Documenting Collections of Bulgarian Museums. Framing a CIDOC-based Ontological Presentation

Report published in the Proceedings of the National Conference on "Education and Research in the Information Society", Plovdiv, May, 2014

Museum Collections and the Semantic Web

The paper discusses some current trends in the area of development and use of semantic portals for accessing heterogeneous museum collections on the Semantic Web. The presentation is focused on some issues concerning metadata standards for museums, museum collections ontologies and semantic search engines. A number of design considerations and recommendations are formulated.

A Map Through Time – Virtual Historic Cities: New Ways of Exploring Digital Collections

Presentation made by Jamie Rogers and John Nemmers at the Society of Florida Archivists annual meeting in Tallahassee, Florida. Jamie Rogers presented the "Coral Gables - Virtual Historic City" project at Florida International University. John Nemmers presented the "Unearthing St. Augustine’s Colonial Heritage" project at the University of Florida

Collection-Level Subject Access in Aggregations of Digital Collections: Metadata Application and Use

Problems in subject access to information organization systems have been under investigation for a long time. Focusing on item-level information discovery and access, researchers have identified a range of subject access problems, including quality and application of metadata, as well as the complexity of user knowledge required for successful subject exploration. While aggregations of digital collections built in the United States and abroad generate collection-level metadata of various levels of granularity and richness, no research has yet focused on the role of collection-level metadata in user interaction with these aggregations. This dissertation research sought to bridge this gap by answering the question “How does collection-level metadata mediate scholarly subject access to aggregated digital collections?” This goal was achieved using three research methods: • in-depth comparative content analysis of collection-level metadata in three large-scale aggregations of cultural heritage digital collections: Opening History, American Memory, and The European Library • transaction log analysis of user interactions, with Opening History, and • interview and observation data on academic historians interacting with two aggregations: Opening History and American Memory. It was found that subject-based resource discovery is significantly influenced by collection-level metadata richness. The richness includes such components as: 1) describing collection’s subject matter with mutually-complementary values in different metadata fields, and 2) a variety of collection properties/characteristics encoded in the free-text Description field, including types and genres of objects in a digital collection, as well as topical, geographic and temporal coverage are the most consistently represented collection characteristics in free-text Description fields. Analysis of user interactions with aggregations of digital collections yields a number of interesting findings. Item-level user interactions were found to occur more often than collection-level interactions. Collection browse is initiated more often than search, while subject browse (topical and geographic) is used most often. Majority of collection search queries fall within FRBR Group 3 categories: object, concept, and place. Significantly more object, concept, and corporate body searches and less individual person, event and class of persons searches were observed in collection searches than in item searches. While collection search is most often satisfied by Description and/or Subjects collection metadata fields, it would not retrieve a significant proportion of collection records without controlled-vocabulary subject metadata (Temporal Coverage, Geographic Coverage, Subjects, and Objects), and free-text metadata (the Description field). Observation data shows that collection metadata records in Opening History and American Memory aggregations are often viewed. Transaction log data show a high level of engagement with collection metadata records in Opening History, with the total page views for collections more than 4 times greater than item page views. Scholars observed viewing collection records valued descriptive information on provenance, collection size, types of objects, subjects, geographic coverage, and temporal coverage information. They also considered the structured display of collection metadata in Opening History more useful than the alternative approach taken by other aggregations, such as American Memory, which displays only the free-text Description field to the end-user. The results extend the understanding of the value of collection-level subject metadata, particularly free-text metadata, for the scholarly users of aggregations of digital collections. The analysis of the collection metadata created by three large-scale aggregations provides a better understanding of collection-level metadata application patterns and suggests best practices. This dissertation is also the first empirical research contribution to test the FRBR model as a conceptual and analytic framework for studying collection-level subject access.

POWKist: visualising cultural heritage linked datasets.

A collaboration between dot.rural at the University of Aberdeen and the iSchool at Northumbria University, POWkist is a pilot-study exploring potential usages of currently available linked datasets within the cultural heritage domain. Many privately-held family history collections (shoebox archives) remain vulnerable unless a sustainable, affordable and accessible model of citizen-archivist digital preservation can be offered. Citizen-historians have used the web as a platform to preserve cultural heritage, however with no accessible or sustainable model these digital footprints have been ad hoc and rarely connected to broader historical research. Similarly, current approaches to connecting material on the web by exploiting linked datasets do not take into account the data characteristics of the cultural heritage domain. Funded by Semantic Media, the POWKist project is investigating how best to capture, curate, connect and present the contents of citizen-historians’ shoebox archives in an accessible and sustainable online collection. Using the Curios platform - an open-source digital archive - we have digitised a collection relating to a prisoner of war during WWII (1939-1945). Following a series of user group workshops, POWkist is now connecting these ‘made digital’ items with the broader web using a semantic technology model and identifying appropriate linked datasets of relevant content such as DBPedia (an archived linked dataset of Wikipedia) and Ordnance Survey Open Data. We are analysing the characteristics of cultural heritage linked datasets, so that these materials are better visualised, contextualised and presented in an attractive and comprehensive user interface. Our paper will consider the issues we have identified, the solutions we are developing and include a demonstration of our work-in-progress.

Heritage assets : procedimentos para o reconhecimento e a mensuração adotados pelos museus

Este artigo teve como objetivo principal efetuar a análise das demonstrações contábeis de museus localizados nos cinco continentes, visando identificar o tratamento contábil relacionado ao reconhecimento e à mensuração dos heritage assets (HAs). Para tanto, aborda as definições de heritage assets, bem como o tratamento contábil discutido na literatura e definido pelas normas aplicáveis aos museus dos países foco deste estudo. Trata-se de uma pesquisa aplicada, qualitativa, descritiva e documental, conduzida a partir da análise do conteúdo dos relatórios anuais, demonstrações contábeis e respectivas notas explicativas de nove museus localizados na Nova Zelândia, Austrália, Reino Unido, África do Sul, Brasil, Canadá, Peru, Argentina e Estados Unidos. A partir da análise dos documentos, verificaram-se práticas heterogêneas, sendo o HA evidenciado em apenas uma parcela dos Balanços Patrimoniais, com destaque para as entidades situadas na Nova Zelândia e na Austrália, as quais apresentam o detalhamento mais completo e robusto. Quanto aos critérios de mensuração adotados pelos museus, o custo histórico é adotado principalmente para o reconhecimento inicial, enquanto outros critérios (valor justo, valor de mercado, custo de reposição e julgamento de profissionais especializados) são utilizados na mensuração subsequente. ______________________________________________________________________________ ABSTRACT

Documentary Intersect

I started by collecting things in order to inform my work. What seems to have happened slowly is that the collections eventually became my work. – Patrick Pound The New Zealand-born, Melbourne-based artist Patrick Pound has had a long-term engagement with the work of Walker Evans, both as a writer and as a practicing artist. For his solo exhibition at the Adam Art Gallery, Pound developed an installation comprised of found images, taking his cue from Walker Evans’s practice of working with readymade printed matter which he published in magazines such as Fortune and Architectural Forum. While Pound’s collecting habits are voracious, he is also a great organiser. He is interested in typologies and arranges items according to shared content: ‘tears’, ‘floral clocks’, ‘crime scenes’, ‘sleepers’, and so on. Laying these out in linear sequences Pound discovers points of intersection to create complex grids of structured yet chaotic imagery. A Hollywood film still of a crime scene will sit eerily alongside an image of a real deceased subject sourced from an archive; or a set of postcards will show the same subject, shot by different photographers and describing both changing viewpoints and the passage of time. Pound has stated: ‘People make sense of the world through assembling, listing and categorising…meaning is to be found in the accumulation of [these] details.’

The Documentary Take

Documentary photography and contemporary art are existentially quite distinct practices. Occasionally, with the passing of time, great documentary lifts from the contact sheet, the magazine page or the short print run book and finds its way onto gallery walls as art.Presented within the context of Walker Evans: the magazine work, curated by David Campany, The documentary take invites the question, what aspects of documentary practice are seeping into contemporary art now? In his commentary and practice, Evans distinguished between documentary as a forensic practice and the 'documentary style', which he saw as art making.With the exception of work presented by Ponch Hawkes and David Wadelton, the artists here—Destiny Deacon and Virginia Fraser; Simryn Gill; Sonia Leber and David Chesworth; Louis Porter; Patrick Pound and Charlie Sofo—are far from documentarians, yet all benefit from proximity to the foundational practice of Walker Evans.While Walker Evans may or may not be influential on these artists, his work forms a language that is now background knowledge for the making of images about the world where, artifice aside, truth is at least relevant. Perhaps documentary practice enables contemporary art to "attend to the real" [i], without binding it to a utilitarian or forensic intention.In attending to the real, the quest for the documentarian is to reveal something of the world, while that of the contemporary artist is to make meaning in and of the world.

Doing cultural heritage using the torque game engine: supporting indigenous storytelling in a 3D virtual environment

Digital Songlines (DSL) is an Australasian CRC for Interaction Design (ACID) project that is developing protocols, methodologies and toolkits to facilitate the collection, education and sharing of indigenous cultural heritage knowledge. This paper outlines the goals achieved over the last three years in the development of the Digital Songlines game engine (DSE) toolkit that is used for Australian Indigenous storytelling. The project explores the sharing of indigenous Australian Aboriginal storytelling in a sensitive manner using a game engine. The use of the game engine in the field of Cultural Heritage is expanding. They are an important tool for the recording and re-presentation of historically, culturally, and sociologically significant places, infrastructure, and artefacts, as well as the stories that are associated with them. The DSL implementation of a game engine to share storytelling provides an educational interface. Where the DSL implementation of a game engine in a CH application differs from others is in the nature of the game environment itself. It is modelled on the 'country' (the 'place' of their heritage which is so important to the clients' collective identity) and authentic fauna and flora that provides a highly contextualised setting for the stories to be told. This paper provides an overview on the development of the DSL game engine.

Documentary practice in a participatory culture

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice. A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too. It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself. One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer. Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers. It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.

Submission to the House of Representatives Standing Committee on Environment and Heritage : Inquiry into a Sustainability Charter by the Cooperative Research Centre for Construction Innovation

The Cooperative Research Centre for Construction Innovation1 (hereafter called Construction Innovation) supports the notion of the establishment of a Sustainability Charter for Australia and is interested in working collaboratively to achieve this outcome. A number of challenges need to be addressed to develop this Charter. This submission outlines these challenges and possible responses to them by a Sustainability Commission.

Ipswich stories : using digital storytelling to research intergenerational sharing of heritage, history, place, identity and community connection : a pilot study

Co-creative media production practices offer important new modes and opportunities for social participation and engagement. In mid-2009 Institute for Creative Industries and Innovation researchers at QUT adapted a specific model of co-creative media production, known as ‘digital storytelling’ and piloted it as an action research platform for facilitating and researching knowledge production based on intergenerational dialogue and exchange. Nine stories were produced and important insights were generated into this particular use of digital storytelling, as well as the impact of institutional constraints and opportunities on the possibilities and outcomes co-creative media practices and processes.

Orchids : intersex and identity in documentary

Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.