Tuesday, October 29, 2013

SPECTRUM


SPECTRUM References

“Brazil Adopts SPECTRUM Standard.”  Museums & Heritage Magazine.  Accessed October 27, 2013.  http://www.mandh-online.com/news/content/2115/brazil_adopts_spectrum_standard.

“Cataloguing.”  Collections Space Wiki.  Accessed October 25, 2013.  http://wiki.collectionspace.org/download/attachments/7864333/Spectrum+3.1+Cataloging.pdf.

“Metadata Standards and Interoperability.”  JISC Digital Media.  Accessed October 25, 2013.  http://www.jiscdigitalmedia.ac.uk/guide/metadata-standards-and-interoperability.

“New Software Comparison Service from Collections Trust.”  Collections Link.  Accessed October 27, 2013.  http://www.collectionslink.org.uk/spectrum-resources/1519-new-software-comparison-service-from-the-collections-trust.

Shepard, Elizabeth, and Rachael Pringle.  “Mapping Descriptive Standards Access Domains: A Comparison of ISAD(G) and SPECTRUM.”  Journal of the Society of Archivists 23, no. 1 (2002): 17-34.

“SPECTRUM.”  DCC.  Last modified December 17, 2009. http://www.dcc.ac.uk/resources/standards/diffuse/show?standard_id=160.

“SPECTRUM.”  The Collections Link.  Accessed October 25, 2013. http://www.collectionslink.org.uk/programmes/spectrum.

“SPECTRUM: The International Collections Management Standard.”  Collections Trust.  Accessed October 27, 2013.  http://www.essex.ac.uk/ldev/documents/going_digital/Introduction_to_Spectrum_procedures.pdf.

“SPECTRUM: The UK Documentation Standard.”  Collections Trust.  Version 3.2, published 2009.  http://classmaster.kmmuseum.se/media/spectrum-3-2.pdf.

“SPECTRUM: The UK Museum Collection Management Standard.”  Collections Trust.  Version 4.0, published 2011.
“SPECTRUM: The UK Museum Documentation Standard.”  Museum Documentation Association.  Version 3.0, published 2005.  http://www.communitylivingvictoria.ca/pdfs/spectrum-3-0.pdf.  

Srinivasan, Ramesh, Robin Boast, Jonathan Furner and Katherine M. Becvar.  “Digital Museums and Diverse Cultural Knowledge: Moving Past the Traditional Catalog.”  The Information Society 25, no. 4 (2009): 265-278.  

“The Ukraine Adopts the SPECTRUM Standard.”  Collections Trust.  Last modified March 19, 2010.  http://www.collectionstrust.org.uk/the-ukraine-adopts-the-spectrum-standard/.

Bibliography - CDWA & CDWA Lite



Bibliography - CDWA & CDWA Lite

October 29, 2013 - LIS 531V
Andrew Bourque
Joan Hagler
Ali DeRoche
Emily Una Weirich



"CDWA Lite." Categories for the Description of Works of Art. J. Paul Getty Trust, 7 Oct. 2013. Web. 22 Oct. 2013. <http://www.getty.edu/research/publications/electronic_publications/cdwa/cdwalite.html>.


"Data Structure Standards." Data Structure: Standards & Best Practices: Digitization & Metadata: Products & Services. Minitex, n.d. Web. 27 Oct. 2013. <http://www.minitex.umn.edu/Digitization/Standards/Structure.aspx>.


Elings, Mary W., and Günter Waibel. "Metadata for all: Descriptive standards and metadata sharing across libraries, archives and museums." First Monday 12.3 (2007)


“Introduction.” Categories for the Description of Works of Art. J. Paul Getty Trust, 21 Oct. 2013. Web. 27 Oct. 2013.
<http://www.getty.edu/research/publications/electronic_publications/cdwa/introduction.html>.


Taylor, Arlene G., and Joudrey, Daniel N. The Organization of Information. Westport: Libraries Unlimited, 2009. Print.


Waibel, Günter, Ralph LeVan, and Bruce Washburn. "Museum Data Exchange: Learning How to Share." D-Lib Magazine 16.3 (2010): 3.

Monday, October 21, 2013

Common Practice in LAMs

Common Practice in LAMs

In recent years the world of libraries, archives and museums have been seen as converging with each other, particularly in the digital environment. The institutions all deal (to some degree) with collecting, processing, organizing, preserving, presenting and digitizing information. The main difference is considered as being the types of things collected, what is done with what is collected and how those items are displayed. As the article from Bishoff (2004) shows collaboration between these information institutions online is not a new thing and has been occurring, at least at a local level, for ten years now.

The introduction of digital records has meant that non-information professionals searching for information on the web can generally not or do not care to distinguish between the different institutions and the way they present their information. Furthermore due to the dearth of information now freely available through Google at the click of a button, people have started to question the value of these institutions. Utilizing their resources together to present one face digitally has been seen as a sensible approach to responding to the needs and wants of the modern day information seeker, who wants everything in one place and this has served as a reminder of the many common practices the institutions already have.

Through out the course so far we have seen multiple occasions both through the readings and in case studies where the various types of institutions have collaborated together or utilized similar skill sets. However the individual professions also continue to defend their own specific knowledge and ways of operating. Libraries will not give up the MARC record without a fight! Just because a library and a museum are connected or under the same authority does not mean that they use the same catalogue, or record their information in the same way. However if we broaden our understanding of common practice to the overarching themes rather than the specifics, then we can clearly see how the three types of institutions have commonalities. 

As Hjorland (2000) reminds us museums, libraries and archives are all seen as “memory institutions”. They are designed to be repositories of public knowledge, to remind people of their history and social and cultural traditions. As the name of this course implies, we also deem them all to be cultural heritage institutions that signifies that their practices must overlap to some degree. As discussed in class, they are all related to access. Therefore they have a common goal of getting the information to the user, though they define their user differently and the type of access differs the concept is still there, mediated versus not, the way they get the information to the user digitally has led to much collaboration.

A successful example of such a collaboration is the digital collection guide repository, The Online Archive of California. This repository has been designed to connect the descriptions of content of libraries, museums and archives through collection guides of the various holdings (The Regents of The University of California, 2009). While the descriptive formats differ depending upon the institution the connection through the portal shows us a form of common practice, that of connecting with their users.

Another similar collaboration is the example of BAM, which describes itself as a “common portal for libraries, museums and archives” (BAM, ND), allowing the user the ability to search through multiple institutions holdings in the one catalogue. Kirchhoff, Schweibenz, and Sieglerschmidt (2008) argue “BAM, Europeana and similar endeavors could be a reliable source of authentic material” he suggests that by providing this type of resource they are usurping the use for Google by delivering more reliable options. Therefore these portals that combine all the types of institutions highlight that there main goal and an area of common practice for information professionals is to connect the user with processed information (e.g. with metadata attached).

There are also further examples online at sites such as Trove that though run through the National Library of Australia acts as a catalogue for any Australian related content, including items found in archives and libraries across Australia (National Library of Australia, ND). All these online sites share the same goal, to connect the user with as many institutions and their holdings as possible. They are providing a cultural portal (Shepherd & Pringle, 2002) as a result of having a user centered focus. So in short, the common practice is to connect the user with relevant information utilizing descriptive elements.

However some have taken it a step further and have begun to note that the metadata elements need to become more standardized across all three types of institutions to improve the ability to converge and provide better access to their content digitally. Elings and Waibel (2007) suggest that rather than the metadata being relevant to the institution it should be relevant to the type of information object that is being described. 

This post has barely scratched the surface of the common practices that occur in the information world. Instead it largely looked into the concept of access and the connection between information and user. But some other common practices (again to some degree) are the process of collecting, organizing, preserving the information. All of these institutions must first collect the information before they can even consider passing it onto the public, and while the way they go about this differs the concept is still the same. 

From the above points we have seen how libraries, archives and museums have many common practices, it is often the want to distance themselves that has led to people forgetting how similar the basic concepts are. However in recent years the institutions have begun to understand the need to act upon these similarities and integrate across the information field to combat the question of what value do these institutions hold in the digital world? It is our responsibility to provide knowledge to the user and therefore it is our responsibility to do so in the manner that suits them best. Furthermore the information or knowledge provided must be valued at a higher level than what Google can offer the user and therefore it must have been processed and have user friendly metadata attached to allow the user to judge the material being offered.

References:











Engaging Matters | Curators of the Cultural Commons

This is an interesting post relevant to what we have been talking about -

Engaging Matters | Curators of the Cultural Commons:

'via Blog this'

Thursday, October 17, 2013

Organization, Access and Preservation


Libraries, archives, and museums all strive to provide an access point to knowledge. These institutions provide accessibility to knowledge both created and maintained by mankind. LAMs share many areas of common practice including meticulous organization of materials, access to said materials and the maintenance and preservation of these cultural records. While traditionally books are in the realm of libraries, paper documents in the realm of archives and objects are the realm of museums, all of these materials can be essentially be considered cultural documents.

In a 1997 article, Micheal Buckland attempts to discern the nature of what is a document. Whereas the term document has referred to mainly textual records in the past, Buckland contests that, "The evolving notion of 'document' among Otlet, Briet, Schurmeyer, and the other documentalists increasingly emphasized whatever functioned as a document rather than traditional physical forms of documents" (Buckland 1997: 808). The function of documents being objects which could "tell one about the world that produced it" (Buckland 1997: 808). Through this lens we see that physical objects in museums as well as textual objects from museums and archives are all cultural documents.

Liz Bishoff points out that while "we" (information professionals) divide our institutions along material category lines, the general public does not (Bishoff, 2004). A person who is looking for information does not necessarily care where the information comes from, be it a library, museum or archive. The differences between these institutions are seen by professionals in the field but not by the average information consumer.

Three areas of common practice between LAMs include organization of materials, access to materials and the creation of cultural records. The overall practices are similar whereas the individual institutions may have slightly different methods of implementation. The examples below are from the websites of the Boston Public Library (BPL) and the Boston Museum of Fine Arts (MFA). Both of these institutions meticulously collect and organize information.

A screenshot from the BPL's online catalog and the MFA's collection search show that the items collected by each of these institutions are categorized and grouped into unique categories. The BPL screenshot shows subject search results for "Parody Films" while the MFA screenshot shows results from the museums postcard collection. The categorization and organization of collection materials is a shared commonality throughout various LAMs.




In looking at the mission statements of these two institutions share a focus of not only collecting and organizing cultural materials but also one of preserving cultural items and provide access to and direct encounters with their collections. The BPA's mission statement is succinct and states, "The Boston Public Library's mission is to preserve and provide access to historical records of our society, and to serve the cultural, educational, and informational needs of the people of the City and the Commonwealth." The MFA's mission statement spans nearly a page and includes a dedication to "house and preserve preeminent collections and aspires to serve a wide variety of people through direct encounters with works of art." The terms preserve can be found in both statements, as can phrases regarding exposure of collections to the public.

As discussed in the article, "Digital Museums and Diverse Cultural Knowledges: Moving Past the Traditional Catalog," museums have trended toward creating object metadata in order to classify and organize their collections. In this era of digital collections,museums have been working on creating common standards in order to share information, building on the experience of libraries to provide access to their collections. "In a museum world populated by massive heterogenous collections of unique largely nontextual objects, traditions of consortia 
forming and data sharing among institutions are weak, and the history of standards development is relatively short compared with the experience of libraries (Srinivasan, 2009)."

LAMs are intrinsically linked by their dedication to collecting, organizing, preserving and creating access to cultural heritage resources. As we enter a strongly digital era, we will benefit from collaborating and learning from one another. As Kirchhoff concludes in his paper "Archives, Libraries, Museums and the Spell of Ubiquitous Knowledge" which reviews the BAM German cultural heritage portal, "examples given suggest that success in the acquisition of knowledge and he expansion of scholarship is possible by linking knowledge resources previously separate, through an enhanced knowledge organization (Kirchhoff, 2008)." 


References:

References:
Bishoff, Liz. “The Collaboration Imperative”, Library Journal, January (2004): 34-35.

"BPL - Mission." BPL - Mission. N.p., n.d. Web. 12 Oct. 2013. <http://www.bpl.org/general/trustees/mission.htm>.

Buckland, Michael K. "What Is a ``Document''?.", JASIS 48.9 (1997): 804-809.

Kirchhoff, Thomas, Werner Schweibenz, and Jörn Sieglerschmidt. "Archives, libraries, museums and the spell of ubiquitous knowledge." Archival Science 8, no. 4 (2008): 251-266.


"Mission Statement." Museum of Fine Arts, Boston. N.p., n.d. Web. 12 Oct. 2013. <http://www.mfa.org/about/mission-statement>.

Srinivasan, Ramesh, Robin Boast, Jonathan Furner, and Katherine M. Becvar. "Digital museums and diverse cultural knowledges: Moving past the traditional catalog." The Information Society 25, no. 4 (2009): 265-278.

Technology, cataloging, and LAMs

            Areas of common practice at LAMs are numerous and ever expanding – especially concerning technology. After all, in her article, New Technologies and the Convergence of Libraries, Archives, and Museums, Deborah Wythe states that LAMs all, “embrace new technologies as a means of providing access to our collections,”[1] and for her, it is the only area of substantial convergence between the three. This paper will focus on the affects of technology on cataloging at LAMs both in house, and with an institution’s larger audience.
            Wyeth also states that library and archives professionals share some skill sets.[2] If one of these shared sets of skills revolves mostly around cataloging, it can be argued that museum professionals also have some training in common with librarians and archivists. How a museum’s Registrar would go about cataloging a new acquisition may vary greatly from how a Librarian would complete the same task, yet the concept behind what both professionals strive for remains the same: to create means to find, evaluate, and access an item. Yet as Baca and O’Keefe discuss, getting professionals from both realms to agree on a single collections management system (CMS) at a shared institution, let alone a shared set of standards to guide its usage proved immensely challenging.[3] At the Morgan Library, this process took time, but provides a model that other institutions can learn from; especially in terms of how librarians and curators were able to work together, find compromise, and actually begin using a new system.
            Some of this compromise can be found in the form of the collaborative nature of creating the actual catalog records. Curators at the Morgan were accustomed to having multiple people work on individual item records over time, as new details about attribution and works’ creation dates became available.[4] Through open dialogue, both librarians and curators were able to agree about how to continue this practice within the new CMS. If laborious at times, this open communication and willingness to compromise seem key to the successful implementation of a new system.[5]
            Enabling multiple contributors to a single record also became a form of “expert tagging.”[6] In the case of the Morgan, the experts were all in-house, curators and others trained as art historians with years of knowledge to inform their cataloging decisions. While this may vary from a traditional library cataloging model, it is an example of technology enabling more thorough scholarship in the LAM setting – technology that was allowed to work through human compromise about the role it would play. The ability to share a catalog within, and even outside, of a single institution is now taken for granted, but one of the next challenges faced by LAMs is to figure out how to encourage and sustain valuable engagement with online collections from those outside of the insular setting of a single institution.
            Opening some aspects of cataloging up to the entire population has not yet taken hold throughout the LAM community, but there have been a few projects that have used crowdsourcing to successfully enhance their collections’ records. In his blog post, Crowdsourcing Cultural Heritage: The Objectives Are Upside Down, author Trevor Owens describes this new phenomenon, “At its best, crowdsourcing is not about getting someone to do work for you, it is about offering your users the opportunity to participate in public memory.”[7]
Valuable.
At its best.
Suspicion remains about whole heartedly opening up the cataloging process – even portions of it – to the masses. Small bouts of tagging may encourage users to access collections for a short period of time, and to make contributions that may or may not provide useful data. Owens also discusses the fact that gimmicks do not promote long term, meaningful engagement with collections.[8] Further, does this type of superficial tagging truly benefit a collection? How does the data entered by the general population – popular tagging – compare to that entered by staff at the Morgan – expert tagging? In recent years, some LAMs have chosen to forgo popular tagging, and offer their audiences a more engaging option. Owens discusses a project in which online visitors are given the opportunity to transcribe journals from the Civil War and finds this project was successful in both establishing long-term connections between the public and the collection, as well as by generating useful data. Here, even if the user generated transcriptions are not entirely accurate, they do create text that is far more accurate and human readable than what would be generated through running an OCR program on the diary scans.[9]
Valuable user generated collections content is still a new concept across LAMs. However, there are definite possibilities for professionals from LAMs to build on the successes of the fledgling programs that have had an impact elsewhere, in order to enhance other collections as well as and institution's visitor base. In her article, Records and Access, Esther Bierbaum mentions that a stark difference between libraries and museums is that, “libraries tend to emphasize the technologies associated with language, and museums tend to collect and offer non-linguistic sources of communication.”[10] If professionals working at LAMs are able to work through this distinction, it is likely that they will be able to find traction for new types of projects that utilize new technology in enabling their visitors to make meaningful contributions to collections as they become increasingly attached to them.






[1] Deborah Wythe, “New Technologies and the Convergence of Libraries, Archives, and Museums,” RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 1 (Spring 2007): 52-3.
[2] Wythe, “New Technologies,” 52.
[3] Murtha Baca and Elizabeth O’Keefe, “Sharing Standards and Expertise in the Early 21st Century: Moving Toward a Collaborative, “Cross-community” Model for Metadata Creation,” International Cataloging Bibliography Control 38 no. 4 (October/December 2009): 61-2.
[4] Ibid., 64.
[5] Ibid., 63.
[6] Ibid., 60.
[7] Trevor Owens, “Crowdsourcing Cultural Heritage: The Objectives Are Upside Down,” User Centered Digital History, March 10, 2012, accessed October 14, 2013, http://www.trevorowens.org/2012/03/crowdsourcing-cultural-heritage-the-objectives-are-upside-down. Emphasis mine.
[8] Ibid.
[9] Clearly I'm excited about the possibilities with this type of project! I love the example of the transcriber who enlisted the assistance of his friend who is a military historian in order to better fact check his work! I think there are a lot of possibilities here.
[10] Esther Green Bierbaum, “Records and Access,” Cataloging & Classification Quarterly 9, no. 1 (1988): 97. I have quite a few problems with this blanket statement, but a related longer discussion is not within the scope of this paper. In short, I don’t think that it’s possible to simplify a distinction between “language” and “non-linguistic” – the two are intertwined with the essence of communication. Within the scenario of her statement, problems arise quickly: what about scanners in libraries, or artworks by Barbara Kruger or Johanna Drucker?