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  • × theme_ss:"Objektdokumentation"
  1. O'Keefe, E.; Oldal, M.: Cataloging Cultural Objects (CCO) (2009) 0.03 
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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.
    Source
    Encyclopedia of library and information sciences. 3rd ed. Ed.: M.J. Bates
  2. 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) 0.03 
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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."
    LCSH
    Cataloging / Handbooks, manuals, etc.
    Cataloging of art / Handbooks, manuals, etc.
    Cataloging of pictures / Handbooks, manuals, etc.
    Subject
    Cataloging / Handbooks, manuals, etc.
    Cataloging of art / Handbooks, manuals, etc.
    Cataloging of pictures / Handbooks, manuals, etc.
  3. Chenhall, R.; Blackaby, J.R.; Greeno, P.: ¬The revised nomenclature for museum cataloging : a revised and expanded version of Robert G. Chenhall's system for classifying man-made objects (1989) 0.02 
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  4. Cataloging culutural objects : a guide to describing cultural works and their images (2003) 0.01 
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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
  5. Regimbeau, G.: Acces thématiques aux oeuvres d'art contemporaines dans les banques de données (1998) 0.01 
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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
    Footnote
    Übers. d. Titels: Thematic access to databanks on contemporary works of art
  6. Blummer, T.: Objektverwalter : Objektdatenbanken - High Tech Spielzeuge oder Zukunftsmodell? (1997) 0.01 
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    Date
    5. 3.1999 17:40:22
  7. Meyer, U.: Entwurf und Realisierung eines Hypermediasystems : vernetzte Informationen zu ausgewählten Bauplastiken in Hannover (1993) 0.01 
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    Source
    Technik und Information: Markt, Medien und Methoden. Deutscher Dokumentartag 1992, Technische Universität Berlin, 22.-25.9.1992. Hrsg.: W. Neubauer u. K.-H. Meier
  8. Schweibenz, W.: Museumsinformation im Internet am Beispiel der Webseiten zweier Kunstmuseen in den USA (1998) 0.00 
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    Source
    Information und Märkte: 50. Deutscher Dokumentartag 1998, Kongreß der Deutschen Gesellschaft für Dokumentation e.V. (DGD), Rheinische Friedrich-Wilhelms-Universität Bonn, 22.-24. September 1998. Hrsg. von Marlies Ockenfeld u. Gerhard J. Mantwill
  9. Koch, W.: Gedanken zur Museumsdokumentation (2002) 0.00 
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    Abstract
    Der Begriff Museumsdokumentation hat sich im Lauf der Jahre stark verändert wobei wohl die Betonung auf "Dokumentation"liegt. Orientierten sich erste Modelle an schriftlichen Aufzeichnungen zu Objekten mittels verschiedener Arten von Karteikarten, so kann heute die Dokumentation auch als Teil der Inhaltsgewinnung (content management) aufgefasst werden. Die wissenschaftliche Zuordnung derDokumentation wird grob skizziert, wobei auf detaillierte museologische Ansätze nicht eingegangen werden kann. Im Kapitel Objektbeschreibung wird auf die MetadatenProblematik eingegangen. Es geht um einen pragmatischen Ansatz zur Modellierung von Metadaten und Relationen. Ein Exkurs in das Gebiet des semantischen Netzes rundet dieses Kapitel ab. Dokumentation als Teil von Dokumentationsprozessen und Informationssystemen beschäftigt sich mit vorhandenen, in Museen selbst einzusetzenden Sammlungsverwaltungsprogrammen, es wird aber auch die Partnerschaf mit externen Dienstleistern angesprochen. NeueFormen der technischen Realisierung ermöglichen die Partnerschaf verschiedener Service-Anbieter, sodass die Abhängigkeit von einzelnen Technologie-Lieferanten gemildert wird. Im letzten Kapitel wird die Möglichkeit aufgezeigt, wie Museen am elektronischen Geschäftsverkehr teilnehmen können, wobei derZugang zu thematisch und personalisiert aufbereiteten Informationen über mobile Geräte mit dem Einsatz neuer Technologien an Bedeutung gewinnen wird.
  10. 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
    Source
    Journal of the American Society for Information Science. 51(2000) no.1, S.24-32
  11. Kemmerling, A.: ¬Het MIRO-project : kennisachterstand in museale informatieverzorging structureel aangepakt (1994) 0.00 
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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
  12. Saltzman, A.B.: Art slide sets : online access (1998) 0.00 
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    Abstract
    Ellender Memorial Library at Nicholls State University, Louisiana has a slide collection including 10,000 slides in 60 sets devoted to art. Describes how the cataloguer solved the problem of entering sufficiently detailed records of this part of the collection on the OPAC of a small college library, using the OCLC authority file for artists' names and NUTPLUS which offers access via any combination of 15 data elements including e.g., aspects of the subject, call and item numbers and location of the works of art. NUTPLUS is now available in a new version, called Ultra-Plus Advanced, from Fairhaven Software of Stoughton, Massachusetts
  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
    Source
    Journal of the American Society for Information Science. 51(2000) no.1, S.5-13
  14. Wolters, C.: Object databases and thesauri for small museums (1991) 0.00 
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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
    Source
    Classification, data analysis, and knowledge organization: models and methods with applications. Proc. of the 14th annual conf. of the Gesellschaft für Klassifikation, Univ. of Marburg, 12.-14.3.1990. Ed.: H.-H. Bock u. P. Ihm
  15. Ferbeek, E.; Hellevort, M.: ¬Het afficheproject : onderwerpsontsluiting van affiches (1993) 0.00 
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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
  16. 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.
  17. 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.
    Source
    Knowledge organization and the global information society: Proceedings of the 8th International ISKO Conference 13-16 July 2004, London, UK. Ed.: I.C. McIlwaine
  18. Michard, A.; Pham Dac, D.: Description of collections and encyclopedias on the Web using XML (1998) 0.00 
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    Abstract
    Cataloguing artworks relies on the availability of classification schemes, often represented by hierarchical thesauri. Comments on the limitations of current practices and tools and proposes a new approach for the cooperative production of multilingual and multicultural classification schemes exploiting some features of the oncoming Extensible Markup Language based Web
  19. Orna, E.; Pettitt, C.: Information management in museums (1998) 0.00 
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    Abstract
    Museums are under pressure to deliver effective management and presentation of their collections, outreach to their public, cost effective use of all of their resources and the generation of maximum income. This book addresses such topics as what information means in the museum context, who uses it and what they need to do with it, developing a strategy for using information to benefit the museum, making the best use of the knowledge and skills of the museum staff, and acquiring the right mix of technology and managing it to support co-operation between people. Basic principles and practical advice is presented for integrated management of a whole range of information which museums need for productive use of human resources and for choosing and using technology effectively. The needs of small museums are given special attention and case studies show how a range of institutions have responded to the challenge.
  20. Abell-Seddon, B.: Museum catalogues : a foundation for computer processing (1987) 0.00 
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    Abstract
    This book investigates the principles of cataloguing museum objects; the main aspects discussed are record structures, terminology and conventions
    PRECIS
    Museums / Stock / Documentation / Applications of computer systems
    Subject
    Museums / Stock / Documentation / Applications of computer systems

Authors

Years

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  • e 27
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  • f 3
  • nl 2
  • i 1
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Types

  • a 31
  • m 6
  • s 2
  • r 1
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