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Abstract

The Dublin Core metadata community and the INDECS/DOI community of authors, rights holders, and publishers are seeking common ground in the expression of metadata for information resources. Recent meetings at the 6th Dublin Core Workshop in Washington DC sketched out common models for semantics (informed by the requirements articulated in the IFLA Functional Requirements for the Bibliographic Record) and conventions for knowledge representation (based on the Resource Description Framework under development by the W3C). Further development of detailed requirements is planned by both communities in the coming months with the aim of fully representing the metadata needs of each. An open "Schema Harmonization" working group has been established to identify a common framework to support interoperability among these communities. The present document represents a starting point identifying historical developments and common requirements of these perspectives on metadata and charts a path for harmonizing their respective conceptual models. It is hoped that collaboration over the coming year will result in agreed semantic and syntactic conventions that will support a high degree of interoperability among these communities, ideally expressed in a single data model and using common, standard tools.

Type

a

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Abstract

Changing technological paradigms require new approaches to the definition of standards in the area of art information. Previously separate databases, image bases, computer aided design systems and geographical information systems are now being linked into multimedia, interdisciplinary information systems. Such integration is possible if all systems are built on a shared intellectual framework. The importance of contextual and descriptive information must be recognised when applied to museum objects. Examines how the information itself should be considered rather than delivery systems and technology if such systems are to progress

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a

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a

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Abstract

From their earliest encounters with the Web, museums have seen an opportunity to move beyond uni-directional communication into an environment that engages their users and reflects a multiplicity of perspectives. Shedding the "Unassailable Voice" (Walsh 1997) in favor of many "Points of View" (Sledge 1995) has challenged traditional museum approaches to the creation and delivery of content. Novel approaches are required in order to develop and sustain user engagement (Durbin 2004). New models of exhibit creation that democratize the curatorial functions of object selection and interpretation offer one way of opening up the museum (Coldicutt and Streten 2005). Another is to use the museum as a forum and focus for community story-telling (Howard, Pratty et al. 2005). Unfortunately, museum collections remain relatively inaccessible even when 'made available' through searchable on-line databases. Museum documentation seldom satisfies the on-line access needs of the broad public, both because it is written using professional terminology and because it may not address what is important to - or remembered by - the museum visitor. For example, an exhibition now on-line at The Metropolitan Museum of Art acknowledges "Coco" Chanel only in the brief, textual introduction (The Metropolitan Museum of Art 2005a). All of the images of her delightful fashion designs are attributed to "Gabrielle Chanel" (The Metropolitan Museum of Art 2005a). Interfaces that organize collections along axes of time or place - such of that of the Timeline of Art History (The Metropolitan Museum of Art 2005e) - often fail to match users' world-views, despite the care that went into their structuring or their significant pedagogical utility. Critically, as professionals working with art museums we realize that when cataloguers and curators describe works of art, they usually do not include the "subject" of the image itself. Simply put, we rarely answer the question "What is it a picture of?" Unfortunately, visitors will often remember a work based on its visual characteristics, only to find that Web-based searches for any of the things they recall do not produce results.

Type

a

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Abstract

Documentation of art museum collections has been traditionally written by and for art historians. To make art museum collections broadly accessible, and to enable art museums to engage their communities, means of access need to reflect the perspectives of other groups and communities. Social Tagging (the collective assignment of keywords to resources) and its resulting Folksonomy (the assemblage of concepts expressed in such a cooperatively developed system of classification) offer ways for art museums to engage with their communities and to understand what users of online museum collections see as important. Proof of Concept studies at The Metropolitan Museum of Art compared terms assigned by trained cataloguers and untrained cataloguers to existing museum documentation, and explored the potential for social tagging to improve access to museum collections. These preliminary studies, the results of which are reported here, have shown the potential of social tagging and folksonomy to open museum collections to new, more personal meanings. Untrained cataloguers identified content elements not described in formal museum documentation. Results from these tests - the first in the domain - provided validation for exploring social tagging and folksonomy as an access strategy within The Metropolitan Museum, motivation to proceed with a broader inter-institutional collaboration, and input into the development of a multi-institutional collaboration exploring tagging in art museums. Tags assigned by users might help bridge the semantic gap between the professional discourse of the curator and the popular language of the museum visitor. The steve collaboration (http://www.steve.museum) is building on these early studies to develop shared tools and research methods that enable social tagging of art museum collections and explore the utility of folksonomy for providing enhanced access to collections.

Type

a