Search (21 results, page 1 of 2)

  • × year_i:[2000 TO 2010}
  • × theme_ss:"Objektdokumentation"
  1. Paolini, P.; Barbieri, T.; Loiudice, P.; Alonzo, F.; Zanti, M.; Gaia, G.: Visiting a museum together : how to share a visit to a virtual world (2000) 0.00 
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  2. Marty, P.F.: On-line exhibit design : the sociotechnological impact of building a museum over the World Wide Web (2000) 0.00 
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    Abstract
    This article examines the sociotechnological impact of introducing collaborative technologies into the Spurlock Museum, a museum of world history and culture at the University of Illinois
    Type
    a
  3. Düro, M.; Schweibenz, W.: Metadaten für Museen (2002) 0.00 
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  4. Larsen, J.L.: ¬The LongHouse proposal for objects classified by mediums (2009) 0.00 
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    Abstract
    In 1996, with funding from the Henry Luce Foundation, Jack Lenor Larsen and an advisory committee composed of distinguished museum and design professionals developed Objects Classified by Mediums in response to the concern that existing systems do not provide the tools for comparing information on objects. A common understanding and definitions of terms are crucial to the success of a classification project meant to cross institutional and national boundaries. Objects Classified by Mediums seeks to organize areas of study in fiber, clay, metal, wood, and so on, to allow curators and scholars to compare information on similar methods used, build a conceptual framework for the greater understanding of whole categories of objects rather than as isolated works, and provide a finding tool for cross-cultural and cross-disciplinary investigation.
    Type
    a
  5. Wright, R.: PRESTO - Multimedia archive preservation (2002) 0.00 
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    Abstract
    EC project PRESTO has completed a survey of the holdings and preservation status of ten major broadcast archives. These archives represent a significant portion of total European broadcast archives, including some ofthe largest individual collections.The main findings are that approximately 75% of this material is at risk or inaccessible and that the collections are growing at roughly four times the rate of current progress in preservation work. This article gives detailed results of the survey, and describes the technical developments being produced by project PRESTO to reduce the costs and improve the effectiveness of multimedia archive preservation projects.
    Type
    a
  6. When museum informatics meets the World Wide Web (2000) 0.00 
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    Abstract
    A special topic issue devoted to museum informatics and the WWW
  7. Walsh, P.: ¬The neon paintbrush : seeing, technology, and the museum as metaphor (2000) 0.00 
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  8. Cataloging cultural objects: . Chicago: American Library Association, 396 p. ISBN 978-0-8389-3564-4 (pbk.) : a guide to describing cultural work and their images (2006) 0.00 
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    Abstract
    For the first time, under the leadership of the Visual Resources Association, a cross section of five visual and cultural heritage experts, along with scores of reviewers from varied institutions, have created a new data content standard focused on cultural materials. This cutting-edge reference offers practical resources for cataloging and flexibility to meet the needs of a wide range of institutions - from libraries to museums to archives to visual collections. Consistently following these guidelines for selecting, ordering, and formatting data used to populate metadata elements in cultural materials' catalog records: promotes good descriptive cataloging and reduces redundancy; builds a foundation of shared documentation; creates data sharing opportunities; and, complements existing standards
    Footnote
    Rez. in: KO 34(2007) no.4, S. 264-265 (L.C. Howarth): "At a time when cataloguing code revision is continuing apace with the consolidation of the International Standard Bibliographic Description (ISBD), the drafting of RDA: Resource Description and Access, and the development of common principles for an international cataloguing code (International Meeting of Experts on an International Cataloguing Code [IME ICC]), the publication of a guide for cataloguing cultural objects is timely and purposeful. Compiling this data content standard on behalf of the Visual Resources Association, the five editors - with oversight from an advisory board - have divided the guide into three parts. Following a brief introduction outlining the purpose, intended audience, and scope and methodology for the publication, Part One, General Guidelines, explains both what the Cataloging Cultural Objects (CCO) guide is "a broad document that includes rules for formatting data, suggestions for required information, controlled vocabulary requirements, and display issues" (p. I) and is not "not a metadata element set per se" (p. 1). Part Two, Elements, is further divided into nine chapters dealing with one or more metadata elements, and describing the relationships between and among each element. Part Three, Authorities, discusses what elements to include in building authority records. A Selected Bibliography, Glossary, and Index, respectively, round out the guide.
    As the editors note in their introduction, "Standards that guide data structure, data values, and data content form the basis for a set of tools that can lead to good descriptive cataloging, consistent documentation, shared records, and increased end-user access" (p. xi). The VRA Core Categories, for example, represent a set of metadata elements expressed within an XML structure (data structure). Likewise, the Art Architecture Thesaurus contains sets of terms and relationships, or defined data values. While much effort has been expended on developing both data structures and values, the editors argue, the third leg of the stool, data content, has received less attention. Unlike the library community with its Anglo-American Cataloging Rules [sic though RDA is referenced in the Selected Bibliography], or its archival equivalent, Describing Archives: A Content Standard (DACS), those in the domain of cultural heritage responsible for describing and documenting works of art, architecture, cultural artifacts, and their respective images, have not had the benefit of such data content standards. CCO is intended to address (or redress) that gap, emphasizing the exercise of good judgment and cataloguer discretion over the application of "rigid rules" [p. xii], and building on existing standards. ... Overall, Cataloging Cultural Objects with its attending guidelines for descriptive metadata and authority control for "one-of-a-kind cultural objects" should merit a place among the "well-established" data content standards of the library and archival communities that CCO references with obvious regard."
  9. Smiraglia, R.P.: Knowledge sharing and content genealogy : extensing the "works" model as a metaphor for non-documentary artefacts with case studies of Etruscan artefacts (2004) 0.00 
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    Abstract
    The harmonization and extension of a taxonomy of works from the documentary to the artefactual domain represents an attempt to further knowledge sharing across cultural boundaries. The uses and users of works, both documentary and artefactual, are global-the need for this advance in the organization of knowledge is therefore also global. Works are the formal records of knowledge, the essential records of human accomplishment. Works are a global phenomenon despite potential cultural variations in their creation and instantiation, and the need to organize works for retrieval is likewise a global phenomenon. Artefacts (sculptures, paintings, realia, documents, books, scores, recordings, etc.) are the physical media collected by repositories of culture (libraries, archives, museums, etc.), and are the means by which works are communicated. Works mutate and derive across time and culture in response to their entrance into a canon of cultural meaning. In the present paper, we review the characteristics of documentary works. Then we extend the metaphor from the documentary environment to the artefactual environment. To carry the metaphor from the documentary domain to the artefactual domain we alter the terms of the definition slightly, thus: 1) instantiation is understood as content genealogy. an epistemological architecture of content-genealogy is presented, demonstrating the potential for mutation and derivation of the representations of artefacts. Case studies of Etruscan artefacts from the University of Pennsylvania Museum of Archaeology and Anthropology are used to demonstrate the inherence of the work in nondocumentary artefacts. An outline of a meta-theory of "works" is presented that harmonizes the documentary and artefactual domains.
    Type
    a
  10. Hesse, P.: Von Null auf Hundert : Anwendung einer Datenbank zur Objektverwaltung in den Reiss-Engelhorn-Museen Mannheim (2003) 0.00 
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  11. Cataloging culutural objects : a guide to describing cultural works and their images (2003) 0.00 
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    Abstract
    It may be jumping the gun a bit to review this publication before it is actually published, but we are nothing if not current here at Current Cites, so we will do it anyway (so sue us!). This publication-in-process is a joint effort of the Visual Resources Association and the Digital Library Federation. It aims to "provide guidelines for selecting, ordering, and formatting data used to populate catalog records" relating to cultural works. Although this work is far from finished (Chapters 1, 2, 7, and 9 are available, as well as front and back matter), the authors are making it available so pratictioners can use it and respond with information about how it can be improved to better aid their work. A stated goal is to publish it in print at some point in the future. Besides garnering support from the organizations named above as well as the Getty, the Mellon Foundation and others, the effort is being guided by experienced professionals at the top of their field. Get the point? If you're involved with creating metadata relating to any type of cultural object and/or images of such, this will need to be either on your bookshelf, or bookmarked in your browser, or both
  12. Marty, P.F.: Museum informatics (2009) 0.00 
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    Abstract
    Museum informatics is the study of the sociotechnical interactions that take place at the intersection of people, information, and technology in museums. This entry presents an overview of museum informatics, covering such topics as information representation, information organization and access, information management, information technology, information interactions, and information professionals in museums. It explores the impact of information science and technology on museums, museum professionals, and museum visitors, and argues that museum researchers must take a sociotechnical approach to studying the use of information resources and technologies in museums.
    Type
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  13. Paternò, F.; Mancini, C.: Effective levels of adaptation to different types of users in interactive museum systems (2000) 0.00 
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    Abstract
    Users interact with museum application interfaces for many reasons. There are various types of users, who want to perform various tasks, in various contexts, that can access the same Web site. Thus, it is important to have user interfaces able to adapt to these different user requirements to facilitate the accomplishment of the desired goals. Most current interfaces to museum information do not take into account this variety of types of users, thus providing interfaces that some users find confusing to achieve their goals. In this article we discuss the various possible levels of support that can be given to different users during navigation of museum information. In particular, we focus our attention on how to obtain adaptable and adaptive interfaces using the web site for the Marble Museum, which we have designed and developed, as a source of examples for our discussion of possible solutions
    Type
    a
  14. Petschar, H.: Vom Zettel- zum Bildkatalog : das Projekt "Digitales Bildarchiv" an der Österreichischen Nationalbibliothek - ein Werkstattbericht (2002) 0.00 
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  15. O'Keefe, E.; Oldal, M.: Cataloging Cultural Objects (CCO) (2009) 0.00 
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    Abstract
    The entry provides an overview of the data content standard, Cataloging Cultural Objects (CCO), developed by the Visual Resources Association (VRA), and published in 2006 by the American Library Association (ALA). CCO fills a gap in the array of descriptive standards by providing guidelines for visual resources curators, museum documentation specialists, archivists, librarians, or anyone engaged in the documentation of works of art and architecture, objects of material culture, and their images. The entry begins by placing CCO within the context of object and visual image cataloging and the broader framework of data content standards. Following the organization of the guide, which is divided into three parts, General Guidelines, Elements, and Authorities, it summarizes the main features of CCO. Finally, it evaluates CCO in terms of its suitability for use by the metadata communities that form its intended audience, and its sustainability.
    Type
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  16. Krause, S.: CIDOC - Conceptual Reference Model : oder: das Schweizer Taschenmesser für die Museums- und Kulturinformatik (2002) 0.00 
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  17. Dworman, G.O.; Kimbrough, S.O.; Patch, C.: On pattern-directed search of arcives and collections (2000) 0.00 
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    Abstract
    This article begins by presenting and discussing the distinction between record-oriented and pattern-oriented search. Examples or recordoriented (or item-oriented) questions include: "What (or how many, etc.) glass items made prior to 100 A.D. do we have in our collection?" and "How many paintings featuring dogs do we have that were painted during the 19th century, and who painted them?" Standard database systems are well suited to answering such questions, based on the data in, for example, a collections management system. Examples of pattern-oriented questions include: "How does the (apparent) productoin of glass objects vary over time between 400 B.C. and 100 A.D.?" and "What other animals are present in paintings with dogs (painted during the 19th century and in our collection)?" Standard database systems are not well suited to answering these sorts of questions, even though the basic data is properly stored in them. To answer pattern-oriented questions it is the accepted solution to transform the underlying (relational) data to what is called the data cube or cross tabulation form. We discuss how this can be done for non-numeric data, such as are found in museum collections and archives
    Type
    a
  18. Koch, W.: Gedanken zur Museumsdokumentation (2002) 0.00 
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