Towards a global “objectification” of Japanese art dataTowards a global “objectification” of Japanese art dataTowards a global “objectification” of Japanese art dataTowards a global “objectification” of Japanese art data

3rd Group: Moon Junglee, Carolyn Jane Wargula, Cordula Treimer

2. 2. 2. 2. TowardsTowardsTowardsTowards a Global Objectification of a Global Objectification of a Global Objectification of a Global Objectification of

Japanese Art DataJapanese Art DataJapanese Art DataJapanese Art Data

Moon, Junghee

Through the JAL 2015 project, I

understand that Japan has vast art data;

and identify distinctive characteristics of

books and visual resources conserved in art

museums and research institutions that I

visited. Especially, I appreciate being given

an opportunity to study possible way to

improve accessibility and usability of art

data in Japan. The project has enormous

significance in promoting the mutual close

understanding and approval among the

invited librarians/archivists and Japanese

people involved including the organizers of

the project. Hereafter, I explore further new

direction in accessibility and usability of art

data in Japan entitled "Towards a Global

Objectification of Japanese Art Data."

The term "Global" in the title refers to the

world, or the earth, with all its countries, or

rather, the communication center where we

actively exchange art resources. In other

perspective, "Global" is a major theme of

discussions for enhancing and

disseminating universal knowledge of

humankind. Contrarily, a term "localism" of

Japanese art database characterizes the

limited usability of Japanese art data. Thus

I rather believe that we may interpret

"Global" as growing positive opportunity of

sharing Japanese art resources worldwide,

beyond the sphere of their local area.

The ICT revolution in 1990s somewhat

gives an impression that it has facilitated

sharing today's information over the Web

freely. I believe that the revolution only

helps disseminate a mass of information,

leaving accessibility or accurate and deep

traceability to resources significantly

restricted. I conceive that information in

transborder database is shared and

consumed in global activities, but access to

local database in some regions by some

users is restricted because of its unique

regional characteristics. "Localism" of

database refers to this limitation in

accessibility. In this context, if the issue of

"localism" is solved and the art data spreads

worldwide over the globalized Internet, a

new environment for objectified art

resources is created.

Objectification of Japanese art resources,

the goal that the organizers of the JAL

project aim to achieve, is the first step for us

to take a new opportunity to leverage the

data. This is attained by collaboration of

specialized librarians, resources-collecting-

archivists, and related scholars including

myself. The participants of the project

demonstrate its goal. Aiming to create a

new global environment for objectified art

resources, three of us discussed and decided

to make respective presentations focusing

on "sharing," "accessing," and

"collaboration." Being the first speaker, I

presented my study about how databases of

art resources must be shared in our global

age.

First of all, we believe it necessary to

consider the key words of "sharing,"

"accessing," and "collaboration" in order to

create a new global environment for

objectified art resources. In the light of the

global age, "localism" of the Japanese art

databases is characterized by unique

isolation.

The Japanese art databases are precious,

yet undiscovered to the world. We need to

take a constructive approach to disseminate

the unknown databases to the world.

Promoting dissemination needs improving

accessibility in the general public, which in

turn illustrates the terms "objectification of

Japanese art resources." Our close

collaboration in improving accessibility and

increasing website traffic will expand

opportunity to share resources.

Collection of content is the first step for

developing a database of art resources and

creation of a database by compiling the

content is the second. A database must put

the highest priority on the user-friendliness.

As an example of collaboration, I suggest

that Japanese libraries form a consortium

with overseas institutions, or collaborate

with databases institutes of Japanese art

resources outside Japan, to develop the

database platform and interface.

Consequently, such collaboration improves

accessibility for and increase website traffic

of overseas users. If all specialists concerned

recognize how important the objectified art

database is, they enhance sharing of the

resources. In these efforts, locally limited

database of Japanese art resources will be

objectified.

3. 3. 3. 3. Towards a Global Realization of Japanese Towards a Global Realization of Japanese Towards a Global Realization of Japanese Towards a Global Realization of Japanese

Art Data Art Data Art Data Art Data

Carolyn Jane Wargula

Here, I will propose that we need to

rethink the definition of “Open Access” in

order for a global realization of Japanese

art-related information. While we saw

several digital image repositories from

Japanese research institutions and art

museums, I was surprised to find that some

of these databases are not accessible online

to the public. While these are wonderful

resources, by remaining inaccessible, they

do not further scholarly access for

international researchers. Contractual

obligations and copyright laws may be a

cause of these restrictions. Nevertheless, by

redefining the meaning of “Open” and

“Access,” I think that more art-related

information can be shared effectively with

international researchers.

“Open Access” can be defined as

unrestricted access of materials worldwide

through the Internet. The term “open” is

synonymous with “unrestricted” and can be

applied to both users and content. As for

users, both the creators and viewers of

content come to mind. By collaborating with

scholars from various institutions,

geographic locations, and nations, these

databases can feature voices from outside a

particular group. Regardless of contractual

obligations, this creates an unrestricted

community working towards a specific goal.

For example, the Ukiyoe Geijutsu database

was jointly created by the International

Ukiyo-e Society and The International

Research Center for Japanese Studies with

an aim to aid researchers of Japanese art

worldwide. In this way, the database

involves researchers from various

institutions and countries to create content.

We must also rethink the meaning of

unrestricted content. Most of the high-

resolution images accessible online are

artworks designated as “National Treasures”

or “Important Cultural Properties” under

Japan’s Law for the Protection of Cultural

Property. This creates a hierarchy in the

types of objects that are accessible for

research. Objects that do not fit this

category, particularly folk art, can become

even more difficult to study. In this way, the

types of content displayed can have

repercussions on Japanese art-related

scholarship. The 3D database created by the

Tsubochi Memorial Theatre at Waseda

University is a prime example of an

institution rethinking unrestricted content.

This database features a wide variety of

theatre masks, not only used in baguku or

noh in Japan, but also Chinese, Korean,

Tibetan, and Indonesian theatre. This

database features open content not only by

including masks from a variety of nations,

but by displaying works that may not be

considered “art” by the common museum

visitor.

Next, I’d like to discuss the need to rethink

“access.” Launching a database online is not

enough for it to be considered accessible.

These databases should include descriptions

with their main objectives and offer

tutorials that guide users within the space.

These databases should be multilingual to

help international users and include not

only a search function, but also a browsing

function for a general user that may not

necessarily know what key terms to search.

I think the goal of a database is similar to

that of a museum: databases should be

created not only to meet the needs of the

researcher, but also, the general public.

Like museums, databases should be created

with the aim to foster interest in Japanese

art for a wider audience.

For example, the Heilbrunn Timeline of

Art History, located on the Metropolitan

Museum of Art’s website, was created for a

general audience. This image on the screen

shows the Japan timeline from 1400-1600

CE and includes a short overview of the

political and social history of the

Muromachi Period and Momoyama Period,

lists several key events, and features

images of Muromachi/Momoyama objects

from the Met Collection. When a user clicks

related contents, there are maps,

chronologies of China and Korea, and a list

of Japanese rulers. A variety of short essays

concerning the Decoration of Arms and

Armor, Chinese Buddhist Sculpture, and

Joseon Buncheong Ware are also listed. In

this way, the content is unrestricted by

sharing information that crosses national

boundaries. This allows a user to browse

more widely and have broader access with

the material.

4. Simplify the search 4. Simplify the search 4. Simplify the search 4. Simplify the search

Cordula Treimer

BaseBaseBaseBase

We have gotten to know enthusiastic

people working on Interesting project

producing great resources during the trip.

I am also impressed by the MALUI group,

bridging the institutional divide between

museum, archive, library, university and

industry.

SuggestionsSuggestionsSuggestionsSuggestions

Providing an easy search screen in other

languages will lower the threshold to the

use of your resources. Show what you have!

Search InputSearch InputSearch InputSearch Input

Unified access points provide maximum

search results. Mapping for kanji and

romaji should be provided

StandardizationStandardizationStandardizationStandardization

Unified rules (minimal standard) for

cataloging, meta data production and data

base content lower the barrier between

material groups.

Search outputSearch outputSearch outputSearch output

Providing worldwide access through

unified access points, at least to the meta

data, channels researchers towards

institutions working on or owning the same

topics.

IntIntIntInternationalizationernationalizationernationalizationernationalization

Even Japanese art history on Japan can

profit from internationalization (concerning

content, form, method, public relations, etc.).

Include foreign researchers in the projects,

the view from outside will make results

even better. Present your resources

internationally, in journals, on platforms,

social media and conferences. ”Do good and

talk about it“ (in more than one language).

To illustrate my points I would like to

present two sites, which provide a search

screen in different languages. The first is

Europeana (http://www.europeana.eu),

which has been introduces in a previous

presentation. Funded by the European

Union it provides digital reproductions of

objects held at museums, libraries and

archives. The data is provided by

institutions in the different European

countries, but they do not have to provide

all their data. The results can be used under

the creative commons license. At this year’s

conference of the European Association of

Japanese Resource Specialists (EAJRS,

http://eajrs.net/) in Leiden, NL, you could

often hear the sentence ”Obviously, we need

something like Europeana in Japan.“ The

NDL search seems to resemble Europeana,

but unfortunately the number of

participating institutions is much lower. At

Europeana, the interface allows search

requests in the over 20 languages used

within the European Union.

The other example is KVK – Karlsruhe

Virtual Catalog

(http://kvk.bibliothek.kit.edu). It is a meta-

search-engine for libraries worldwide. It is

possible to choose every single OPAC for

each search. Should more information about

a single institution be required, a click on

its name leads to its homepage. Although it

is an outstanding website, there is not a

single Asian library participating in the

service. The search is possible not only in

German, but also in English.

Europeana and KVK both have a common

problem: If the kanji have not been entered

into the databases, a search with them will

not yield results. On the other hand,

although Japanese data bases do not

provide the reading in Latin script, our

catalogs do not work without it.

In my field of study, East Asian art history,

the pictures are particularly important. It is

possible to understand the information

about the picture using electric dictionaries,

but if the user can not even understand the

search screen, it is a huge hurdle.

These are some of the reasons for my

suggestions: Lower the threshold to your

search and show what you have!

美術資料のグローバルな客体化へ向けて美術資料のグローバルな客体化へ向けて美術資料のグローバルな客体化へ向けて美術資料のグローバルな客体化へ向けて

Towards a global “objectification” of Japanese art data

文貞文貞文貞文貞姫（姫（姫（姫（MOON, Junghee)キキキキャロリャロリャロリャロリンンンン ・・・・ ワグーワグーワグーワグーラ（ラ（ラ（ラ（Carolyn WARGULA)コルドゥコルドゥコルドゥコルドゥララララ ・・・・ トライマトライマトライマトライマー（ー（ー（ー（Cordula TREIMER））））

1

目次

１．はじめに１．はじめに

２．ググググロロロローーーーババババル時代ル時代ル時代ル時代の美術資料の美術資料の美術資料の美術資料DBの共の共の共の共有有有有性（文貞姫）性（文貞姫）性（文貞姫）性（文貞姫）

３．３．３．３． オープンと アクセスの再検討（キャロリン・ワグーラ）

４．４．４．４．探索を簡単にする（（（（コルドゥラ・トライマー）

５．結び

2

美術資料のグローバル美術資料のグローバル美術資料のグローバル美術資料のグローバルな客体な客体な客体な客体化化化化のためのためのためのためにににに

共有、アクセス、協力などを考える。共有、アクセス、協力などを考える。共有、アクセス、協力などを考える。共有、アクセス、協力などを考える。

1．はじめに．はじめに．はじめに．はじめに

3

グローバル時代の共有性グローバル時代の共有性グローバル時代の共有性グローバル時代の共有性

ローカリズムローカリズムローカリズムローカリズム世界化世界化世界化世界化

２．２．２．２．グローバルグローバルグローバルグローバル時代の美術資料時代の美術資料時代の美術資料時代の美術資料DBの共有性（文貞姫）の共有性（文貞姫）の共有性（文貞姫）の共有性（文貞姫）

日本

美術資料DB

美術館、

図書館

総合DB

アクセス

＋

コラボ

＝

共有性

4

ユーザー

企画

美術資料 DB

企画

コンテンツ

5

ユーザー

客体化

海外のアクセス

利用可能性

アクセス

コラボ

共有性

プラットホーム

コンテンツ

美術資料 DB

日本以外にも存在する

日本美術資料DB収集

DBとDBを連結の為にプラットホーム

コラボ

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第3グループ

３．３．３．３． オープンオープンオープンオープン とととと アクセスのアクセスのアクセスのアクセスの再検討（再検討（再検討（再検討（キャロリンキャロリンキャロリンキャロリン ワグーラワグーラワグーラワグーラ））））

オープンとアクセスの意味を再検討して、

データベースと日本美術資料の海外での利用者

の範囲を広める

7

オープオープオープオープンンンン アアアアクセクセクセクセスとはスとはスとはスとは

オープンオープンオープンオープン アアアアクセスとクセスとクセスとクセスとはははは誰もがインターネットを通して資料

の閲覧ができる

8

オープオープオープオープンンンンの意味を再検討

�自由な利用と構築自由な利用と構築自由な利用と構築自由な利用と構築(Open ととととは民族的は民族的は民族的は民族的・地域的・国家的な・地域的・国家的な・地域的・国家的な・地域的・国家的な

制限がない）制限がない）制限がない）制限がない）

�ユーザーとユーザーとユーザーとユーザーと コンテンツのオープンコンテンツのオープンコンテンツのオープンコンテンツのオープン化化化化

ユーザーのユーザーのユーザーのユーザーのオープン化オープン化オープン化オープン化ユーザーのユーザーのユーザーのユーザーのオープン化オープン化オープン化オープン化

• データベースの作成者は美術館・研究所の人に限られデータベースの作成者は美術館・研究所の人に限られデータベースの作成者は美術館・研究所の人に限られデータベースの作成者は美術館・研究所の人に限られ

ている事がている事がている事がている事が多い多い多い多い

• 海外の研究者と海外の研究者と海外の研究者と海外の研究者と共同共同共同共同でデータベースを構築した方がいでデータベースを構築した方がいでデータベースを構築した方がいでデータベースを構築した方がい

いいいい

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「日文研」の共同的なDB

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オープオープオープオープンンンンの意味を再検討

コンコンコンコンテンツのオープン化テンツのオープン化テンツのオープン化テンツのオープン化

• 所蔵作品所蔵作品所蔵作品所蔵作品DBは、美術館の所蔵作品には、美術館の所蔵作品には、美術館の所蔵作品には、美術館の所蔵作品に限られている限られている限られている限られている

• 国宝国宝国宝国宝・重要文化財などに限られている時もある・重要文化財などに限られている時もある・重要文化財などに限られている時もある・重要文化財などに限られている時もある

→日本美術の日本美術の日本美術の日本美術の知識知識知識知識を、より深めることができないを、より深めることができないを、より深めることができないを、より深めることができない

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早稲田大学の仮面のデジタル化

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第3グループ

アクセスアクセスアクセスアクセスの意味を再検討

アクセスアクセスアクセスアクセスとはコンタクトして引き出すこと

海外のユーザーと近くなるとは

• データベースを公開するだけではまだアクセス不足• 日本語以外の言語での解説• ブラウズの仕組み

様々様々様々様々な利用者を考える必要があな利用者を考える必要があな利用者を考える必要があな利用者を考える必要があるるるる

• データベースも美術館と同じ仕組みで様々な利用者に対応しなければならない

• 一般の方にも日本美術への興味を深める

13 14

15

４ 捜索を簡単にする（コルドゥラ・トライマー）Simplyfy the search (Cordula Treimer)

基礎Base

− 資料は素晴らしいGreat reasoures

− 興味深いプロジェクト興味深いプロジェクトInteresting project

− やる気のある人は参加するEnthusiastic people working on them

− MALUI

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献策Suggestions

− 外国語でのサーチが簡単にできるようにインターフェイスを改善することで、利⽤者が増える。Providing an easy search screen in other languages will lower the threshhold to the use of your resources.

− 優れた資料をもっとより多くの人々に公開し、利⽤を促す。Show what you have!

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サーチ⼊⼒情報Search Input

− 一つのアクセスポイントから、日本全体のデータベースにアクセスができるようなメタサーチシステムを作ると最大限有効に活⽤する。ると最大限有効に活⽤する。Unified accesspoints provide maximum search results.

− 漢字とローマ字表記はもちろんのこと、旧漢字や歴史的仮名づかいを現代表記でも検索できるようにする（マッピング）。Mapping for kanji and romaji should be provided for old kanji and kana usage.

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第3グループ

標準化ルールStandardization

− 統一したルールに従って、データベースを構築することで、データベース間のセッティングやフォーマットの標準化により情報がより利⽤しやすくなる。 Uの標準化により情報がより利⽤しやすくなる。nified rules (minimal standard) for cataloquing, meta data producion and data base content lower the barrierbetween material groups.

19

サーチ出⼒Search output

− 世界中で情報にアクセスできるように、メタデータを提供し、そこからそのトピックに関する研究機関を⾒つけることができるようにする。Providing worldwide access, at least to the meta data, つけることができるようにする。Providing worldwide access, at least to the meta data, chanels researchers towards the insitutions working on the same topics.

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国際化Internationalization

− 日本国内における日本美術史の研究でさえも、国際的観点に⽴つことで、さらにその研究を深めることができる（内容、形式、方式、宣伝等）。Even Japanese art history on Japan can proffit from intきる（内容、形式、方式、宣伝等）。Even Japanese art history on Japan can proffit from internationalisation (concerning content, form, method, public relations, etc.).

21

国際化Internationalization

− 国際雑誌、ソーシャルメディア、会議等に紹介してる。Present your resources and research internationally, in journals, social media and conferences.n journals, social media and conferences.

− 得になると教える・日本語以外の⾔葉で。Do good and talk about it – in more than Japanese.

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http://europeana.eu/portal/collections/art-history

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kvk.bibliothek.kit.edu/index.html?lang=en

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第3グループ

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第3グループ