Search (53 results, page 2 of 3)

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Abstract

Das kommt in allen Unternehmen vor: Bei der morgendlichen Lektüre der Tageszeitung oder dem späteren Studium der Fachzeitschriften springt dem geneigten Leser ein Artikel mit Informationen ins Auge, die es wert wären, für später (oder den Sankt Nimmerleinstag) aufgehoben zu werden. Was passiert? Man eilt zum Kopierer oder greift ohne Umweg zu Schere, Kleber und Ordner - und ist den Artikel erst einmal los. Später findet man ihn unter Umständen unter einem mehr oder weniger zutreffenden Stichwort noch einmal wieder. Oder auch nicht. Diese Vorgehensweise mag für's Privatarchiv gerade noch überschaubar sein. Große Unternehmen mit umfangreichen Dokumentationen gehen jedoch mehr und mehr dazu über, das klassische Papierarchiv durch elektronische Informationssysteme zu ersetzen. Vorgestellt wird ein Beispiel aus der chemischen Industrie

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Abstract

Das starke Anwachsen neuer und die Inkonsistenz vorhandener Informationen fordert auch im Bereich der Kunstgeschichte, über neue Verfahren zur Informationsbeherrschung nachzudenken. Information kann nur beherrscht werden, wenn ihre Strukturierung gelingt. Nach einer Übersicht über die klassischen Verfahren zur Beschriebung kunstgeschichtlicher Objekte und ihre bislang praktizierten Dokumentationsverfahren wird ein ganzheitliches Informationsmodell auf der Basis objektorientierter Attributierung vorgeschlagen, wobei die kunstgeschichtlichen Objekte aller Gattungen selbst den Kern des Modells darstellen. Die Taxonomie der Objekteigenschaften wird dabei aus dem Entstehungsprinzip der kunstgeschichtlichen Objekte hergeleitet. Je nach gewählter Sicht werden durch die Bildung generischer Klassen die an sich beliebig vielfältigen Attribute auf ein praktikables Maß komprimiert. Die objektorientierte Attributierung kann so alle Dokumentationsaufgaben, die für die Zwecke der Kunstobjektlogistik bis hin zur kunstwissenschaftlichen Analytik notwendig sind, auf effiziente Art unterstützen

Source

nfd Information - Wissenschaft und Praxis. 49(1998) H.7, S.407-413

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Abstract

Dokumentationsaktivitäten waren im Museum lange auf Bestandsverwaltung beschränkt, wobei die Informationen ähnlich behandelt wurden wie bibliographische Informationen. Doch die systematische Sammlung wissenschaftlicher Informationen zu Museumsobjekten unterscheidet sich davon stark. Das CIDOC Conceptual Reference Model (CRM) unterstützt diese erweiterten Anforderungen, weil mit ihm komplexe Datenstrukturen in kontrollierter, aber flexibler Weise behandelt werden können. Technisch ist das CIDOC CRM eine Ontologie, die unter dem Paradigma der Objektorientierung speziell für den Museumsbereich erarbeit etwurde. Das CHIOS Projekt versucht derzeit, CIDOC-CRM als ISO-Standard zu etablieren.

Source

Information - Wissenschaft und Praxis. 53(2002) H.6, S.333-338

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Abstract

Discusses the possibilities and difficulties encountered when using a thematic index to search contemporary art databanks. Jaconde and Videomuseum, 2 French databanks, are used as examples. the core problems found in the study are the methods and limits of indexing in both systems. A thematic index should be developed that is better adapted to 20th century art, based on the complementary and reciprocal relationship between text and image, and which fully exploits hypertext

Date

1. 8.1996 22:01:00

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Source

4. BSZ-Kolloquium am 17. und 18. September an der Universität Stuttgart. Vorträge

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Imprint

Darmstadt : Fachhochschule, FB Information und Dokumentation

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Date

5. 3.1999 17:40:22

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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.

Source

Zeitschrift für Bibliothekswesen und Bibliographie. 49(2002) H.2, S.69-73

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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

BK

06.00 / Information und Dokumentation: Allgemeines

Classification

06.00 / Information und Dokumentation: Allgemeines

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."

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Source

Information - Wissenschaft und Praxis. 53(2002) H.6, S.339-346

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Abstract

Because of the individual character of museums the use of online catalogues to describe objects in the collections in the Netherlands has lagged behind that of libraries. In 1993 the MIRO (Museale Informatieverzorgingen Registratie Opleidingen) project was inaugurated to identify probllem areas and devise solutions. The project identified 4 areas for which training is required for museum staff: description of objects, compilation of indexes, automation in museums, and the use of multimedia systems. Following the project's report the Dutch government has dedicated extra funds for museum automation

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Abstract

The head of electronic engineering at Florence's Universita degli Studi describes how the department has used digitized imaging and computer reconstructions to aid the restoration and preservation of works of art in museums such as the Uffizi. The dapertmant shares in the MAN (Metropolitan Area Network) Toscana Telecoms project, whose applications include remote access to libraries and museums; and it also takes part in the EU MUSA project, which developed the Vasari (Visual Arts Systems Archiving Retrieval Images) scanner, and in the RAMA (Remote Access to Museum Archives) scheme

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Abstract

Describes the Remote Access to Museum Archive project, a CEC funded project which aims to promote access to museums documentary databases in museums via telecommunications. Describes existing museum databases which are remotely accessible. The RAMA project aims to interconnect the image documentary databases of seven European museums. Describes its progress, and prospects for creation of an electronic museum

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Abstract

The National School of Fine Arts houses collections of prints, manuscripts, photographs, drawings, paintings, sculpture, architectural designs and printed texts: in all some 200.000 works. The computerised joint catalogue project begun in 1992 already comprises 42.000 records and 4.000 images captured from the original indexes and catalogues. The software used, Micromusee, was developed specifically for special collections: MARC compatible, it offers both controlled and natural language searching, and is very simple to use

Content

Presentation given at the French Libraries Association 5th national arts libraries meeting, held in Paris in Sept. 1997

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Abstract

Twenty years of experience with computers in museums has led from the original 'purely scientific' objectives to a more down-to-earth approach aimed at rationalizing repetitive procedures. Dealing with fragmentary or unclean data is of primary concern. In the 'small museums' project useful techniques from the field of thesaurus applications are customized in daily practice for this purpose

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Abstract

The Micro Gallery is a computerised, interactive, public access information system located in the Sainsbury Wing of the National Gallery in London. It provides detailed information about the Gallery's collection of paintings in an accessible form, using digitised colour images and touch screen technology. Discusses the evolution of the system, its reception and the projects it has spawned

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Abstract

A preliminary survey of poster collections in libraries, museums, and archives in the Netherlands revealed a wealth of material about which little was known. A deteiled survey was, therefore, undertaken in 1992 by the Rijksdienst Beeldende Kunst of 14 institutiions known to hold poster collections. As a result of the project the Database Nederlandse Affiches has been compiled to record details of the 72.000 items identified. Other institutions have now begun to submit details of their holdings to the database

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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

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Abstract

Describes a project launched in 1992 to computerize the collections of the Musée des Tissus in Lyon. Known as Système d'Organisation et d'Inventaire Étendu a la Récherche (SOIERIE), it is a tool for internal archiving and management and an image databank. Describes the background to the project, data and equipment, consultation, the users and the current situation

Footnote

Paper presented to the 5th National Meeting of the Sous-Section des Bibliothèques d'Art, Association des Bibliothequaires Francais on 'L'avenir du passe: les nouvelles technologies' in Paris, 19 Sep 1997

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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.