On the Cataloging of Cultural Objects 4th Symposium on Digitization: “Unlocking Digital Resources” Long Island Library Resources Council 3 August 2006

On the Cataloging ofCultural Objects

4th Symposium on Digitization:

“Unlocking Digital Resources”

Long Island Library Resources Council3 August 2006

Sherman Clarke

New York University Libraries

[email protected]

what are cultural objects?

• resulting from human efforts• artifact (book can be artifact but libraries usually

catalog for content, not artifactual value)• may be “art” or not• may be well documented with established title and

creator but generally not “self describing” like a book

“self describing”

• books, serials and other printed resources• maps• videos (title screens and container)• cultural objects are not generally self-describing• descriptions are more likely to be curatorial

(repository or cataloger)

“From the top of the Great Falls,

Yellowstone, 1871, TM” (caption in upper

left used as title on Gerald Peters Gallery

page)

why do we catalog cultural objects?

• provide access to our collections– access at home

– relation to harvesting

• cultural memory– changes over time and affects our cataloging

• subject content• provide “words” for non-verbal objects

how do we catalog cultural objects?

• library rules and practices• archival rules and practices• museum tradition• databases, spreadsheets, etc.

• consistency and predictability

... if we use library rules & practices

• long-established practices• AACR, SCM, etc.• LC/NAF, LCSH, LCTGM, RBGENR, etc.• mature systems using MARC• works best with manifestations (in the FRBR

scheme of things)• works best with self-describing resources

Anglo-American cataloguing rules(AACR)

• continuation of practice, maturity– new edition: Resource description and access (RDA)

• rule book• description AND access: not separate nor

equivalent• data content standard

– expedites sharing of cataloging records / metadata

AACR vs CCO

• CCO covers things that AACR doesn’t address, e.g., database structure, work and image, relationships (between works, with authorities), subject headings

• CCO is “new” though it builds on legacy

MARC

• pour anything into MARC but AACR fits best

– individual interpretations and extensions, e.g.

• whole/part via holdings (National Gallery of Art)

• whole/part via layered titles (UCSD)

• whole/part via subject links (National Anthropological Archives)

• grew up with AACR and its predecessors

• data structure standard

– expedites mapping

Functional requirements of bibliographic records (FRBR)

• Group 1 entities: work, expression, manifestation, item

• best suited to printed materials• useful in thinking about clustering

FRBR in PDF: http://www.ifla.org/VII/s13/frbr/frbr.pdf

FRBR in HTML: http://www.ifla.org/VII/s13/frbr/frbr.htm

http://www.ifla.org/VII/s13/frbr/frbr.pdf

http://www.ifla.org/VII/s13/frbr/frbr.htm

FRBR user tasks

• find• identify: who, what, where, when

– what are you cataloging?• AACR: item in hand• CCO: object in its context

• select• obtain

iterations & relationships

• work, expression, manifestation, item (WEMI)• relationship of whole to whole• emphasis on WEMI rather than working together

FRVRR (pronounced “fervor”)

• functional requirements for visual resource records

• collocation as with FRBR but collocating in a different way

FRVRR

• visual resources needs are different• not so much whole to whole• work/part (altarpieces, built complexes, studies)• work/view (VR catalogers are rarely cataloging

the art work; CCO is mostly aimed at VR catalogers)

• FROR: object records in museum context, focus probably on accession (“catalog level” in CDWA)

PalladioVilla Rotunda

Jefferson’s design for the White House,based on Villa Rotunda

Memling pair in Berlin and Paris,joined for recent show at Frick Collection

“Portrait of Katherine [studying Rembrandt’s “Three trees”]”by Keith Shaw Williams, ca. 1948(for sale at Childs Gallery, Boston)

http://www.childsgallery.com/work_zoom.php?work_id=1323561285

FRBR/FRVRR as relationship builder

• inspiration, appropriation, e.g., Duchamp & Mona Lisa, Jefferson to Palladio

• preparatory study to another work• part of work, e.g., St. Peter’s with dome, facade,

piazza with different architects and artists• pendants and other part relationships• heading for work = uniform title• artwork as subject

... if we use archival conventions

• also long-established practices, but history of sharing is shorter

• DACS (APPM)• EAD• can fit in MARC systems• works well for collections

MARC AMC, APPM, DACS

• archives and mss cataloging tradition– description

• quasi-self-describing, mostly verbal– closer to museum and VR than to books– finding aid as beginning of access to

collections, supplemented by interaction with archivist

– “collections” vs “groups” (CCO pt. 1, IV)

... if we use museum practices

• as old as history, art history, and other disciplines• CDWA, VRA Core, CCO• museum collection systems• relationship to accession (strongest in art

collections)

mixing and mapping

• depends on environment: library, archive, museum• common practices in predictable ways• common vocabularies• harvesting: moves services for aggregation to

access side, builds on solid metadata rather than requiring that all metadata “agree”

what are you cataloging?

• first question you ask yourself, regardless of practice (AACR 0.24, CDWA “catalog level,” CCO “work,” etc.)

• establishes context for record• relationships• relation to accession for cultural objects (whether

originals or surrogates)

“work”

• FRBR Group 1 entities (work, expression, manifestation, item)

• cultural objects– the “work” is what you are cataloging– in image collections, cataloging the work you

don’t own in order to catalog the image• surrogate for educational or instructional

purposes• what is represented in a picture

• relationships

vocabularies

• headings in MARC• names and attributes in VRA Core 4• multiple thesauri• keeping track of which vocabulary

AACR & LC/NAF

• AACR2/NAF heading = Motherwell, Robert• ULAN “heading” = Motherwell, Robert

(American painter, 1915-1991)

Core 4 (XML)

<agentSet> <display>Motherwell, Robert (American painter, 1915-1991)</display> <agent>

<name type=“personal” vocab=“ULAN” refid= “500016415”>Motherwell, Robert</name>

<culture>American</culture> <dates type=“life”> <earliestDate>1915</earliestDate> <latestDate>1991</latestDate> </dates> <role vocab=“AAT” refid=“300025136”>painter (artist)</role>

</agent></agentSet>

mapping

• thesaurus to thesaurus in MARC– awkward– loses hierarchy

• conflicts– LCSH: Motion picture plays (UF Screenplays)– AAT: screenplays (motion picture plays is one

of alternates)

sites/projects discussed• VRA Core 4 (beta)

http://www.vraweb.org/datastandards/VRA_Core4_Welcome.html

• Getty vocabularies (AAT, ULAN, TGN) http://www.getty.edu/research/conducting_research/vocabularies/

• Categories for the description of works of art http://www.getty.edu/research/conducting_research/standards/cdwa/

• Morgan Library: mss and images through MARC records http://corsair.morganlibrary.org/

• National Gallery of Art library catalog http://library.nga.gov:7488/

• Plymouth State opac using WordPress http://www.plymouth.edu/library/opac/



http://www.getty.edu/research/conducting_research/vocabularies/

http://www.getty.edu/research/conducting_research/standards/cdwa/

http://corsair.morganlibrary.org/

http://library.nga.gov:7488/

http://www.plymouth.edu/library/opac/

acronyms, initialisms, etc.

• AACR = Anglo-American cataloguing rules

• AAT = Art & architecture thesaurus (Getty vocabulary)

• APPM = Archives, personal papers and manuscripts

• DACS = Describing archives: a content standard

• LC/NAF = LC/Name Authority File

• LCSH = Library of Congress Subject Headings

• LCTGM = Thesaurus for graphic materials. TGM I, Subject terms (LC Prints & Photographs Division)

acronyms, initialisms, etc. (cont.)

• MARC = MAchine-Readable Cataloging

• MARC AMC = MARC format for archival and manuscript control

• RBGENR = Genre terms: a thesaurus for use in rare book and special collections cataloguing (ALA ACRL Rare Books and Manuscripts Section)

• RDA = Resource description and access

• TGN = Thesaurus of geographic names (Getty vocabulary)

• ULAN = Union list of artist names (Getty vocabulary)

• XML = eXtensible Markup Language

further reading:

• “Cataloguing cultural objects: new descriptive cataloguing guidelines for the cultural heritage community” by Ann Baird Whiteside, Art documentation, v. 24, no. 2 (2005), p. 16-18

• Fundamental requirements for bibliographic records (FRBR): hype or cure-all? Edited by Patrick Le Boeuf. (Haworth Information Press, 2005) (also published as Cataloging & classification quarterly, v. 39, no. 3/4)

• The future of the descriptive cataloging rules. Edited by Brian E.C. Schottlaender. (ALA, 1998)– “serials perspective” by Crystal Graham– “Archival description and new paradigms” by Steven

Hensen

Cataloging cultural objects

• new publication from ALA Publishing• published for Visual Resources Association• grew out of VRA Core, CDWA, etc.

• next slides excerpted from paper by Patricia Harpring as part of CCO Boot Camp during ALA Annual, June 2006

Patricia Harpring Managing Editor, Getty Vocabulary Program

ALA, New Orleans, June 2006

image credits: see slide #142

Cataloging Cultural Objects:A Guide to Describing Cultural Works and Their

Images

An Introduction

CCO can be found at: http://www.vraweb.org/CCOweb/index.html

©© 2005 CCO, slide 2005 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

http://www.vraweb.org/CCOweb/index.html





CDWA© 2006 J. Paul Getty Trust

Slide: Patricia Harpring

• Art Information Task Force (AITF)

• J. Paul Getty Trust

• College Art Association (CAA)

• National Endowment for the Humanities (NEH)

• The CCO Guide is based on the CDWA and Visual Resources Association (VRA) Core Categories

http://www.getty.edu/research/conducting_research/standards/cdwaCategories for the Description of Works of ArtCategories for the Description of Works of Art

©© 2006 CCO, slide 2006 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

Categories for the Description of Works of Art

Cataloging Cultural ObjectsIntroduction

Part 1: General Guidelines I. How to Use This Guide II. What Are You Cataloging? III. Minimal Descriptions IV. Work and Image V. Related works VI. Database Design and Relationships VII. Authority Files and Controlled VocabulariesVIII. Examples of Work Records

• The Guide is divided into three parts


• Minimal descriptions

– required data “elements”

– specificity and exhaustivity

• Related works

– whole/part relationships

– copy of, etc.

• Archival groups and collections

• Series

• Architectural works and other works with components

• Works and Images

• Authorities and controlled vocabularies

• Part 1 discusses general issues


Part 2: Elements (categories of data)Chapter 1: Object Naming

Work Type / TitleChapter 2: Creator Information

Creator / Creator RoleChapter 3: Physical Characteristics

Measurements / Materials and Techniques /State and Edition/ Additional Physical Characteristics

Chapter 4: Stylistic and Chronological InformationStyle / Culture / Date

Chapter 5: Location and GeographyCurrent Location / Creation Location / Discovery Location/ Former Location

Chapter 6: SubjectSubject

Chapter 7: Class Class

Chapter 8: DescriptionDescription / Other Descriptive Notes

Chapter 9. View Information View Description / View Type / View Subject / View Date


• Part 2 discusses the elements or areas of information for works

• Each chapter is laid out according to a similar outline

© 2005 J. Paul Getty Trust Patricia Harpring, Getty Vocabulary Program©© 2005 CCO, slide 2005 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

© 2005 J. Paul Getty Trust ©© 2005 CCO, slide 2005 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Class: prints and photographs

*Work Type: gelatin silver print *Title: Chez Mondrian *Creator Display: André Kertész (American, 1894-

1985)

*Role: photographer

*Creation Date*: 1926

*Subject: interior view, staircase, door, light, flower, vase

*Current Location: J. Paul Getty Museum, Los Angeles ID: 86.XM.706.10

*Measurements: image: 10.9 x 7.9 cm (4 5/16 x 3 1/8 inches)

*Materials and Techniques: gelatin silver print Description: Characteristic of his work as “Naturalist-

Surrealist,” it combines prosaic observations of life combined with surrealistic perspective.

CHAPTER 1: OBJECT NAMINGCHAPTER 1: OBJECT NAMING

Work Type / TitleWork Type / Title• Work type identifies

what the work is• Title discusses

standard titles



Work Type / TitleWork Type / Title

Work Record Class*: tools and implements Pre‑Columbian art

Work Type*: bannerstone Title *: Bannerstone Creator Display*: unknown Woodland Indian Creation Date*: Late Archaic Period Subject*: object (utilitarian) prestige hunting

war Current Location*: Gordon Hart Collection (Bluffton,

Indiana) Measurements*: 9.7 x 5 cm (3 7/8 x 2 inches) Materials and Techniques*: banded slate Description: Bannerstones formed part of an atlatl

(spear-thrower). This one is carefully made and of decorative material and thus was probably a status symbol.

© 2005 J. Paul Getty Trust

• Title discusses standard titles

• Also deals with names and other appellations for works that have no title per se

Image from Brose, D., et al. Ancient Art of the American Woodland Indians. New York: Harry N. Abrams, Inc., 1985



Work Type / TitleWork Type / Title

Work Record Record Type [controlled]: item Class [controlled]: prints and

drawings European art *Work Type [link]: poster lithograph *Title: Chat Noir Title: Poster of a Black Cat, for the Reopening

of the Chat Noir Cabaret Title Type: descriptive

*Creator Display: Théophile‑Alexandre Steinlen (Swiss, 1859‑1923)*Role [link]: printmaker [link]: Steinlen, Théophile‑Alexandre *Creation Date: 1896 [controlled]: Start: 1896

End: 1896 *Subject [links]: advertising/commercial animal Chat Noir

(cabaret) Rodolphe Salis (French performer, 1851-1897) shadow theater guignols domestic cat

Style [link]: fin‑de‑siecle Culture [link]: French *Current Location [link]: Santa Barbara Museum of Art (Santa

Barbara, California, USA) ID:1991.17 Creation Location[link]:: Montmartre (Paris, France) *Measurements: 61.6 x 39.62 cm (24 1/4 x 15 5/8 inches) [controlled]: Value: 61.6 Unit: cm Type: height | Value: 39.62

Unit: cm Type: width *Materials and Techniques: lithograph Material [links]: paper Technique [links]: lithograph Inscriptions: along right side and bottom: Prochainement / la très

illustre Compagnie du / Chat / Noir / avec / ses Pièces d'Ombres / Célèbres, ses Poëtes / ses Compositeurs / Avec / Rodolphe Salis / Steinlen

Description: Steinlen’s poster advertises the reopening of a cabaret, the Chat Noir in Montmartre. Here the artist worked with several actors to present avant‑garde shadow theater, which investigated the artistic and dramatic effects of silhouettes, starring R. Salis as the popular, improvisational narrator (“bonimenteur”) of each shadow performance.


• Multiple titles• Former titles,

descriptive titles, inscribed titles, translated titles


Part 3: Authorities

Authority 1: Personal and Corporate Name Authority

Authority 2: Geographic Place AuthorityAuthority 3: Concept AuthorityAuthority 4: Subject Authority

Cataloging Cultural Objects


• Part 3 includes these 4 authorities

1.Personal and Corporate Name Authority

2.Geographic Place Authority

3.Concept Authority4.Subject Authority

• Unlike AACR, CCO provides guidelines for building authorities


image credits: see slide #142

A combination of authorities and vocabularies will be necessary

Required terms may be outside the scope of a given vocabulary

No single vocabulary is comprehensive for its scope

Local authorities should be populated with terms/names from published vocabularies as well as local terminology

CCO on authorities


• Values in many fields are best controlled by

authorities


Concept Concept AuthorityAuthority• Terms and information

about generic concepts (as opposed to proper nouns or names)


Concept Authority Record:**Terms Terms ocourvoisier (preferred, singular)ocourvoisiers (preferred, plural)**Hierarchical position Hierarchical position [links][links]o Objects Facet ............ Visual Works .................. drawings ....................... <drawings by material ........................... animation cels .................................. courvoisiers .................................. limited edition cels .................................. serigraph cels ............................ animation drawings ............................ blot drawings ............................ cadavres exquis ............................ computer drawings**NoteNote: : Note: Refers to a type of animation cel set-up, or grouping, that is composed of two or more cels and a production background that was created by, or imitates those created by, the Courvoisier Galleries in the late 1930s and early 1940s. It is distinctive in the technique by which figures were trimmed to their edges, glued to a background typically composed of wood veneer, patterns, or hand-painted watercolors, and covered by a protective top cel.**Source Source [link][link] Art & Architecture Thesaurus (1988-)©© 2005 CCO, slide 2005 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute.

Subject Authority Record**Subject Names:Subject Names:

o Xibalbá (preferred)o Place of Fearo Underworld

*Hierarchical Position [link]*Hierarchical Position [link]::Maya iconography......legends from the Popol Vuh .......... Xibalbá

*Related Keywords [cont.]*Related Keywords [cont.]:: underworld demons Hero Twins Vucub-Camé (demon) Hun-Camé (demon) NoteNote:: In the creation myth of the highland Quiché Maya, the underground realm called Xibalbá was ruled by the demon kings Hun-Camé and Vukub-Camé. It was a dangerous place accessed by a steep and difficult path. The Hero Twins, Hun-Hunapú and Vukub-Hunapú, were lured to Xibalbá by a ball game challenge, but were then tricked and slaughtered. However, the twins were avenged by Hun-Hunapú's sons, Hunapú and Xbalanqué.*Sources [links]:*Sources [links]:oLarousse World Mythology (1981) Page:Page: 473 ff.

Subject Subject AuthorityAuthority

• Contains iconographical terminology, including proper names of literary, mythological, or religious characters or themes, historical events and themes


Data Structure• Database design

has an impact on Cataloging rules


An XML schema to describe core records for works of art and material culture based on the CDWA core categories and informed by the CCO guidelines.

Records are intended for contribution to union catalogs and other repositories using the Open Archives Initiative (OAI) harvesting protocol; images can be harvested at the same time.

Developed with ARTstor.

Specification and schema available on the CDWA site.

http://www.getty.edu/research/conducting_research/standards/cdwa

CDWA LiteCDWA Lite

What is CDWA Lite?What is CDWA Lite?

©© 2006 CCO, slide 2006 ©© J. Paul Getty Trust, author: Patricia Harpring. Do not distribute or reproduce.

this presentation may be found at http://pages.nyu.edu/~sc3/CCOforlongisland.ppt

Sherman Clarke

[email protected]

http://pages.nyu.edu/~sc3/CCOforlongisland.ppt

http://pages.nyu.edu/~sc3/CCOforlongisland.ppt

Documents

On the Cataloging of Cultural Objects 4th Symposium on Digitization: “Unlocking Digital Resources” Long Island Library Resources Council 3 August 2006