{ "vercy": "1.0-draft", "publication": { "status": "research-draft", "adjudicationStatus": "unreviewed", "publishableCanonical": false, "generatedAt": "2026-09-12T09:55:03Z", "providers": [ "Codex" ], "breadth": "recalled by Codex without web access - no source was read", "missingProviders": [], "pass": 2, "cost": { "grok": { "seconds": 17.2, "error": "Reading additional input from stdin...\nOpenAI Codex v0.153.4\n--------\nworkdir: R:\\02_PROJECTS\\02_Meta_Models_Platforms\\Ver.cy\\current\\thing-registry-backlog\nmodel: gpt-6-astra\nprovider: openai\napproval: never\nsandbox: read-only\nreasoning effort: none\nreasoning summaries: none\nsession id: 01a09509-99f9-72b2-97e8-1bec0cbe0ec5\n--------\nuser\nDescribe what is already known about one registered thing. Answer as JSON only, no prose around it.\n\nThing: furiant\nSense to describe: (none recorded)\nDomain code: ACT.ACT\nAlso known as: (none)\n\n\nContext for this batch of 1001 things:\n# Batch 043: 1001 registe", "usd": 0.0, "recall": true }, "codex": { "seconds": 74.9, "error": "Reading additional input from stdin...\nOpenAI Codex v0.153.4\n--------\nworkdir: R:\\02_PROJECTS\\02_Meta_Models_Platforms\\Ver.cy\\current\\thing-registry-backlog\nmodel: gpt-6-astra\nprovider: openai\napproval: never\nsandbox: read-only\nreasoning effort: none\nreasoning summaries: none\nsession id: 01a09509-9a0a-7161-989a-bdce4f2835d7\n--------\nuser\nYou are drafting a Vercy meta-model for one registered thing. Answer as JSON only, no prose around it.\n\nThing: furiant\nRegistry id: vr.tr.furiant\nPlane / domain: ACT / ACT.ACT\nRegistry definition: (none recorded)\nNames folded into this entry: (none)\n\n\nContext " } }, "enrichment": { "pass": 3, "engine": "claude", "producedAt": "2026-10-06T12:00:00Z", "ingestedAt": "2026-10-06T08:46:39+00:00", "fields": [ "agent_conduct", "ethics", "failure_modes_and_hazards", "owners", "visual_identification" ] }, "gate": { "passed": true, "version": "1.0", "at": "2026-10-07T10:10:26+00:00", "evidence": [ "completeness 1.00", "sense: Wikidata description", "2 live sources", "review by codex: pass" ] } }, "metaModel": { "id": "THING-Q1432836", "registryId": "vr.tr.furiant", "name": "furiant", "version": "0.1.0-research.1", "entryKind": "thing", "family": "Thing Registry", "domain": [ "ACT.ACT" ], "status": "research-draft" }, "canonicalUrl": "https://ver.cy/models/thing/q1432836/", "model": { "registry_id": "vr.tr.furiant", "name": "furiant", "purpose": "Enable an agent to recognise, document and support the performance of a furiant by relating its dance movements, rhythmic organisation and attributed tradition.", "definition": "A furiant is a lively Bohemian folk dance, and an instrumental musical form derived from it, characterized by shifting duple and triple accent patterns, often through hemiola within triple metre.", "scope_statement": "This model owns vr.tr.furiant as a Czech dance type and its associated musical idiom, distinguishing documented dance variants from concert stylisations while leaving individual works and performances to linked models.", "in_scope": [ "Evidence supporting identification as a furiant", "Relationships between musical pulse, accents and dance steps", "Variant-specific movement sequences and partner arrangements", "Regional attribution and transmission of dance variants", "Relationships between danced furiants and musical stylisations" ], "out_of_scope": [ "Complete descriptions of individual compositions, scores and recordings", "General theory of hemiola, syncopation and musical metre", "Independent models of polka, sousedská and other neighbouring dances", "Biographies of composers, collectors and dancers", "The Czech word's use as a description of a person" ], "distinguishing_features": [ "Seek a documented furiant attribution together with rhythmic or choreographic evidence; a title alone supports a named attribution rather than a fully verified dance classification.", "Test the relationship between duple step groupings and triple musical organisation; do not require printed time-signature changes. The documented Královéhradecko variant explicitly distinguishes its organisation from changing metre. [NÚLK dance description](https://www.lidovakultura.cz/2018/08/21/b-2-furiant-z-kralovehradecka/)", "Distinguish a danced variant from a concert treatment: Dvořák's Op. 46 includes movements identified as furiants, but that classification does not supply choreography. [PTNA work commentary](https://enc.piano.or.jp/en/musics/99)", "Require more than speed, Czech provenance or isolated hemiola to distinguish a furiant from neighbouring dances and unrelated musical passages." ], "characteristics": [ { "name": "Realisation category", "kind": "category", "unit_or_values": "documented dance variant; dance accompaniment; concert stylisation; unresolved attribution", "why_it_matters": "Determines whether movement evidence, musical evidence or both are required." }, { "name": "Attribution basis", "kind": "relation", "unit_or_values": "named collector, practitioner, publication or collection linked to the attributed variant", "why_it_matters": "Makes classification traceable without treating every use of the name as equivalent." }, { "name": "Metric and accent organisation", "kind": "category", "unit_or_values": "notated metre plus ordered accent groupings, with passage boundaries and uncertainty", "why_it_matters": "Separates written bar structure from heard grouping and danced rhythm." }, { "name": "Performance tempo", "kind": "measurement", "unit_or_values": "beats per minute with the counted note value or pulse explicitly identified", "why_it_matters": "Supports rehearsal and comparison without imposing an unsupported universal speed." }, { "name": "Step-to-pulse alignment", "kind": "relation", "unit_or_values": "movement events mapped to musical counts or recording timestamps", "why_it_matters": "Shows how the choreography realises the rhythmic pattern." }, { "name": "Partner configuration", "kind": "category", "unit_or_values": "source-described holds, independent passages, facing and travel direction", "why_it_matters": "Prevents the arrangement of one documented version from becoming mandatory for all furiants." }, { "name": "Reconstruction readiness", "kind": "state", "unit_or_values": "identification only; rhythm documented; partial choreography; complete sourced sequence; practitioner checked", "why_it_matters": "Determines whether an agent can classify, analyse or prepare a rehearsal responsibly." } ], "affordances": [ "Classify a candidate as a documented furiant, concert stylisation or unresolved attribution.", "Annotate duple groupings against musical bars and align them with steps.", "Compare regional or taught variants without combining their movements into an invented standard.", "Prepare a counted rehearsal sequence from a specified documented version.", "Link musical works to the dance idiom while recording which dance features they retain.", "Identify missing evidence that prevents confident reconstruction or classification." ], "agent_conduct": { "may": [ "Describe the furiant as a dance and musical form, citing sources and well-known compositions.", "Analyze its rhythmic patterns in scores the agent has access to." ], "must_not": [ "Distribute recordings or scores in breach of copyright.", "Misattribute compositions.", "Present stage or concert versions as the community dance." ], "requires_human": [ "Publishing arrangements of works still under copyright." ] }, "ethics": { "considerations": [ "Folk music forms carry national and regional identity.", "Composers' and performers' rights deserve respect." ], "affected_parties": [ "Czech communities", "Musicians", "Listeners" ] }, "owners": { "steward": "The public: the dance and form are held in common; rights holders answer for specific works.", "master_systems": [] }, "visual_identification": [ "As a dance, lively couple dancing in Bohemian folk costume.", "In scores, triple metre with accents shifting to create duple feel." ], "failure_modes_and_hazards": [ "Misattribution of works.", "Loss of the dance form as it lives on mainly in concert music." ], "what_it_is_for": [ "The furiant is encountered in Bohemian folk dance traditions, staged folk performances and teaching about regional dance.", "Its characteristic rhythmic accents also appear in instrumental compositions used for concert performance and musical analysis." ], "facets_not_applicable": { "interfaces": "No specific technical standard, law or official classification is applicable to the dance form itself." } }, "sources": [ { "id": "wikidata", "title": "Wikidata item Q1432836: furiant", "url": "https://www.wikidata.org/wiki/Q1432836", "url_status": "live", "what_it_supports": "identity and sense of the item", "checked_by": "wikidata-api" }, { "id": "wikipedia-en", "title": "Wikipedia: Furiant", "url": "https://en.wikipedia.org/wiki/Furiant", "url_status": "live", "what_it_supports": "general description of the item", "checked_by": "wikidata-api sitelink" } ], "structure": { "bundles": [ { "id": "furiant-identification", "name": "Furiant identification", "description": "Establish what is being called a furiant and which evidence supports that classification.", "rationale": "The registry supplies no definition, and musical naming does not by itself establish a dance sequence.", "layers": [ { "id": "dance-and-musical-idiom", "name": "Dance and musical idiom", "description": "Separate enacted dance traditions from associated musical treatments.", "findings": [ { "id": "attributed-realisation", "name": "Attributed realisation", "description": "Record whether the candidate is a dance variant, accompaniment or concert treatment, preserving the source's terminology.", "questions": [ { "text": "Does the source identify an enacted dance, accompanying tune or musical work as a furiant?", "kind": "definition", "id": "attributed-realisation-q01" }, { "text": "Who makes that identification, and where can the attribution be checked?", "kind": "provenance", "id": "attributed-realisation-q02" } ] } ] }, { "id": "neighbouring-dance-boundaries", "name": "Neighbouring dance boundaries", "description": "Evaluate evidence beyond a shared tempo, origin or rhythmic device.", "findings": [ { "id": "combined-identification-evidence", "name": "Combined identification evidence", "description": "Use attributed tradition, phrase-level rhythm and available movement evidence together; retain uncertain cases explicitly.", "questions": [ { "text": "What supports identifying this candidate as a furiant rather than another Czech dance or a passage containing hemiola?", "kind": "boundary", "id": "combined-identification-evidence-q01" }, { "text": "If the title and observed features disagree, should the candidate remain a named but unverified attribution?", "kind": "action", "id": "combined-identification-evidence-q02" } ] } ] } ] }, { "id": "furiant-rhythm", "name": "Furiant rhythm", "description": "Represent the relationships between notation, accent groups and performed pulse.", "rationale": "Equating rhythmic regrouping with time-signature changes can misrepresent the feature being recognised.", "layers": [ { "id": "bars-and-step-groupings", "name": "Bars and step groupings", "description": "Keep musical metre and choreographic counting separately inspectable.", "findings": [ { "id": "duple-steps-over-triple-bars", "name": "Duple steps over triple bars", "description": "The Královéhradecko account describes three duple-rhythm steps across two triple-time bars. Treat this as documented variant evidence. [NÚLK dance description](https://www.lidovakultura.cz/2018/08/21/b-2-furiant-z-kralovehradecka/)", "questions": [ { "text": "Which bars or timestamps show duple step groups against triple musical organisation?", "kind": "measurement", "id": "duple-steps-over-triple-bars-q01" }, { "text": "Does the evidence show changed metre, changed accents, changed step grouping or a combination?", "kind": "boundary", "id": "duple-steps-over-triple-bars-q02" } ] } ] }, { "id": "tempo-and-phrase-return", "name": "Tempo and phrase return", "description": "Locate rhythmic transitions and their recurrence at the performed tempo.", "findings": [ { "id": "countable-phrase-map", "name": "Countable phrase map", "description": "Record successive groupings and returns without imposing one rhythmic cycle or tempo on every attributed furiant.", "questions": [ { "text": "What is the ordered grouping pattern across the complete phrase, including repeated and contrasting passages?", "kind": "measurement", "id": "countable-phrase-map-q01" }, { "text": "What pulse and tempo allow dancers to rehearse the transitions in this documented version?", "kind": "action", "id": "countable-phrase-map-q02" } ] } ] } ] }, { "id": "furiant-choreography", "name": "Furiant choreography", "description": "Connect variant-specific movements and partner relationships to the music.", "rationale": "Rhythmic recognition alone cannot tell an agent how a particular furiant is danced.", "layers": [ { "id": "movement-sequence", "name": "Movement sequence", "description": "Describe steps and gestures at the level supported by a particular account.", "findings": [ { "id": "sourced-step-alternation", "name": "Sourced step alternation", "description": "The Královéhradecko description alternates furiant passages with sousedská steps and provides movement alternatives. These belong to that account rather than a universal sequence. [NÚLK dance description](https://www.lidovakultura.cz/2018/08/21/b-2-furiant-z-kralovehradecka/)", "questions": [ { "text": "Which steps, turns and accents occur on each count in the chosen version?", "kind": "measurement", "id": "sourced-step-alternation-q01" }, { "text": "Which alternatives does the source permit, and which substitutions would be new choreography?", "kind": "boundary", "id": "sourced-step-alternation-q02" } ] } ] }, { "id": "partner-and-travel-pattern", "name": "Partner and travel pattern", "description": "Track holds, relative positions and travel through each passage.", "findings": [ { "id": "passage-specific-configuration", "name": "Passage-specific configuration", "description": "Preserve the configuration of each passage and distinguish source-assigned dancer roles from roles chosen for a new staging.", "questions": [ { "text": "Where do dancers change hold, facing, separation or direction of travel?", "kind": "measurement", "id": "passage-specific-configuration-q01" }, { "text": "How can the selected staging preserve the documented rhythmic coordination when dancer roles or spacing are adapted?", "kind": "action", "id": "passage-specific-configuration-q02" } ] } ] } ] }, { "id": "furiant-transmission-and-use", "name": "Furiant transmission and use", "description": "Maintain the lineage of variants and the limits of their reuse.", "rationale": "An agent must distinguish an attested regional version from a reconstruction or artistic transformation.", "layers": [ { "id": "variant-lineage", "name": "Variant lineage", "description": "Associate each sequence with the people, locality and documentation that support it.", "findings": [ { "id": "tradition-and-arrangement", "name": "Tradition and arrangement", "description": "Record collected or taught material separately from editorial, musical and choreographic interventions.", "questions": [ { "text": "Which locality, informants, collectors or teachers support this version's attribution?", "kind": "provenance", "id": "tradition-and-arrangement-q01" }, { "text": "Which elements are directly documented and which were reconstructed or arranged later?", "kind": "provenance", "id": "tradition-and-arrangement-q02" } ] } ] }, { "id": "concert-and-rehearsal-use", "name": "Concert and rehearsal use", "description": "Determine what a linked musical treatment or dance account enables an agent to do.", "findings": [ { "id": "usable-evidence-and-stylisation", "name": "Usable evidence and stylisation", "description": "Treat concert examples as evidence of musical usage. PTNA identifies Dvořák's Op. 46 Nos. 1 and 8 as furiants; choreography requires separate evidence. [PTNA work commentary](https://enc.piano.or.jp/en/musics/99)", "questions": [ { "text": "Which rhythmic features connect the linked composition to the dance idiom, and is any choreography independently documented?", "kind": "boundary", "id": "usable-evidence-and-stylisation-q01" }, { "text": "Is the available evidence sufficient for musical analysis, counted rehearsal or a complete dance reconstruction?", "kind": "action", "id": "usable-evidence-and-stylisation-q02" } ] } ] } ] }, { "id": "evidence-and-external-alignment", "name": "Evidence and external alignment", "description": "What the world already says about this thing, gathered so the model can be checked against it.", "rationale": "A model that cannot be lined up against existing standards, identifiers and practice cannot be adopted by anyone who already uses them.", "layers": [ { "id": "reported-evidence", "name": "Reported evidence", "description": "Findings from the breadth pass, kept separate from the structural claims.", "findings": [ { "id": "evidence-confidence-notes", "name": "Check these first", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "The intended sense is inferred to be the Czech dance and musical form because no sense was supplied.", "Descriptions of alternating duple and triple metre may refer to accent grouping rather than written changes of time signature.", "Specific regional choreography, historical variants and tempo conventions require verification; none are asserted here." ], "questions": [ { "id": "evidence-confidence-notes-q01", "text": "Which of these check these first hold for the sense of furiant this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-kinds", "name": "Kinds and varieties", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Traditional folk dance", "Instrumental concert stylization" ], "questions": [ { "id": "evidence-kinds-q01", "text": "Which of these kinds and varieties hold for the sense of furiant this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-real-world-use", "name": "Real-world use", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Performance in Czech folk dance traditions.", "Stylized dance movements in concert music, including works by Antonín Dvořák.", "Evocation of Czech dance traditions in theatrical music, including Bedřich Smetana's The Bartered Bride." ], "questions": [ { "id": "evidence-real-world-use-q01", "text": "Which of these real-world use hold for the sense of furiant this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-regional-variation", "name": "Regional variation", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ "Associated particularly with Bohemia within the Czech cultural tradition." ], "questions": [ { "id": "evidence-regional-variation-q01", "text": "Which of these regional variation hold for the sense of furiant this model covers, and on what evidence?", "kind": "provenance" } ] }, { "id": "evidence-neighbours", "name": "Neighbouring kinds and how to tell them apart", "description": "Recalled without web access and unsourced; every item is a lead to verify.", "evidence": [ { "name": "hemiola", "difference": "Hemiola is a rhythmic relationship used across many musical traditions; a furiant is a specific dance and associated musical form that often employs it." }, { "name": "polka", "difference": "The polka is conventionally a duple-metre dance; the furiant is distinguished by the interplay of duple and triple accents." }, { "name": "sousedská", "difference": "The sousedská is generally a moderate, swaying triple-metre Czech dance, whereas the furiant is brisk and rhythmically forceful." } ], "questions": [ { "id": "evidence-neighbours-q01", "text": "Which of these neighbouring kinds and how to tell them apart hold for the sense of furiant this model covers, and on what evidence?", "kind": "provenance" } ] } ] } ] } ] }, "openQuestions": [ "How broadly do regional collectors and practitioners apply the name furiant to variants lacking the familiar duple-against-triple pattern?", "Which descriptions of changing metre represent actual metric alternation, and which describe accent or step regrouping within stable triple metre?", "What tempo ranges are supported by historical and contemporary dance evidence, rather than inferred from concert stylisations?", "Which movement and partner features recur across independent regional accounts strongly enough to serve as recognition criteria?", "What evidence establishes the earliest dance usage and its relationship to the word's social meaning?" ], "statistics": { "bundles": 5, "layers": 9, "findings": 13, "questions": 21 } }