefinedTerm ; schema:name "The north and the south"@en ; schema:description "The essay's shorthand: \"the north\" is Northern California / Silicon Valley, where the AI tools are being built; \"the south\" is Southern California / Hollywood, 350 miles away, where the creative soul lives. The best future, he argues, draws on the best of both worlds."@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :termQuibi a schema:DefinedTerm ; schema:name "Quibi"@en ; schema:description "Katzenberg's self-deprecating aside when admitting he doesn't have all the answers: \"(take Quibi, for one!)\""@en ; schema:inDefinedTermSet :glossarySet ; prov:wasGeneratedBy :generationActivity . :faqSection a schema:FAQPage ; schema:name "Frequently asked questions"@en ; schema:hasPart :faqWhoWhen ; schema:hasPart :faqPrediction ; schema:hasPart :faqResistanceLove ; schema:hasPart :faqSousa ; schema:hasPart :faqPitMusicians ; schema:hasPart :faqKodakNetflix ; schema:hasPart :faqCAPS ; schema:hasPart :faqReasoningCreating ; schema:hasPart :faqNorthSouth ; schema:hasPart :faqTerms ; schema:hasPart :faqComingSoon ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :faqWhoWhen a schema:Question ; schema:name "Who wrote \"The World is Changing: AI For Creativity,\" and when was it posted?"@en ; schema:acceptedAnswer :ansWhoWhen ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansWhoWhen a schema:Answer ; schema:name "Answer 1"@en ; schema:text "Jeffrey Katzenberg — display name \"JK,\" handle @jeffreykWNDR, a verified account — posted it on X at 11:00 AM on Sep 23, 2026. No timezone is shown on the page. It is a text-only post; no photos, video, or other media are attached."@en ; prov:wasGeneratedBy :generationActivity . :faqPrediction a schema:Question ; schema:name "What 2023 prediction does Katzenberg stand behind?"@en ; schema:acceptedAnswer :ansPrediction ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansPrediction a schema:Answer ; schema:name "Answer 2"@en ; schema:text "In 2023, he said the new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. He writes that some colleagues were alarmed and many were furious. The prediction is his reported claim, not an independently verified fact."@en ; prov:wasGeneratedBy :generationActivity . :faqResistanceLove a schema:Question ; schema:name "Why does he say Hollywood's resistance to AI is really love?"@en ; schema:acceptedAnswer :ansResistanceLove ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansResistanceLove a schema:Answer ; schema:name "Answer 3"@en ; schema:text "Because he has watched gifted animators rebuild a single second of film for the tenth time, and sat in screening rooms where four years of people's labor played out in minutes — knowing the name of every person who brought those images to life. The creative process is a calling, he writes: from the outside the pushback looks like obstruction, but from the inside it is love. People do not fight this hard for things they don't care about."@en ; prov:wasGeneratedBy :generationActivity . :faqSousa a schema:Question ; schema:name "What happened with Sousa and the phonograph in 1906?"@en ; schema:acceptedAnswer :ansSousa ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansSousa a schema:Answer ; schema:name "Answer 4"@en ; schema:text "John Philip Sousa — described in the post as the most famous composer in America — published an essay titled \"The Menace of Mechanical Music,\" warning the phonograph would become \"a substitute for human skill, intelligence and soul.\" Katzenberg argues Sousa's fight was really about money: the machines were playing his compositions and their builders weren't paying him. His campaign helped create the Copyright Act of 1909. He did not stop the technology; he changed the terms under which it could use his work."@en ; prov:wasGeneratedBy :generationActivity . :faqPitMusicians a schema:Question ; schema:name "What happened to the orchestra-pit musicians when sound came to the movies?"@en ; schema:acceptedAnswer :ansPitMusicians ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansPitMusicians a schema:Answer ; schema:name "Answer 5"@en ; schema:text "Tens of thousands of musicians had made their living in the orchestra pits of movie houses, scoring every film live, every night. When the soundtrack arrived, one composer's work went into thousands of theaters, and the union fought back with newspaper ads against \"canned music.\" They were right — those pit jobs did not come back. But sound also gave the world the movie musical, the modern score, sound effects, sound design, and audio engineering: an art form vastly larger than the one it disrupted, which helped keep Hollywood at the forefront of world entertainment."@en ; prov:wasGeneratedBy :generationActivity . :faqKodakNetflix a schema:Question ; schema:name "What is the point of the Kodak/Blockbuster versus Apple/Netflix comparison?"@en ; schema:acceptedAnswer :ansKodakNetflix ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansKodakNetflix a schema:Answer ; schema:name "Answer 6"@en ; schema:text "It is the essay's refrain: to resist technology is to risk irrelevance — \"Just look at Kodak or Blockbuster\" — while to embrace technology is to open doors of new possibility — \"Just consider Apple and Netflix.\""@en ; prov:wasGeneratedBy :generationActivity . :faqCAPS a schema:Question ; schema:name "What did Disney's CAPS change, and what came of it?"@en ; schema:acceptedAnswer :ansCAPS ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansCAPS a schema:Answer ; schema:name "Answer 7"@en ; schema:text "Disney co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. Katzenberg's examples: The Little Mermaid's shimmering final scene, Beauty and the Beast's sweeping ballroom, Aladdin's vast Cave of Wonders and the Magic Carpet as an intricate character, and The Lion King's stampede. His verdict: technology didn't diminish the craft, it expanded the canvas and gave artists more room to create."@en ; prov:wasGeneratedBy :generationActivity . :faqReasoningCreating a schema:Question ; schema:name "What is the difference between reasoning and creating, in the essay's terms?"@en ; schema:acceptedAnswer :ansReasoningCreating ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansReasoningCreating a schema:Answer ; schema:name "Answer 8"@en ; schema:text "Reasoning is evaluative and analytical: it operates on what already exists — facts, premises, evidence — and moves toward a conclusion already implied by the input. Creating is generative: it produces something that didn't exist before, with no single right answer waiting to be found; taste, intuition, and vision fill the gap where deduction runs out. Silicon Valley has been perfecting reasoning; Hollywood has been practicing creating for more than a century. AI today operates almost entirely on the reasoning side — brilliant at deducing, evaluating, optimizing, and pattern-matching — but without the human things: empathy, devotion, serendipity, the creativity of a person trying to say something only they could say. \"It is statistics, not soul.\""@en ; prov:wasGeneratedBy :generationActivity . :faqNorthSouth a schema:Question ; schema:name "What do \"the north\" and \"the south\" mean in the essay?"@en ; schema:acceptedAnswer :ansNorthSouth ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansNorthSouth a schema:Answer ; schema:name "Answer 9"@en ; schema:text "\"The north\" is Northern California — Silicon Valley, where the AI technology is being built and where Katzenberg co-founded WndrCo. \"The south\" is Southern California — Hollywood, 350 miles away, where the creative soul lives. He notes the last great animation revolution also came from the north: Pixar was forged in Silicon Valley's technological breakthroughs, not Hollywood's studio conventions."@en ; prov:wasGeneratedBy :generationActivity . :faqTerms a schema:Question ; schema:name "What terms does Katzenberg demand for AI and creative work?"@en ; schema:acceptedAnswer :ansTerms ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansTerms a schema:Answer ; schema:name "Answer 10"@en ; schema:text "Credit, consent, and compensation — \"Build this with the storytellers. Not on top of them.\" He ties this to the 2023 strikes, when writers and actors walked out fighting for the very things Sousa fought for in 1906: consent, compensation, the basic recognition that human creative work has a price that must be paid. The terms of that fight are still being negotiated, he writes, but the principle is older than any of us."@en ; prov:wasGeneratedBy :generationActivity . :faqComingSoon a schema:Question ; schema:name "What does he see coming soon?"@en ; schema:acceptedAnswer :ansComingSoon ; schema:isPartOf :faqSection ; prov:wasGeneratedBy :generationActivity . :ansComingSoon a schema:Answer ; schema:name "Answer 11"@en ; schema:text "As barriers and costs come down: more films made, not fewer; studios taking more risks; more seats at the table; and entirely new forms of storytelling. He points to Steven Spielberg, James Cameron, and Peter Jackson, who embraced new visual tools as instruments rather than shortcuts and expanded cinema — and to the pattern of synchronized sound, color, and computer animation each redefining the medium's boundaries and growing it larger. His close: \"The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.\""@en ; prov:wasGeneratedBy :generationActivity . post:claim90pct a schema:Claim ; schema:name "90% time-and-cost cut within three years"@en ; schema:text "In 2023, Katzenberg said the new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years; some colleagues were alarmed, many were furious."@en ; post:evidenceStatus "post-reported prediction (2023); not independently verified"@en ; schema:about post:stepKnowTheGap ; prov:wasGeneratedBy :generationActivity . post:claimCels a schema:Claim ; schema:name "125,000 hand-drawn and painted cels per movie"@en ; schema:text "A single Disney animated movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time, with every revision carrying a cost measured in months."@en ; post:evidenceStatus "post-reported; not independently verified"@en ; schema:about post:stepJudgeByBelief ; prov:wasGeneratedBy :generationActivity . post:claimPitMusicians a schema:Claim ; schema:name "Tens of thousands of pit musicians displaced"@en ; schema:text "Before synchronized sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night; those pit jobs did not come back after the soundtrack arrived."@en ; post:evidenceStatus "post-reported historical claim; not independently verified"@en ; schema:about post:stepTermsFirst ; prov:wasGeneratedBy :generationActivity . post:claimWndrCo50 a schema:Claim ; schema:name "WndrCo backed more than 50 founders"@en ; schema:text "WndrCo, co-founded by Katzenberg in 2016, has backed more than 50 founders building the next generation of technology."@en ; post:evidenceStatus "author-reported; not independently verified"@en ; schema:about post:stepBuildWith ; prov:wasGeneratedBy :generationActivity . post:claimNoScientificPath a schema:Claim ; schema:name "No scientific path across the reasoning/creating divide"@en ; schema:text "There is no scientific path to crossing the reasoning/creating divide that anyone in the field can articulate today; even the leading technologists acknowledge we are not there yet."@en ; post:evidenceStatus "author's reported characterization of the field's acknowledgment; not independently verified"@en ; schema:about post:stepKnowTheGap ; prov:wasGeneratedBy :generationActivity . post:claimEngagement a schema:Claim ; schema:name "Platform engagement snapshot at read time"@en ; schema:text "At read time (24 Sep 2026, ~08:58 EDT), the post showed 602 replies, 1K reposts, 5.9K likes, 8.2K bookmarks, and 6.5M views."@en ; post:evidenceStatus "platform-observed snapshot; not asserted as current state"@en ; schema:about post:stepSpendOnTerms ; prov:wasGeneratedBy :generationActivity . :checklistAIFC a schema:ItemList ; schema:name "The AI-for-creativity terms checklist"@en ; schema:description "Two groups drawn from the essay: the terms, and the craft."@en ; schema:hasPart :grpTerms ; schema:hasPart :grpCraft ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :grpTerms a schema:ItemList ; schema:name "The terms"@en ; schema:position "1"^^xsd:integer ; schema:hasPart :chkTermsFirst ; schema:hasPart :chkBuildWith ; schema:hasPart :chkCreditConsent ; schema:hasPart :chkSpendOnTerms ; schema:isPartOf :checklistAIFC ; prov:wasGeneratedBy :generationActivity . :chkTermsFirst a schema:ListItem ; schema:name "Everyone agrees first that there should be terms"@en ; schema:position "1"^^xsd:integer ; schema:isPartOf :grpTerms ; prov:wasGeneratedBy :generationActivity . :chkBuildWith a schema:ListItem ; schema:name "Storytellers are included by design — with credit, consent, compensation"@en ; schema:position "2"^^xsd:integer ; schema:isPartOf :grpTerms ; prov:wasGeneratedBy :generationActivity . :chkCreditConsent a schema:ListItem ; schema:name "Human creative work is recognized as having a price that must be paid"@en ; schema:position "3"^^xsd:integer ; schema:isPartOf :grpTerms ; prov:wasGeneratedBy :generationActivity . :chkSpendOnTerms a schema:ListItem ; schema:name "Energy goes into deciding the terms AI exists on, not making AI disappear"@en ; schema:position "4"^^xsd:integer ; schema:isPartOf :grpTerms ; prov:wasGeneratedBy :generationActivity . :grpCraft a schema:ItemList ; schema:name "The craft"@en ; schema:position "2"^^xsd:integer ; schema:hasPart :chkJudgeByBelief ; schema:hasPart :chkWieldInstruments ; schema:hasPart :chkKnowTheGap ; schema:isPartOf :checklistAIFC ; prov:wasGeneratedBy :generationActivity . :chkJudgeByBelief a schema:ListItem ; schema:name "Work is judged by whether the audience believes it, not by the tools"@en ; schema:position "1"^^xsd:integer ; schema:isPartOf :grpCraft ; prov:wasGeneratedBy :generationActivity . :chkWieldInstruments a schema:ListItem ; schema:name "Artists are learning to wield the new instruments"@en ; schema:position "2"^^xsd:integer ; schema:isPartOf :grpCraft ; prov:wasGeneratedBy :generationActivity . :chkKnowTheGap a schema:ListItem ; schema:name "The reasoning/creating line is treated as real — common ground in the gap"@en ; schema:position "3"^^xsd:integer ; schema:isPartOf :grpCraft ; prov:wasGeneratedBy :generationActivity . :queryEntityTypeSummary a schema:SoftwareSourceCode ; schema:name "Count entities by type"@en ; schema:description "Canonical entity-type summary: how many instances of each RDF type the graph holds, with a sample entity IRI and label per type."@en ; schema:programmingLanguage "SPARQL"@en ; schema:text "PREFIX schema: \nPREFIX rdf: \nPREFIX rdfs: \nPREFIX post: \n\nSELECT ?type (SAMPLE(?s) AS ?sampleEntity) (SAMPLE(?label) AS ?sampleLabel) (COUNT(?s) AS ?entityCount)\nWHERE {\n GRAPH {\n ?s rdf:type ?type .\n OPTIONAL { ?s schema:name ?label }\n }\n}\nGROUP BY ?type\nORDER BY DESC(?entityCount)"@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :mainArticle schema:hasPart :queryEntityTypeSummary . :querySections a schema:SoftwareSourceCode ; schema:name "List the 14 essay sections in order"@en ; schema:description "The schema:CreativeWork section entities ordered by schema:position, with the IRI of each section."@en ; schema:programmingLanguage "SPARQL"@en ; schema:text "PREFIX schema: \nPREFIX rdf: \nPREFIX rdfs: \nPREFIX post: \n\nSELECT ?sectionIri ?sectionName ?position\nWHERE {\n GRAPH {\n ?sectionIri a schema:CreativeWork ;\n schema:name ?sectionName ;\n schema:position ?position ;\n schema:isPartOf post:mainArticle .\n }\n}\nORDER BY ?position"@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :mainArticle schema:hasPart :querySections . :queryHowtoSteps a schema:SoftwareSourceCode ; schema:name "List the 6 path-forward HowTo steps in order"@en ; schema:description "The schema:HowToStep entities ordered by schema:position, with the IRI of each step."@en ; schema:programmingLanguage "SPARQL"@en ; schema:text "PREFIX schema: \nPREFIX rdf: \nPREFIX rdfs: \nPREFIX post: \n\nSELECT ?stepIri ?stepName ?position\nWHERE {\n GRAPH {\n ?stepIri a schema:HowToStep ;\n schema:name ?stepName ;\n schema:position ?position .\n }\n}\nORDER BY ?position"@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :mainArticle schema:hasPart :queryHowtoSteps . :queryStepsBySection a schema:SoftwareSourceCode ; schema:name "Group the steps by essay section"@en ; schema:description "Each essay section with the HowTo steps that belong to it."@en ; schema:programmingLanguage "SPARQL"@en ; schema:text "PREFIX schema: \nPREFIX rdf: \nPREFIX rdfs: \nPREFIX post: \n\nSELECT ?sectionIri ?sectionName ?stepIri ?stepName\nWHERE {\n GRAPH {\n ?sectionIri a schema:CreativeWork ;\n schema:name ?sectionName ;\n schema:hasPart ?stepIri .\n ?stepIri a schema:HowToStep ;\n schema:name ?stepName .\n }\n}\nORDER BY ?sectionIri ?stepName"@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :mainArticle schema:hasPart :queryStepsBySection . :queryChecklist a schema:SoftwareSourceCode ; schema:name "List the terms checklist by group"@en ; schema:description "The two checklist groups with every checklist item in order."@en ; schema:programmingLanguage "SPARQL"@en ; schema:text "PREFIX schema: \nPREFIX rdf: \nPREFIX rdfs: \nPREFIX post: \n\nSELECT ?groupIri ?groupName ?itemIri ?itemName ?itemPosition\nWHERE {\n GRAPH {\n ?groupIri a schema:ItemList ;\n schema:name ?groupName ;\n schema:hasPart ?itemIri .\n ?itemIri a schema:ListItem ;\n schema:name ?itemName ;\n schema:position ?itemPosition .\n }\n}\nORDER BY ?groupIri ?itemPosition"@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :mainArticle schema:hasPart :queryChecklist . :queryFaq a schema:SoftwareSourceCode ; schema:name "List FAQ questions with answers"@en ; schema:description "All schema:Question entities with their accepted schema:Answer text."@en ; schema:programmingLanguage "SPARQL"@en ; schema:text "PREFIX schema: \nPREFIX rdf: \nPREFIX rdfs: \nPREFIX post: \n\nSELECT ?qIri ?question ?aIri ?answer\nWHERE {\n GRAPH {\n ?qIri a schema:Question ;\n schema:name ?question ;\n schema:acceptedAnswer ?aIri .\n ?aIri schema:text ?answer .\n }\n}\nORDER BY ?qIri"@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :mainArticle schema:hasPart :queryFaq . :queryGlossary a schema:SoftwareSourceCode ; schema:name "List glossary terms and definitions"@en ; schema:description "All schema:DefinedTerm entities with their definitions."@en ; schema:programmingLanguage "SPARQL"@en ; schema:text "PREFIX schema: \nPREFIX rdf: \nPREFIX rdfs: \nPREFIX post: \n\nSELECT ?termIri ?term ?definition\nWHERE {\n GRAPH {\n ?termIri a schema:DefinedTerm ;\n schema:name ?term ;\n schema:description ?definition .\n }\n}\nORDER BY ?term"@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :mainArticle schema:hasPart :queryGlossary . :queryClaims a schema:SoftwareSourceCode ; schema:name "List claims with evidence status"@en ; schema:description "Every schema:Claim in the graph with the evidence status recorded for it — post-reported and author-reported claims are kept separate from verified fact, and the engagement snapshot is marked as a platform-observed snapshot."@en ; schema:programmingLanguage "SPARQL"@en ; schema:text "PREFIX schema: \nPREFIX rdf: \nPREFIX rdfs: \nPREFIX post: \n\nSELECT ?claimIri ?claimText ?evidenceStatus\nWHERE {\n GRAPH {\n ?claimIri a schema:Claim ;\n schema:text ?claimText ;\n post:evidenceStatus ?evidenceStatus .\n }\n}\nORDER BY ?claimIri"@en ; schema:isPartOf :mainArticle ; prov:wasGeneratedBy :generationActivity . :mainArticle schema:hasPart :queryClaims . :jeffreyKatzenberg a schema:Person ; schema:name "Jeffrey Katzenberg"@en ; schema:description "Author of the post (display name \"JK\", handle @jeffreykWNDR, verified account). Co-founder of WndrCo; sold DreamWorks in 2016; led Disney\u2019s animation division from the mid-1980s."@en ; schema:url ; schema:affiliation :wndrCo, :dreamWorks ; prov:wasGeneratedBy :generationActivity . :xPlatform a schema:Organization ; schema:name "X"@en ; schema:description "The social platform the post was published on (x.com)."@en ; prov:wasGeneratedBy :generationActivity . :wndrCo a schema:Organization ; schema:name "WndrCo"@en ; schema:description "Investment firm co-founded by Katzenberg in Northern California in 2016; the essay says it has backed more than 50 founders."@en ; prov:wasGeneratedBy :generationActivity . :dreamWorks a schema:Organization ; schema:name "DreamWorks"@en ; schema:description "Studio Katzenberg sold in 2016; where he made the decision to sunset hand-drawn animation and become a fully computer-animated studio."@en ; prov:wasGeneratedBy :generationActivity . :disney a schema:Organization ; schema:name "Disney"@en ; schema:description "Katzenberg led its animation division from the mid-1980s; co-developed CAPS with Pixar."@en ; prov:wasGeneratedBy :generationActivity . :pixar a schema:Organization ; schema:name "Pixar"@en ; schema:description "The young Northern California company Disney co-developed CAPS with; maker of Luxo Jr. (1986) and Toy Story."@en ; prov:wasGeneratedBy :generationActivity . :johnPhilipSousa a schema:Person ; schema:name "John Philip Sousa"@en ; schema:description "Described in the post as the most famous composer in America; author of the 1906 essay \"The Menace of Mechanical Music\"; his campaign helped create the Copyright Act of 1909."@en ; prov:wasGeneratedBy :generationActivity . :steveJobs a schema:Person ; schema:name "Steve Jobs"@en ; schema:description "Quoted in the post: \"It\u2019s in Apple\u2019s DNA that technology alone is not enough.\""@en ; prov:wasGeneratedBy :generationActivity . :georgeLucas a schema:Person ; schema:name "George Lucas"@en ; schema:description "Quoted in the post: \"It\u2019s not the how, it\u2019s the why.\""@en ; prov:wasGeneratedBy :generationActivity . :kodak a schema:Organization ; schema:name "Kodak"@en ; schema:description "Cited in the post as the example of resisting technology and risking irrelevance."@en ; prov:wasGeneratedBy :generationActivity . :blockbuster a schema:Organization ; schema:name "Blockbuster"@en ; schema:description "Cited in the post alongside Kodak as the example of resisting technology."@en ; prov:wasGeneratedBy :generationActivity . :apple a schema:Organization ; schema:name "Apple"@en ; schema:description "Cited in the post as the example of embracing technology and opening new possibility."@en ; prov:wasGeneratedBy :generationActivity . :netflix a schema:Organization ; schema:name "Netflix"@en ; schema:description "Cited in the post alongside Apple as the example of embracing technology."@en ; prov:wasGeneratedBy :generationActivity . :stevenSpielberg a schema:Person ; schema:name "Steven Spielberg"@en ; schema:description "Named in the post among filmmakers who embraced new visual tools as instruments and expanded cinema."@en ; prov:wasGeneratedBy :generationActivity . :jamesCameron a schema:Person ; schema:name "James Cameron"@en ; schema:description "Named in the post among filmmakers who embraced new visual tools as instruments and expanded cinema."@en ; prov:wasGeneratedBy :generationActivity . :peterJackson a schema:Person ; schema:name "Peter Jackson"@en ; schema:description "Named in the post among filmmakers who embraced new visual tools as instruments and expanded cinema."@en ; prov:wasGeneratedBy :generationActivity . :generationActivity a prov:Activity ; schema:name "KG generation activity"@en ; schema:description "Script-assisted generation of this Turtle collection from the X post text, read via the live browser on 2026-09-24."@en ; prov:wasAssociatedWith ; prov:startedAtTime "2026-09-24"^^xsd:date . a schema:Person ; schema:name "Kingsley Idehen"@en ; schema:description "Accountable person for this knowledge-graph collection."@en .