Libraries, Archives, Museums discussion - MCN 2015

LIBRARIES, ARCHIVES, AND MUSEUMS

Points of Contact and Divergences in Cultural Heritage Information

A LAM-FRIENDLY OPEN DISCUSSION1. We’ll ask some broad, philosophical questions,2. offer some observations / examples to get us

rolling,3. touch some more technical aspects,4. probably end up discussing user experience!

PHYSICAL AND ONLINE SPACE What role does the physical space of libraries, archives and museums play in a social context, in contrast with their online presence?

How does the online LAM experience relate with the on-site experience and how are they both evolving? How can on-site technology aid or hinder a visit?

THE LAST DAYS OF POMPEII

YOGA: THE ART OF TRANSFORMATION

PAINTING THE MODERN GARDEN: MONET TO MATISSE

GALLERY ONE’S COLLECTION WALL

OPPOSITE THE COLLECTION WALL (ORIGINAL)

OPPOSITE THE COLLECTION WALL (NOW)

MISSION: SCHOLARLY VS. BROAD AUDIENCE How can LAMs fulfill their role of information providers by offering the highest quality information possible as well as reaching out to the broadest audience possible?

OBJECT COLLECTION ONLINE “POCKETS”

OBJECT COLLECTION ONLINE TO OPAC

MATERIALS COLLECTED Museums have publications, and sometimes libraries within them, as well as archives; libraries have special collections made up of unique or limited-edition objects. Are the two institutions closer than we think in terms of what they collect and how they catalog it?

ACCESSIONED BY THE MUSEUM ARCHIVES

DATA HARMONIZATION EFFORTS Efforts to harmonize concepts between libraries and museums, i.e., map terms that are common to both, are underway (e.g. FRBRoo). Also, portals such as Europeana and DPLA are aggregating resources from libraries and museums alike, providing generic repositories of cultural heritage. Who is implementing this at an institutional level?

How can physical cultural heritage items be cataloged and published along with conceptual (immaterial, born-digital) ones? Are today's tools adequate for the task or are they still relying on a pre-1970s concept of culture?

FRBROO

COLLECTION ITEMAS AN INTELLECTUAL PRODUCT

Diana Thater, Delphine, 1999Five-channel digital color video, sound (projection) with nine-monitor cube, light filters, and existing architecture; continuous loopArtist's proof from an edition of three

PORTLAND COMMON DATA MODEL

USER EXPERIENCE How important is visualization for LAMs, especially in regard to Linked Data and complex data sets? Which online and on-site efforts are most notable? What can we learn from non-cultural sectors?

Image delivery is probably one of the main points of contact between LAMs. The interest around IIIF and related tools confirms this. Could this be one common ground for all cultural heritage institutions?

THANKS FOR JOINING US Stefano CossuDirector of Application Services, CollectionsThe Art Institute of Chicagoscossu@artic.edu

Niki KrauseDirector of Application ServicesCleveland Museum of Artnkrause@clevelandart.org

David WilcoxFedora Product ManagerDuraspacedwilcox@duraspace.org