Artiste is a European project developing a cross-collection search system for art galleries and museums. It combines image content retrieval with text based retrieval and uses RDF mappings in order to integrate diverse databases. The test sites of the Louvre, Victoria and Albert Museum, Uffizi Gallery and National Gallery London provide their own database schema for existing metadata, avoiding the need for migration to a common schema. The system will accept a query based on one museumÔÇÖs fields and convert them, through an RDF mapping into a form suitable for querying the other collections. The nature of some of the image processing algorithms means that the system can be slow for some computations, so the system is session-based to allow the user to return to the results later. The system has been built within a J2EE/EJB framework, using the Jboss Enterprise Application Server.
Secondary Title
WWW2002: The Eleventh International World Wide Web Conference
Publisher
International World Wide Web Conference Committee
ISBN
1-880672-20-0
Critical Arguements
CA "A key aim is to make a unified retrieval system which is targeted to usersÔÇÖ real requirements and which is usable with integrated cross-collection searching. Museums and Galleries often have several digital collections ranging from public access images to specialised scientific images used for conservation purposes. Access from one gallery to another was not common in terms of textual data and not done at all in terms of image-based queries. However the value of cross-collection access is recognised as important for example in comparing treatments and conditions of paintings. While ARTISTE is primarily designed for inter-museum searching it could equally be applied to museum intranets. Within a MuseumÔÇÖs intranet there may be systems which are not interlinked due to local management issues."
Conclusions
RQ "The query language for this type of system is not yet standardised but we hope that an emerging standard will provide the session-based connectivity this application seems to require due to the possibility of long query times." ... "In the near future, the project will be introducing controlled vocabulary support for some of the metadata fields. This will not only make retrieval more robust but will also facilitate query expansion. The LouvreÔÇÖs multilingual thesaurus will be used in order to ensure greater interoperability. The system is easily extensible to other multimedia types such as audio and video (eg by adding additional query items such as "dialog" and "video sequence" with appropriate analysers). A follow-up project is scheduled to explore this further. There is some scope for relating our RDF query format to the emerging query standards such as XQuery and we also plan to feed our experience into standards such as the ZNG initiative.
SOW
DC "The Artiste project is a European Commission funded collaboration, investigating the use of integrated content and metadata-based image retrieval across disparate databases in several major art galleries across Europe. Collaborating galleries include the Louvre in Paris, the Victoria and Albert Museum in London, the Uffizi Gallery in Florence and the National Gallery in London." ... "Artiste is funded by the European CommunityÔÇÖs Framework 5 programme. The partners are: NCR, The University of Southampton, IT Innovation, Giunti Multimedia, The Victoria and Albert Museum, The National Gallery, The research laboratory of the museums of France (C2RMF) and the Uffizi Gallery. We would particularly like to thank our collaborators Christian Lahanier, James Stevenson, Marco Cappellini, John Cupitt, Raphaela Rimabosci, Gert Presutti, Warren Stirling, Fabrizio Giorgini and Roberto Vacaro."
CA "Ironically, electronic records systems make it both possible to more fully capture provenance than paper recrods systems did and at the same time make it more likely that provenance will be lost and that archives, even if they are preserved, will therefore lack evidential value. This paper explores the relationship between provenance and evidence and its implications for management of paper or electronic information systems." (p. 177)
Conclusions
"Electronic information systems, therefore, present at least two challenges to archivists. The first is that the designers of these systems may have chosen to document less contextual information than may be of interest to archivists when they designed the system. The second is that the data recorded in any given information system will, someday, need to be transferred to another system. ... [A]rchivists will need to return to fundamental archival principles to determine just what they really wanted to save anyway. ... It may be that archivists will be satisfied with the degree of evidential historicity they were able to achieve in paper based record systems, in which case there are very few barriers to implementing successful electronic based archival environments. Or archivists may decide that the fuller capability of tracking the actual participation of electronic data objects in organizational activities needs to be documented by archivally satisfactory information systems, in which case they will need to define those levels of evidential historicity that must be attained, and specify the systems requirements for such environments. ... At a meeting on electronic records management research issues sponsored by the National Historical Publications and Records Commission in January 1991, participants identified the concept of technological and economic plateaux in electronic data capture and archiving as an important arena for research ... Hopefully this research will produce information to help archivists make decisions regarding the amount of contextual information they can afford to capture and the requirements of systems designed to document context along with managing data content. ... I will not be surprised as we refine our concepts of evidential historicity to discover that the concept of provenance takes on even greater granularity." (p. 192-193)
This study focuses upon access to authentic electronic records that are no longer required in day-to-day operations and that have been set aside in a recordkeeping system or storage repository for future reference. One school of thought, generally associated with computer information technology specialists, holds that long-term access to electronic records is primarily a technological issue with little attention devoted to authenticity. Another school of thought, associated generally with librarians, archivists, and records managers, contends that long-term access to electronic records is as much an intellectual issue as it is a technological issue. This latter position is clearly evident in several recent research projects and studies about electronic records whose findings illuminate the discussion of long-term access to electronic records. Therefore, a review of eight research projects highlighting findings relevant for long-term access to electronic records begins this chapter. This review is followed by a discussion, from the perspective of archival science, of nine questions that a long-term access strategy must take into account. The nine issues are: What is a document?; What is a record?; What are authentic electronic records?; What does "archiving" mean?; What is an authentic reformatted electronic record?; What is a copy of an authentic electronic record?; What is an authentic converted electronic record?; What is involved in the migration of authentic electronic records?; What is technology obsolescence?
Book Title
Authentic Electronic Records: Strategies for Long-Term Access
Publisher
Cohasset Associates, Inc.
Publication Location
Chicago
ISBN
0970064004
Critical Arguements
CA "Building upon the key concepts and concerns articulated by the studies described above, this report attempts to move the discussion of long-term access to electronic records towarad more clearly identified, generally applicable and redily im(TRUNCATED)
Conclusions
RQ
SOW
DC This book chapter was written by Charles M. Dollar for Cohasset Associates, Inc. Mr. Dollar has "twenty-five years of experience in working with electronic records as a manager at the National Archives and Records Administration, as an archival educator at the University of British Columbia, and a consultant to governments and businesses in North America, Asia, Europe, and the Middle East." Cohasset Associates Inc. is "one of the nation's foremost consulting firms specializing in document-based information management."
Type
Electronic Journal
Title
ARTISTE: An integrated Art Analysis and Navigation Environment
This article focuses on the description of the objectives of the ARTISTE project (for "An integrated Art Analysis and Navigation environment") that aims at building a tool for the intelligent retrieval and indexing of high resolution images. The ARTISTE project will address professional users in the fine arts as the primary end-user base. These users provide services for the ultimate end-user, the citizen.
Critical Arguements
CA "European museums and galleries are rich in cultural treasures but public access has not reached its full potential. Digital multimedia can address these issues and expand the accessible collections. However, there is a lack of systems and techniques to support both professional and citizen access to these collections."
Phrases
<P1> New technology is now being developed that will transform that situation. A European consortium, partly funded by the EU under the fifth R&D framework, is working to produce a new management system for visual information. <P2> Four major European galleries (The Uffizi in Florence, The National Gallery and the Victoria and Albert Museum in London and the Louvre related restoration centre, Centre de Recherche et de Restauration des Mus├®es de France) are involved in the project. They will be joining forces with NCR, a leading player in database and Data Warehouse technology; Interactive Labs, the new media design and development facility of Italy's leading art publishing group, Giunti; IT Innovation, Web-based system developers; and the Department of Electronics and Computer Science at the University of Southampton. Together they will create web based applications and tools for the automatic indexing and retrieval of high-resolution art images by pictorial content and information. <P3> The areas of innovation in this project are as follows: Using image content analysis to automatically extract metadata based on iconography, painting style etc; Use of high quality images (with data from several spectral bands and shadow data) for image content analysis of art; Use of distributed metadata using RDF to build on existing standards; Content-based navigation for art documents separating links from content and applying links according to context at presentation time; Distributed linking and searching across multiple archives allowing ownership of data to be retained; Storage of art images using large (>1TeraByte) multimedia object relational databases. <P4> The ARTISTE approach will use the power of object-related databases and content-retrieval to enable indexing to be made dynamically, by non-experts. <P5> In other words ARTISTE would aim to give searchers tools which hint at links due to say colour or brush-stroke texture rather than saying "this is the automatically classified data". <P6> The ARTISTE project will build on and exploit the indexing scheme proposed by the AQUARELLE consortia. The ARTISTE project solution will have a core component that is compatible with existing standards such as Z39.50. The solution will make use of emerging technical standards XML, RDF and X-Link to extend existing library standards to a more dynamic and flexible metadata system. The ARTISTE project will actively track and make use of existing terminology resources such as the Getty "Art and Architecture Thesaurus" (AAT) and the "Union List of Artist Names" (ULAN). <P7> Metadata will also be stored in a database. This may be stored in the same object-relational database, or in a separate database, according to the incumbent systems at the user partners. <P8> RDF provides for metadata definition through the use of schemas. Schemas define the relevant metadata terms (the namespace) and the associated semantics. Individual RDF queries and statements may use multiple schemas. The system will make use of existing schemas such as the Dublin Core schema and will provide wrappers for existing resources such as the Art and Architecture thesaurus in a RDF schema wrapper. <P9> The Distributed Query and Metadata Layer will also provide facilities to enable queries to be directed towards multiple distributed databases. The end user will be able to seamlessly search the combined art collection. This layer will adhere to worldwide digital library standards such as Z39.50, augmenting and extending as necessary to allow the richness of metadata enabled by the RDF standard.
Conclusions
RQ "In conclusion the Artiste project will result into an interesting and innovative system for the art analysis, indexing storage and navigation. The actual state of the art of content-based retrieval systems will be positively influenced by the development of the Artiste project, which will pursue the following goals: A solution which can be replicated to European galleries, museums, etc.; Deep-content analysis software based on object relational database technology.; Distributed links server software, user interfaces, and content-based navigation software.; A fully integrated prototype analysis environment.; Recommendations for the exploitation of the project solution by European museums and galleries. ; Recommendations for the exploitation of the technology in other sectors.; "Impact on standards" report detailing augmentations of Z39.50 with RDF." ... ""Not much research has been carried out worldwide on new algorithms for style-matching in art. This is probably not a major aim in Artiste but could be a spin-off if the algorithms made for specific author search requirements happen to provide data which can be combined with other data to help classify styles." >
SOW
DC "Four major European galleries (The Uffizi in Florence, The National Gallery and the Victoria and Albert Museum in London and the Louvre related restoration centre, Centre de Recherche et de Restauration des Mus├®es de France) are involved in the project. They will be joining forces with NCR, a leading player in database and Data Warehouse technology; Interactive Labs, the new media design and development facility of Italy's leading art publishing group, Giunti; IT Innovation, Web-based system developers; and the Department of Electronics and Computer Science at the University of Southampton. Together they will create web based applications and tools for the automatic indexing and retrieval of high-resolution art images by pictorial content and information."
Type
Electronic Journal
Title
The Warwick Framework: A container architecture for diverse sets of metadata
This paper is a abbreviated version of The Warwick Framework: A Container Architecture for Aggregating Sets of Metadata. It describes a container architecture for aggregating logically, and perhaps physically, distinct packages of metadata. This "Warwick Framework" is the result of the April 1996 Metadata II Workshop in Warwick U.K.
ISBN
1082-9873
Critical Arguements
CA Describes the Warwick Framework, a proposal for linking together the various metadata schemes that may be attached to a given information object by using a system of "packages" and "containers." "[Warwick Workshop] attendees concluded that ... the route to progress on the metadata issue lay in the formulation a higher-level context for the Dublin Core. This context should define how the Core can be combined with other sets of metadata in a manner that addresses the individual integrity, distinct audiences, and separate realms of responsibility of these distinct metadata sets. The result of the Warwick Workshop is a container architecture, known as the Warwick Framework. The framework is a mechanism for aggregating logically, and perhaps physically, distinct packages of metadata. This is a modularization of the metadata issue with a number of notable characteristics. It allows the designers of individual metadata sets to focus on their specific requirements, without concerns for generalization to ultimately unbounded scope. It allows the syntax of metadata sets to vary in conformance with semantic requirements, community practices, and functional (processing) requirements for the kind of metadata in question. It separates management of and responsibility for specific metadata sets among their respective "communities of expertise." It promotes interoperability by allowing tools and agents to selectively access and manipulate individual packages and ignore others. It permits access to the different metadata sets that are related to the same object to be separately controlled. It flexibly accommodates future metadata sets by not requiring changes to existing sets or the programs that make use of them."
Phrases
<P1> The range of metadata needed to describe and manage objects is likely to continue to expand as we become more sophisticated in the ways in which we characterize and retrieve objects and also more demanding in our requirements to control the use of networked information objects. The architecture must be sufficiently flexible to incorporate new semantics without requiring a rewrite of existing metadata sets. <warrant> <P2> Each logically distinct metadata set may represent the interests of and domain of expertise of a specific community. <P3> Just as there are disparate sources of metadata, different metadata sets are used by and may be restricted to distinct communities of users and agents. <P4> Strictly partitioning the information universe into data and metadata is misleading. <P5> If we allow for the fact that metadata for an object consists of logically distinct and separately administered components, then we should also provide for the distribution of these components among several servers or repositories. The references to distributed components should be via a reliable persistent name scheme, such as that proposed for Universal Resources Names (URNs) and Handles. <P6> [W]e emphasize that the existence of a reliable URN implementation is a necessary to avoid the problems of dangling references that plague the Web. <warrant> <P7> Anyone can, in fact, create descriptive data for a networked resource, without permission or knowledge of the owner or manager of that resource. This metadata is fundamentally different from that metadata that the owner of a resource chooses to link or embed with the resource. We, therefore, informally distinguish between two categories of metadata containers, which both have the same implementation [internally referenced and externally referenced metadata containers].
Conclusions
RQ "We run the danger, with the full expressiveness of the Warwick Framework, of creating such complexity that the metadata is effectively useless. Finding the appropriate balance is a central design problem. ... Definers of specific metadata sets should ensure that the set of operations and semantics of those operations will be strictly defined for a package of a given type. We expect that a limited set of metadata types will be widely used and 'understood' by browsers and agents. However, the type system must be extensible, and some method that allows existing clients and agents to process new types must be a part of a full implementation of the Framework. ... There is a need to agree on one or more syntaxes for the various metadata sets. Even in the context of the relatively simple World Wide Web, the Internet is often unbearably slow and unreliable. Connections often fail or time out due to high load, server failure, and the like. In a full implementation of the Warwick Framework, access to a "document" might require negotiation across distributed repositories. The performance of this distributed architecture is difficult to predict and is prone to multiple points of failure. ... It is clear that some protocol work will need to be done to support container and package interchange and retrieval. ... Some examination of the relationship between the Warwick Framework and ongoing work in repository architectures would likely be fruitful.
Type
Electronic Journal
Title
Metadata: The right approach, An integrated model for descriptive and rights metadata in E-commerce
If you've ever completed a large and difficult jigsaw puzzle, you'll be familiar with that particular moment of grateful revelation when you find that two sections you've been working on separately actually fit together. The overall picture becomes coherent, and the task at last seems achievable. Something like this seems to be happening in the puzzle of "content metadata." Two communities -- rights owners on one hand, libraries and cataloguers on the other -- are staring at their unfolding data models and systems, knowing that somehow together they make up a whole picture. This paper aims to show how and where they fit.
ISBN
1082-9873
Critical Arguements
CA "This paper looks at metadata developments from this standpoint -- hence the "right" approach -- but does so recognising that in the digital world many Chinese walls that appear to separate the bibliographic and commercial communities are going to collapse." ... "This paper examines three propositions which support the need for radical integration of metadata and rights management concerns for disparate and heterogeneous materials, and sets out a possible framework for an integrated approach. It draws on models developed in the CIS plan and the DOI Rights Metadata group, and work on the ISRC, ISAN, and ISWC standards and proposals. The three propositions are: DOI metadata must support all types of creation; The secure transaction of requests and offers data depends on maintaining an integrated structure for documenting rights ownership agreements; All elements of descriptive metadata (except titles) may also be elements of agreements. The main consequences of these propositions are: A cross-sector vocabulary is essential; Non-confidential terms of rights ownership agreements must be generally accessible in a standard form. (In its purest form, the e-commerce network must be able to automatically determine the current owner of any right in any creation for any territory.); All descriptive metadata values (except titles) must be stored as unique, coded values. If correct, the implications of these propositions on the behaviour, and future inter-dependency, of the rights-owning and bibliographic communities are considerable."
Phrases
<P1> Historically, metadata -- "data about data" -- has been largely treated as an afterthought in the commercial world, even among rights owners. Descriptive metadata has often been regarded as the proper province of libraries, a battlefield of competing systems of tags and classification and an invaluable tool for the discovery of resources, while "business" metadata lurked, ugly but necessary, in distribution systems and EDI message formats. Rights metadata, whatever it may be, may seem to have barely existed in a coherent form at all. <P2> E-commerce offers the opportunity to integrate the functions of discovery, access, licensing and accounting into single point-and-click actions in which metadata is a critical agent, a glue which holds the pieces together. <warrant> <P3> E-commerce in rights will generate global networks of metadata every bit as vital as the networks of optical fibre -- and with the same requirements for security and unbroken connectivity. <warrant> <P4> The sheer volume and complexity of future rights trading in the digital environment will mean that any but the most sporadic level of human intervention will be prohibitively expensive. Standardised metadata is an essential component. <warrant> <P5> Just as the creators and rights holders are the sources of the content for the bibliographic world, so it seems inevitable they will become the principal source of core metadata in the web environment, and that metadata will be generated simultaneously and at source to meet the requirements of discovery, access, protection, and reward. <P6> However, under the analysis being carried out within the communities identified above and by those who are developing technology and languages for rights-based e-commerce, it is becoming clear that "functional" metadata is also a critical component. It is metadata (including identifiers) which defines a creation and its relationship to other creations and to the parties who created and variously own it; without a coherent metadata infrastructure e-commerce cannot properly flow. Securing the metadata network is every bit as important as securing the content, and there is little doubt which poses the greater problem. <warrant> <P7> Because creations can be nested and modified at an unprecedented level, and because online availability is continuous, not a series of time-limited events like publishing books or selling records, dynamic and structured maintenance of rights ownership is essential if the currency and validity of offers is to be maintained. <warrant> <P8> Rights metadata must be maintained and linked dynamically to all of its related content. <P9> A single, even partial, change to rights ownership in the original creation needs to be communicated through this chain to preserve the currency of permissions and royalty flow. There are many options for doing this, but they all depend, among other things, on the security of the metadata network. <warrant> <P10>As digital media causes copyright frameworks to be rewritten on both sides of the Atlantic, we can expect measures of similar and greater impact at regular intervals affecting any and all creation types: yet such changes can be relatively simple to implement if metadata is held in the right way in the right place to begin with. <warrant> <P11> The disturbing but inescapable consequence is that it is not only desirable but essential for all elements of descriptive metadata, except for titles, to be expressed at the outset as structured and standardised values to preserve the integrity of the rights chain. <P12> Within the DOI community, which embraces commercial and library interests, the integration of rights and descriptive metadata has become a matter of priority. <P13> What is required is that the establishment of a creation description (for example, the registration of details of a new article or audio recording) or of change of rights control (for example, notification of the acquisition of a work or a catalogue of works) can be done in a standardised and fully structured way. <warrant> <P14> Unless the chain is well maintained at source, all downstream transactions will be jeopardised, for in the web environment the CIS principle of "do it once, do it right" is seen at its ultimate. A single occurrence of a creation on the web, and its supporting metadata, can be the source for all uses. <P15> One of the tools to support this development is the RDF (Resource Description Framework). RDF provides a means of structuring metadata for anything, and it can be expressed in XML. <P16> Although formal metadata standards hardly exist within ISO, they are appearing through the "back door" in the form of mandatory supporting data for identifier standards such as ISRC, ISAN and ISWC. A major function of the INDECS project will be to ensure the harmonisation of these standards within a single framework. <P17> In an automated, protected environment, this requires that the rights transaction is able to generate automatically a new descriptive metadata set through the interaction of the agreement terms with the original creation metadata. This can only happen (and it will be required on a massive scale) if rights and descriptive metadata terminology is integrated and standardised. <warrant> <P18>As resources become available virtually, it becomes as important that the core metadata itself is not tampered with as it is that the object itself is protected. Persistence is now not only a necessary characteristic of identifiers but also of the structured metadata that attends them. <P19> This leads us also to the conclusion that, ideally, standardised descriptive metadata should be embedded into objects for its own protection. <P20> It also leads us to the possibility of metadata registration authorities, such as the numbering agencies, taking wider responsibilities. <P21>If this paper is correct in its propositions, then rights metadata will have to rewrite half of Dublin Core or else ignore it entirely. <P22> The web environment with its once-for-all means of access provides us with the opportunity to eliminate duplication and fragmentation of core metadata; and at this moment, there are no legacy metadata standards to shackle the information community. We have the opportunity to go in with our eyes open with standards that are constructed to make the best of the characteristics of the new digital medium. <warrant>
Conclusions
RQ "The INDECS project (assuming its formal adoption next month), in which the four major communities are active, and with strong links to ISO TC46 and MPEG, will provide a cross-sector framework for this work in the short-term. The DOI Foundation itself may be an appropriate umbrella body in the future. We may also consider that perhaps the main function of the DOI itself may not be, as originally envisaged, to link user to content -- which is a relatively trivial task -- but to provide the glue to link together creation, party, and agreement metadata. The model that rights owners may be wise to follow in this process is that of MPEG, where the technology industry has tenaciously embraced a highly-regimented, rolling standardisation programme, the results of which are fundamental to the success of each new generation of products. Metadata standardisation now requires the same technical rigour and commercial commitment. However, in the meantime the bibliographic world, working on what it has always seen its own part of the jigsaw puzzle, is actively addressing many of these issues in an almost parallel universe. The question remains as to how in practical terms the two worlds, rights and bibliographic, can connect, and what may be the consequences of a prolonged delay in doing so." ... "The former I encourage to make a case for continued support and standardisation of a flawed Dublin Core in the light of the propositions I have set out in this paper, or else engage with the DOI and rights owner communities in its revision to meet the real requirements of digital commerce in its fullest sense."
SOW
DC "There are currently four major active communities of rights-holders directly confronting these questions: the DOI community, at present based in the book and electronic publishing sector; the IFPI community of record companies; the ISAN community embracing producers, users, and rights owners of audiovisuals; and the CISAC community of collecting societies for composers and publishers of music, but also extending into other areas of authors' rights, including literary, visual, and plastic arts." ... "There are related rights-driven projects in the graphic, photographic, and performers' communities. E-commerce means that metadata solutions from each of these sectors (and others) require a high level of interoperability. As the trading environment becomes common, traditional genre distinctions between creation-types become meaningless and commercially destructive."
Type
Report
Title
Mapping of the Encoded Archival Description DTD Element Set to the CIDOC CRM
The CIDOC CRM is the first ontology designed to mediate contents in the area of material cultural heritage and beyond, and has been accepted by ISO TC46 as work item for an international standard. The EAD Document Type Definition (DTD) is a standard for encoding archival finding aids using the Standard Generalized Markup Language (SGML). Archival finding aids are detailed guides to primary source material which provide fuller information than that normally contained within cataloging records. 
Publisher
Institute of Computer Science, Foundation for Research and Technology - Hellas
Publication Location
Heraklion, Crete, Greece
Language
English
Critical Arguements
CA "This report describes the semantic mapping of the current EAD DTD Version 1.0 Element Set to the CIDOC CRM and its latest extension. This work represents a proof of concept for the functionality the CIDOC CRM is designed for." 
Conclusions
RQ "Actually, the CRM seems to do the job quite well ÔÇô problems in the mapping arise more from underspecification in the EAD rather than from too domain-specific notions. "┬á... "To our opinion, the archival community could benefit from the conceptualizations of the CRM to motivate more powerful metadata standards with wide interoperability in the future, to the benefit of museums and other disciplines as well."
SOW
DC "As a potential international standard, the EAD DTD is maintained in the Network Development and MARC Standards Office of the Library of Congress in partnership with the Society of American Archivists." ... "The CIDOC Conceptual Reference Model (see [CRM1999], [Doerr99]), in the following only referred to as ┬½CRM┬╗, is outcome of an effort of the Documentation Standards Group of the CIDOC Committee (see ┬½http:/www.cidoc.icom.org┬╗, ÔÇ£http://cidoc.ics.forth.grÔÇØ) of ICOM, the International Council of Museums beginning in 1996."
Type
Report
Title
D6.2 Impact on World-wide Metadata Standards Report
This document presents the ARTISTE three-level approach to providing an open and flexible solution for combined metadata and image content-based search and retrieval across multiple, distributed image collections. The intended audience for this report includes museum and gallery owners who are interested in providing or extending services for remote access, developers of collection management and image search and retrieval systems, and standards bodies in both the fine art and digital library domains.
Notes
ARTISTE (http://www.artisteweb.org/) is a European Commission supported project that has developed integrated content and metadata-based image retrieval across several major art galleries in Europe. Collaborating galleries include the Louvre in Paris, the Victoria and Albert Museum in London, the Uffizi Gallery in Florence and the National Gallery in London.
Edition
Version 2.0
Publisher
The ARTISTE Consortium
Publication Location
Southampton, United Kindom
Accessed Date
08/24/05
Critical Arguements
<CA>  Over the last two and a half years, ARTISTE has developed an image search and retrieval system that integrates distributed, heterogeneous image collections. This report positions the work achieved in ARTISTE with respect to metadata standards and approaches for open search and retrieval using digital library technology. In particular, this report describes three key aspects of ARTISTE: the transparent translation of local metadata to common standards such as Dublin Core and SIMI consortium attribute sets to allow cross-collection searching; A methodology for combining metadata and image content-based analysis into single search galleries to enable versatile retrieval and navigation facilities within and between gallery collections; and an open interface for cross-collection search and retrieval that advances existing open standards for remote access to digital libraries, such as OAI (Open Archive Initiative) and ZING SRW (Z39.50 International: Next Generation Search and Retrieval Web Service).
Conclusions
RQ "A large part of ARTISTE is concerned with use of existing standards for metadata frameworks. However, one area where existing standards have not been sufficient is multimedia content-based search and retrieval. A proposal has been made to ZING for additions to SRW. This will hopefully enable ARTISTE to make a valued contribution to this rapidly evolving standard." ... "The work started in ARTISTE is being continued in SCULTEUR, another project funded by the European Commission. SCUPLTEUR will develop both the technology and the expertise to create, manage, and present cultural archives of 3D models and associated multimedia objects." ... "We believe the full benefit of multimedia search and retrieval can only be realised through seamless integration of content-based analysis techniques. However, not only does introduction of content-bases analysis require modification to existing standards as outlines in this report, but it also requires a review if the use of semantics in achieving digital library interoperability. In particular, machine understandable description of the semantics of textual metadata, multimedia content, and content-based analysis, can provide a foundation for a new generation of flexible and dynamic digital library tools and services. " ... "Existing standards do not use explicit semantics to describe query operators or their application to metadata and multimedia content at individual sites. However, dynamically determining what operators and types are supported by a collection is essential to robust and efficient cross-collection searching. Dynamic use of published semantics would allow a collection and any associated content-based analysis to be changed  by its owner without breaking conformance to search and retrieval standards. Furthermore, individual sites would not need to publish detailed, human readable descriptions of available functionality.  
SOW
DC "Four major European galleries are involved in the project: the Uffizi in Florence, the national Gallery and the Victoria and Albert Museum in London, and the Centre de Recherche et de Restauration des Musees de France (C2RMF) which is the Louvre related restoration centre. The ARTISTE system currently holds over 160,000 images from four separate collections owned by these partners. The galleries have partnered with NCR, leading player in database and Data Warehouse technology; Interactive Labs, the new media design and development facility of Italy's leading art publishing group, Giunti; IT Innovation, a specialist in building innovative IT systems, and the Department of Electronics and Computer Science at the University of Southhampton." 
Type
Web Page
Title
Archiving The Avant Garde: Documenting And Preserving Variable Media Art.
Archiving the Avant Garde is a collaborative project to develop, document, and disseminate strategies for describing and preserving non-traditional, intermedia, and variable media art forms, such as performance, installation, conceptual, and digital art. This joint project builds on existing relationships and the previous work of its founding partners in this area. One example of such work is the Conceptual & Intermedia Arts Online (CIAO) Consortium, a collaboration founded by the BAM/PFA, the Walker Art Center, and Franklin Furnace, that includes 12 other international museums and arts organizations. CIAO develops standardized methods of documenting and providing access to conceptual and other ephemeral intermedia art forms. Another example of related work conducted by the project's partners is the Variable Media Initiative, organized by the Guggenheim Museum, which encourages artists to define their work independently from medium so that the work can be translated once its current medium is obsolete. Archiving the Avant Garde will take the ideas developed in previous efforts and develop them into community-wide working strategies by testing them on specific works of art in the practical working environments of museums and arts organizations. The final project report will outline a comprehensive strategy and model for documenting and preserving variable media works, based on case studies to illustrate practical examples, but always emphasizing the generalized strategy behind the rule. This report will be informed by specific and practical institutional practice, but we believe that the ultimate model developed by the project should be based on international standards independent of any one organization's practice, thus making it adaptable to many organizations. Dissemination of the report, discussed in detail below, will be ongoing and widespread.
Critical Arguements
CA "Works of variable media art, such as performance, installation, conceptual, and digital art, represent some of the most compelling and significant artistic creation of our time. These works are key to understanding contemporary art practice and scholarship, but because of their ephemeral, technical, multimedia, or otherwise variable natures, they also present significant obstacles to accurate documentation, access, and preservation. The works were in many cases created to challenge traditional methods of art description and preservation, but now, lacking such description, they often comprise the more obscure aspects of institutional collections, virtually inaccessible to present day researchers. Without strategies for cataloging and preservation, many of these vital works will eventually be lost to art history. Description of and access to art collections promote new scholarship and artistic production. By developing ways to catalog and preserve these collections, we will both provide current and future generations the opportunity to learn from and be inspired by the works and ensure the perpetuation and accuracy of art historical records. It is to achieve these goals that we are initiating the consortium project Archiving the Avant Garde: Documenting and Preserving Variable Media Art."
Conclusions
RQ "Archiving the Avant Garde will take a practical approach to solving problems in order to ensure the feasibility and success of the project. This project will focus on key issues previously identified by the partners and will leave other parts of the puzzle to be solved by other initiatives and projects in regular communication with this group. For instance, this project realizes that the arts community will need to develop software tools which enable collections care professionals to implement the necessary new description and metadata standards, but does not attempt to develop such tools in the context of this project. Rather, such tools are already being developed by a separate project under MOAC. Archiving the Avant Garde will share information with that project and benefit from that work. Similarly, the prospect of developing full-fledged software emulators is one best solved by a team of computer scientists, who will work closely with members of the proposed project to cross-fertilize methods and share results. Importantly, while this project is focused on immediate goals, the overall collaboration between the partner organizations and their various initiatives will be significant in bringing together the computer science, arts, standards, and museum communities in an open-source project model to maximize collective efforts and see that the benefits extend far and wide."
SOW
DC "We propose a collaborative project that will begin to establish such professional best practice. The collaboration, consisting of the Berkeley Art Museum and Pacific Film Archive (BAM/PFA), the Solomon R. Guggenheim Museum, Rhizome.org, the Franklin Furnace Archive, and the Cleveland Performance Art Festival and Archive, will have national impact due to the urgent and universal nature of the problem for contemporary art institutions, the practicality and adaptability of the model developed by this group, and the significant expertise that this nationwide consortium will bring to bear in the area of documenting and preserving variable media art." ... "We believe that a model informed by and tested in such diverse settings, with broad public and professional input (described below), will be highly adaptable." ..."Partners also represent a geographic and national spread, from East Coast to Midwest to West Coast. This coverage ensures that a wide segment of the professional community and public will have opportunities to participate in public forums, hosted at partner institutions during the course of the project, intended to gather an even broader cross-section of ideas and feedback than is represented by the partners." ... "The management plan for this project will be highly decentralized ensuring that no one person or institution will unduly influence the model strategy for preserving variable media art and thereby reduce its adaptability."
Type
Web Page
Title
CDL Digital Object Standard: Metadata, Content and Encoding
This document addresses the standards for digital object collections for the California Digital Library 1. Adherence to these standards is required for all CDL contributors and may also serve University of California staff as guidelines for digital object creation and presentation. These standards are not intended to address all of the administrative, operational, and technical issues surrounding the creation of digital object collections.
Critical Arguements
CA These standards describe the file formats, storage and access standards for digital objects created by or incorporated into the CDL as part of the permanent collections. They attempt to balance adherence to industry standards, reproduction quality, access, potential longevity and cost.
Conclusions
RQ not applicable
SOW
DC "This is the first version of the CDL Digital Object Standard. This version is based upon the September 1, 1999 version of the CDL's Digital Image Standard, which included recommendations of the Museum Educational Site Licensing Project (MESL), the Library of Congress and the MOA II participants." ... "The Museum Educational Site Licensing Project (MESL) offered a framework for seven collecting institutions, primarily museums, and seven universities to experiment with new ways to distribute visual information--both images and related textual materials. " ... "The Making of America (MoA II) Testbed Project is a Digital Library Federation (DLF) coordinated, multi-phase endeavor to investigate important issues in the creation of an integrated, but distributed, digital library of archival materials (i.e., digitized surrogates of primary source materials found in archives and special collections). The participants include Cornell University, New York Public Library, Pennsylvania State University, Stanford University and UC Berkeley. The Library of Congress white papers and standards are based on the experience gained during the American Memory Pilot Project. The concepts discussed and the principles developed still guide the Library's digital conversion efforts, although they are under revision to accomodate the capabilities of new technologies and new digital formats." ... "The CDL Technical Architecture and Standards Workgroup includes the following members with extensive experience with digital object collection and management: Howard Besser, MESL and MOA II digital imaging testbed projects; Diane Bisom, University of California, Irvine; Bernie Hurley, MOA II, University of California, Berkeley; Greg Janee, Alexandria Digital Library; John Kunze, University of California, San Francisco; Reagan Moore and Chaitanya Baru, San Diego Supercomputer Center, ongoing research with the National Archives and Records Administration on the long term storage and retrieval of digital content; Terry Ryan, University of California, Los Angeles; David Walker, California Digital Library"
There are many types of standards used to manage museum collections information. These "standards", which range from precise technical  standards to general guidelines, enable museum data to be efficiently  and consistently indexed, sorted, retrieved, and shared, both  in automated and paper-based systems. Museums often use metadata standards  (also called data structure standards) to help them: define what types of information to record in their database  (or card catalogue); structure this information (the relationships between the  different types of information). Following (or mapping data to) these standards makes it possible  for museums to move their data between computer systems, or share  their data with other organizations.
Notes
The CHIN Web site features sections dedicated to Creating and Managing Digital Content, Intellectual Property, Collections Management, Standards, and more. CHIN's array of training tools, online publications, directories and databases are especially designed to meet the needs of both small and large institutions. The site also provides access to up-to-date information on topics such as heritage careers, funding and conferences.
Critical Arguements
CA "Museums often want to use their collections data for many purposes, (exhibition catalogues, Web access for the public, and curatorial research, etc.), and they may want to share their data with other museums, archives, and libraries in an automated way. This level of interoperability between systems requires cataloguing standards, value standards, metadata standards, and interchange standards to work together. Standards enable the interchange of data between cataloguer and searcher, between organizations, and between computer systems."
Conclusions
RQ "HIN is also involved in a project to create metadata for a pan-Canadian inventory of learning resources available on Canadian museum Web sites. Working in consultation with the Consortium for the Interchange of Museum Information (CIMI), the Gateway to Educational Materials (GEM) [link to GEM in Section G], and SchoolNet, the project involves the creation of a Guide to Best Practices and cataloguing tool for generating metadata for online learning materials. " 
SOW
DC "CHIN is involved in the promotion, production, and analysis of standards for museum information. The CHIN Guide to Museum Documentation Standards includes information on: standards and guidelines of interest to museums; current projects involving standards research and implementation; organizations responsible for standards research and development; Links." ... "CHIN is a member of CIMI (the Consortium for the Interchange of Museum Information), which works to enable the electronic interchange of museum information. From 1998 to 1999, CHIN participated in a CIMI Metadata Testbed which aimed to explore the creation and use of metadata for facilitating the discovery of electronic museum information. Specifically, the project explored the creation and use of Dublin Core metadata in describing museum collections, and examined how Dublin Core could be used as a means to aid in resource discovery within an electronic, networked environment such as the World Wide Web." 
The CDISC Submission Metadata Model was created to help ensure that the supporting metadata for these submission datasets should meet the following objectives: Provide FDA reviewers with clear describtions of the usage, structure, contents, and attributes of all datasets and variables; Allow reviewers to replicate most analyses, tables, graphs, and listings with minimal or no transformations; Enable reviewers to easily view and subset the data used to generate any analysis, table, graph, or listing without complex programming. ... The CDISC Submission Metadata Model has been defined to guide sponsors in the preparation of data that is to be submitted to the FDA. By following the principles of this model, sponsors will help reviewers to accurately interpret the contents of submitted data and work with it more effectively, without sacrificing the scientific objectives of clinical development.
Publisher
The Clinical Data Interchange Standards Consortium
Critical Arguements
CA "The CDISC Submission Data Model has focused on the use of effective metadata as the most practical way of establishing meaningful standards applicable to electronic data submitted for FDA review."
Conclusions
RQ "Metadata prepared for a domain (such as an efficacy domain) which has not been described in a CDISC model should follow the general format of the safety domains, including the same set of core selection variables and all of the metadata attributes specified for the safety domains. Additional examples and usage guidelines are available on the CDISC web site at www.cdisc.org." ... "The CDISC Metadata Model describes the structure and form of data, not the content. However, the varying nature of clinical data in general will require the sponsor to make some decisions about how to represent certain real-world conditions in the dataset. Therefore, it is useful for a metadata document to give the reviewer an indication of how the datasets handle certain special cases."
SOW
DC CDISC is an open, multidisciplinary, non-profit organization committed to the development of worldwide standards to support the electronic acquisition, exchange, submission and archiving of clinical trials data and metadata for medical and biopharmaceutical product development. CDISC members work together to establish universally accepted data standards in the pharmaceutical, biotechnology and device industries, as well as in regulatory agencies worldwide. CDISC currently has more than 90 members, including the majority of the major global pharmaceutical companies.
Type
Web Page
Title
CDISC Achieves Two Significant Milestones in the Development of Models for Data Interchange
CA "The Clinical Data Interchange Standards Consortium has achieved two significant milestones towards its goal of standard data models to streamline drug development and regulatory review processes. CDISC participants have completed metadata models for the 12 safety domains listed in the FDA Guidance regarding Electronic Submissions and have produced a revised XML-based data model to support data acquisition and archive."
Conclusions
RQ "The goal of the CDISC XML Document Type Definition (DTD) Version 1.0 is to make available a first release of the definition of this CDISC model, in order to support sponsors, vendors and CROs in the design of systems and processes around a standard interchange format."
SOW
DC "This team, under the leadership of Wayne Kubick of Lincoln Technologies, and Dave Christiansen of Genentech, presented their metadata models to a group of representatives at the FDA on Oct. 10, and discussed future cooperative efforts with Agency reviewers."... "CDISC is a non-profit organization with a mission to lead the development of standard, vendor-neutral, platform-independent data models that improve process efficiency while supporting the scientific nature of clinical research in the biopharmaceutical and healthcare industries"
Type
Web Page
Title
National States Geographic Information Council (NSGIC) Metadata Primer -- A "How To" Guide on Metadata Implementation
The primer begins with a discussion of what metadata is and why metadata is important. This is followed by an overview of the Content Standards for Digital Geospatial Metadata (CSDGM) adopted by the Federal Geographic Data Committee (FGDC). Next, the primer focuses on the steps required to begin collecting and using metadata. The fourth section deals with how to select the proper metadata creation tool from the growing number being developed. Section five discusses the mechanics of documenting a data set, including strategies on reviewing the output to make sure it is in a useable form. The primer concludes with a discussion of other assorted metadata issues.
Critical Arguements
CA The Metadata Primer is one phase of a larger metadata research and education project undertaken by the National States Geographic Information Council and funded by the Federal Geographic Data Committee's Competetive Cooperative Agreements Program (CCAP). The primer is designed to provide a practical overview of the issues associated with developing and maintaining metadata for digital spatial data. It is targeted toward an audience of state, local, and tribal government personnel. The document provides a "cook book" approach to the creation of metadata. Because much of the most current information on metadata resides on the Internet, the primer summarizes relevant material available from other World Wide Web (WWW) home pages.
Conclusions
RQ To what extent could the NSGIC recommendations be used for non-geographic applications?
SOW
DC FGDC approved the Content Standard for Digital Geospatial Metadata (FGDC-STD-001-1998) in June 1998. FGDC is a 19-member interagency committee composed of representatives from the Executive Office of the President, Cabinet-level and independent agencies. The FGDC is developing the National Spatial Data Infrastructure (NSDI) in cooperation with organizations from State, local and tribal governments, the academic community, and the private sector. The NSDI encompasses policies, standards, and procedures for organizations to cooperatively produce and share geographic data.
Type
Web Page
Title
Record Keeping Metadata Requirements for the Government of Canada
This document comprises descriptions for metadata elements utilized by the Canadian Government as of January 2001.
Critical Arguements
CA "The Record Keeping Metadata is defined broadly to include the type of information Departments are required to capture to describe the identity, authenticity, content, context, structure and management requirements of records created in the context of a business activity. The Metadata model consists of elements, which are the attributes of a record that are comparable to fields in a database. The model is modular in nature. It permits Departments to use a core set of elements that will meet the minimum requirements for describing and sharing information, while facilitating interoperability between government Departments. It also allows Departments with specialized needs or the need for more detailed descriptions to add new elements and/or sub-elements to the basic metadata in order to satisfy their particular business requirements."
Type
Web Page
Title
Descriptive Metadata Guidelines for RLG Cultural Materials
To ensure that the digital collections submitted to RLG Cultural Materials can be discovered and understood, RLG has compiled these Descriptive Metadata Guidelines for contributors. While these guidelines reflect the needs of one particular service, they also represent a case study in information sharing across community and national boundaries. RLG Cultural Materials engages a wide range of contributors with different local practices and institutional priorities. Since it is impossible to find -- and impractical to impose -- one universally applicable standard as a submission format, RLG encourages contributors to follow the suite of standards applicable to their particular community (p.1).
Critical Arguements
CA "These guidelines . . . do not set a new standard for metadata submission, but rather support a baseline that can be met by any number of strategies, enabling participating institutions to leverage their local descriptions. These guidelines also highlight the types of metadata that enhance functionality for RLG Cultural Materials. After a contributor submits a collection, RLG maps that description into the RLG Cultural Materials database using the RLG Cultural Materials data model. This ensures that metadata from the various participant communities is integrated for efficient searching and retrieval" (p.1).
Conclusions
RQ Not applicable.
SOW
DC RLG comprises more than 150 research and cultural memory institutions, and RLG Cultural Materials elicits contributions from countless museums, archives, and libraries from around the world that, although they might retain local descriptive standards and metadata schemas, must conform to the baseline standards prescribed in this document in order to integrate into RLG Cultural Materials. Appendix A represents and evaluates the most common metadata standards with which RLG Cultural Materians is able to work.
