Digital Collections

The article looks at the challenges and opportunities of collecting and disseminating performance art from an art library’s perspective. Based on the collecting experience of the Mediathek at the Academy of Art and Design FHNW Basel (Switzerland), the text contextualizes its own digital collections within the Swiss performance art context. What is special about Mediathek’s collection is; (1) the fact that a remarkable number of documents of performance art are accessible for free via the internet, without login, in a structured, searchable and sustainable way. Because the policy permits, upon certain conditions, the acceptance of content from individuals, groups, and institutions not associated with the university, there is; (2) a considerable amount of ‘external’ materials in the collections. The aim of the essay is to make this treasure of sources known. Therefore, digital access points to the projects and collections described in the text are mentioned in the references.

A developed digital collection of textile patterns is presented Iin the report. As objects in this collection designed modern textile prints developed on the basis of elements of ancient Egyptian costume are included. Software tools are developed to obtain colors, shapes and descriptions of the used ancient Egyptian elements. The resulting elements are in vector format, and can be used in CAD systems and spreadsheets. Descriptions of these motifs can be used for comparison with such elements from other national costumes.

L'idée novatrice est de travailler dans un esprit fédératif et de relier un objet documentaire ou culturel à tout un environnement. Les liaisons se font au travers d'un nouvel outil social et particulièrement adapté à l'esprit transdisciplinaire et transrégional. La construction de liens pour rapprocher virtuellement des collections réparties sur un plan géographique tient compte des projets existant pour s'articuler avec eux. Cette plateforme donne les moyens aux chercheurs de retrouver un maximum de liens entre les projets et les objets académiques de recherche. Plutôt que de se concentrer uniquement sur les objets numériques il est intéressant de les replacer dans leur environnement de façon à valoriser des fonds entiers de collections thématiques et cela en sortant d'un cadre institutionnel. Les métas connaissances pour la représentation des connaissances du domaine d'application relèvent de la méta base chargée de contenir les structures des bases métier...

This paper aims to measure the e-business adoption activities in Yemeni SMEs as well as investigate the benefit and barriers of using e-business in SMEs in developing countries such as Yemen. The paper employed a mixed method (quantitative and qualitative) case approach. The paper integrated different methods in order to facilitate a deep understanding of the adoption level of e-business in SMEs in. Firstly, semi-structured interviews conducted with SMEs’ managers. Secondly, a survey questionnaire used to generalise and verify the findings from stage 1 to the SEMs population. . About (23.5%) of SMEs have employees between 1-9 and (76.5%) of SMEs have employees between 10 and 49, therefore the majority of them were medium firms. In addition, about 51% of the SMEs have been established for 10 years and below, and 49% were above10 years. The results indicate that the Yemeni SMEs are at the early stages of e-business adoption. It also indicates factors that deter Yemeni SMEs from the ad...

An accurate prediction of the future condition of museum objects is crucial for developing appropriate proactive maintenance and preservation strategies. Despite this, there are very few such damage models that can be used in practice. The main reasons, for this lack of deterioration models, include complexity of deterioration problem and lack of understanding of the degradation mechanisms affecting various materials and objects, and lack of reliable quantitative approaches. In the article, we discuss the machine learning model, which predicts the future condition of museum objects. For this purpose, the model uses the data of MuIS (Estonian Museum Information System). To predict deterioration, we experimented primarily with various tree-based machine learning algorithms, such as the decision tree, the random forest, and XGBoost. The best results were obtained using the decision forest algorithm, which was able to identify 92% of deteriorating museum objects with 50% accuracy. The machine learning model provides a way to model ageing processes of museum objects over the course of time and thus better plan the preservation work of museums.

This case study details how the University of Northern Colorado (UNC) Libraries made the shift from a centralized model where digitization took place largely within the archives department, to a decentralized one that encompasses multiple library units. This shift came about as the result of the addition of a digital initiatives librarian position and the formation of a digitization steering committee comprised of employees representing different departments from throughout the Libraries. The result was a marked increase in the number of objects that could be digitized and made available online within a given period of time.

Study of several libraries, museums, and archives and how digital preservation can reveal the history of collecting and collectors. Digitizing these collections can help us virtually piece together the history of the Order of St John from the dispersed records found in private collections scattered across the Mediterranean, Europe, and the United States, allowing us to better understand these records within their original historical context.

What does it mean to build a sustainable infrastructure for our information?
The Übersee-Museum Bremen and the National University of Samoa came together in a partnership to re-examine its artefacts from the Oceania region.
The museum’s digital strategist Etta Grotrian reflects on expanding to a global and Pacific audience through digitisation of artefacts, the grapple of ownership and restitution, the ever present issue of information accessibility and how we can make projects last.

This paper outlines the development of a digital archive using open-source digital library software, focusing on creating a Cultural Heritage Information System for Murshidabad using GSDL (Greenstone Digital Library) Software. The archive aims to benefit heritage enthusiasts and tourists by providing up-to-date information on Murshidabad's cultural heritage. The methodology involves key processes such as documentation, digitisation, metadata creation, software customisation, testing, and promotion. Materials such as books and journal articles related to Murshidabad are selected, scanned, or typed and saved in formats like PDF, DOC, and JPG to serve as digital objects. The paper aims to preserve, make accessible, raise awareness, and engage the community in heritage preservation. It underscores the significance of preserving and sharing heritage information for current and future generations. This article is intended to assist digital archive developers, heritage organisations, and library professionals in developing and customising digital collections using GSDL, thereby supporting the establishment and enhancement of digital libraries in their respective institutions.

Established in 1796, the Meise Botanic Garden has undergone multiple changes in nationality, name, focus, and locations. These changes have impacted its herbarium, living collections, and associated data. The way specimens are filed in the herbarium varies according to specimen type, taxonomic group and historical importance. Pragmatic solutions were used in the past for dealing with the divergent collections and their users' specific needs. There are at least 15 filing systems used at the Botanic Garden at present. In 2015, funding facilitated the digitization of 1.2 million herbarium specimens. A follow-on project in 2018 digitzed another 1.4 million specimens. Together with other initiatives, like the Global Plants Initiative, we have more than 2.7 million imaged specimens, representing about 77% of our herbarium collections. Of the imaged specimens, 89% have minimal data (barcode, species name, collector(s), collector number, collection date, country and locality), while the...

This paper aims to measure the e-business adoption activities in Yemeni SMEs as well as investigate the benefit and barriers of using e-business in SMEs in developing countries such as Yemen. The paper employed a mixed method (quantitative and qualitative) case approach. The paper integrated different methods in order to facilitate a deep understanding of the adoption level of e-business in SMEs in. Firstly, semi-structured interviews conducted with SMEs’ managers. Secondly, a survey questionnaire used to generalise and verify the findings from stage 1 to the SEMs population. . About (23.5%) of SMEs have employees between 1-9 and (76.5%) of SMEs have employees between 10 and 49, therefore the majority of them were medium firms. In addition, about 51% of the SMEs have been established for 10 years and below, and 49% were above10 years. The results indicate that the Yemeni SMEs are at the early stages of e-business adoption. It also indicates factors that deter Yemeni SMEs from the ad...

Large-scale digitization is generating extraordinary collections of visual and textual surrogates, potentially endowed with transcendent long-term cultural and research values. Understanding the nature of digital surrogacy is a substantial intellectual opportunity for archival science and the digital humanities, because of the increasing independence of surrogate collections from their archival sources. The paper presents an argument that one of the most significant requirements for the long-term access to collections of digital surrogates is to treat digital surrogates as archival records that embody traces of their fluid lifecycles and therefore are worthy of management and preservation as archives. It advances a theory of the archival nature of surrogacy founded on longstanding notions of archival quality, the traces of their source and the conditions of their creation, and the functional ''work of the archive.'' The paper presents evidence supporting a ''secondary provenance'' derived from re-digitization, re-ingestion of multiple versions, and de facto replacement of the original sources. The design of the underlying research that motivates the paper and summary findings are reported separately. The research has been supported generously by the US Institute of Museum and Library Services.

Academic libraries and teaching departments sometimes treat Digital Humanities (DH) as radically new. While DH is radically new in terms of collaborative practices and methods, it is also fundamentally rooted in the humanities and intricately connected to core activities by librarians, especially for collaboration. In this chapter, we explain how the UF Smathers Libraries leveraged the library digital collections-with rich technical features and content, and a robust underlying infrastructure-to create the necessary scholarly cyberinfrastructure to then support the DH

Il volume è disponibile anche sul sito di Edipuglia in modalità open access (al link https://edipuglia.it/collana/dedalo-arti-e-musei/) e la Appendice documentale e iconografica è scaricabile da Zenodo al link https://zenodo.org/records/12648781.

Questo primo volume della collana Dedalo Arti e Musei discende dal programma
“Cultural Heritage Active Innovation for Sustainable Society – CHANGES” (codice progetto n. PE00000020 - CUP: H53C22000860006), nell’ambito del progetto di ricerca ‘Museums: Back to the future’ (referente scientifico Andrea Leonardi, titolare Elisa Bonacini).
Il volume presenta i risultati dell’indagine empirico-qualitativa condotta con gli studenti del Corso di Laurea in Beni Culturali, incardinato presso il Dipartimento
di Ricerca e Innovazione Umanistica (DIRIUM) dell’Università degli Studi di Bari “Aldo Moro”, nell’ambito del laboratorio svolto per l’insegnamento di ‘Museologia’ (docente titolare Andrea Leonardi, responsabile del laboratorio Elisa Bonacini).
Condotta sui website di 30 musei, nazionali e internazionali, la ricerca è stata dedicata all’individuazione delle relazioni fra musei digitali e nuovi pubblici della cosiddetta ‘Generazione Z’. Essa si sviluppa nell’ottica delle istanze partecipative proprie della Convenzione di Faro, nel tentativo di rispondere all’interrogativo principale insito nel tema stesso della ricerca: quale sia il ‘museo del futuro’.
Il tema del rapporto fra Musei digitali e Generazione Z non si esaurisce alla sola analisi empirico-qualitativa e alle conseguenti valutazioni. Esso è declinato in chiave multidisciplinare: dal problema della continuità/discontinuità dell’innovazione applicato al rapporto fra collezioni, mostre e digitale nei musei di arte antica e moderna (Andrea Leonardi), alla ‘questione’ dell’arte contemporanea (Maria Giovanna Mancini), passando per i contributi di docenti e ricercatori del Dipartimento di Scienze della Formazione, Psicologia e Comunicazione (Loredana Perla, Stefania Massaro, Alessandro Barca, Michele Corriero, Vincenza Albano, Maria Teresa Santacroce, Annamaria Di Grassi, Raffaella Forliano) che presentano focus specifici sul digitale in ambito didattico e sul suo impatto a livello pedagogico. Per le problematiche connesse alla valutazione della user experience è stata inoltre coinvolta Patrizia Schettino (IAS CNR Genova).
Conclude il volume l’esperienza della piattaforma UniBArteDedalo su izi.TRAVEL, descritta da Andrea Leonardi, come strumento digitale disponibile per gli studenti dell’Università di Bari.

Se examinan los conceptos de visibilidad y uso para colecciones digitales y se propone una métrica que relaciona ambos conceptos. Utilizando el análisis de los registros de uso del sitio web, se propone un índice de visibilidad relativa, que consiste en el cociente de los usuarios nuevos respecto a los que retornan. Si los nuevos usuarios están muy por encima de los veteranos, implicaría que existen problemas de usabilidad, accesibilidad, contenido, etc., pues los usuarios no regresan. Si, por el contrario, los usuarios veteranos están muy por encima de los nuevos, el problema sería de visibilidad, pues muy pocos usuarios llegan por primera vez. La métrica se validó con los registros de uso de la colección digital del fondo antiguo de la Biblioteca Universidad Complutense de Madrid durante el periodo de enero a junio de 2011.

The archival collection of libraries is increasingly-being converted into digital format. Institutional Repositories are the result of such programmes which make available the archival collections over networks to its users. In addition, they also provide direct output of an institution or organization's research contribution in digital format for quick access of the users.

Abstract: Web search encompasses more than fact retrieval; it is a primary entry point for learning. Exploratory search tasks are attempts at such learning and require cognitive, strategic, and interpretive work from the user. The pathways of such searches are likewise ...

Often.university.libraries.or.archive/special.collections.house.large.fine.art.and.photographic.collections.by.African.American. and.Latino.artists..These.collections.are.frequently.hidden.due.to.inadequate.funding.to.promote.them,.minimal.exhibit.space,. insufficient.staffing.with.requisite.exhibition.and.curatorial.expertise,.and/or.diminished.cataloging.or.digital.priority..This.article. seeks.to.address.the.concerns.and.issues.that.affect.this.lack.of.exposure.within.academic.special.collections.in.both.large.and.small. institutions..The.intent.is.to.highlight.successful.strategies.that.can.be.used.by.other.repositories.seeking.to.diversify.their.art.and. photography.holdings..

In 2023, the British Library celebrated its first 50 years. This paper reviews the changing approach to Arabic language collections over those 50 years. I participated in that journey for the last 25 years, a period stretching from supplier records and early digitisation to non-print legal deposit and web archiving. Changes in the role and use of library collections driven by the internet have impacted on librarianship. So too has the demand for wider access to collection materials through digitisation. The concept of a national library and who it is for has also evolved. Public programmes, exhibitions and events, have expanded and there is greater involvement in collaborative research. As both Middle East studies and diaspora communities have changed, so too has the relationship with users and creators. Whilst digitisation of original collections continues alongside traditional collection building, web archiving is but one means for the Library to ensure that the experience and expression of Arab communities in the UK are represented within its collections and work. Libraries have been called to account for the past, and there is growing recognition of the need to re-examine both the provenance and description of collections. This paper looks back, picking out key milestones, and looks forward, highlighting key concerns and issues facing curatorship now.

Young Research on the Renaissance Vol. 1 : Transfert artistique et culturel franco-allemand au début de l’époque moderne dans le contexte européen - Transfert artistique et culturel franco-allemand au début de l'époque moderne dans le contexte européen Deutsch-französischer Kunst-und Kulturtransfer der frühen Neuzeit im europäischen Kontext YOURRS

This paper focuses on examining the project on developing the ancient city of Gyeongju as pursued by Park, Chung-hee from 1971 on. The history of Korea was a custom to be overcome through modernization, or so Park, Chungg-hee thought in the 1960s. This negative view of Korean history, however, transitioned completely in the 1970s to the point of appreciating the historical heritage preserved thus far by Korean ancestors and becoming aware of the need to transmit and develop the traditions of Korean culture. The reason for this transformation from negative to positive view of Korean history can be attributed to Park’s desire to obtain political justification and win the competition between the systems of North Korea and South Korea.
Silla was in the middle of Park’s changed view of Korean history.
Unification of the Three Kingdoms by Silla and Korea’s glorious culture became a history to be proud of, and the Way of the Flower Youth was emphasized as symbolizing Korean people’s national spirit of autonomy, democracy, unification, and peace.
As well, when justification for South Korea unifying the two Koreas was needed, Park was able to achieve the basis for this justification through emphasis on unification of the Three Kingdoms by Silla and inheritance of that spirit of unification.
The project on developing the ancient city of Gyeongju as envisioned by Park, Chungg-hee was created with the goal of inspiring national spirit and raising the will toward unification, which relies heavily on Park’s changed view of history in the 1970s.
The period in which conditions for promoting this project on developing the ancient city of Gyeongju was the same as the withdrawal of Korean troops from the Vietnam War, and people were just becoming aware of the tourism industry as a new alternative to the economic boom during Vietnam war. The goal of this economic development was to acquire foreign money by combining the cultural heritage of Gyeongju with tours around Gyeongju. To do so, the City of Gyeongju was given a facelift through systematic renovation and creation of the Bomun Complex, which was made possible through a loan from the International Bank of Reconstruction and Development (IBRD). But Gyeongju Tourism Project was stopped in midstream and was never completed due to the sudden death of Park Chung-hee.
In addition to the Gyeongju Tourism Project, Park attempted to “create a new history” as a means of imbuing the people of Korea with his own view of history. He desired simultaneously to achieve justification for unification and political orthodoxy by excavating Silla dolmens and actively publicizing excavated artifacts to the people. Furthermore, Park, Chung-hee built the Unification Pavilion and turned it into a sanctuary for paying tribute to historic figures who contributed toward unification of the Three Kingdoms as part of instilling pride about Silla culture and infusing Korean people with the desire for unification. And the House of the Flower Youth was founded to bring the Way of the Flower Youth back to life, and students were educated so that they would be loyal to the nation.

To make decisions about the long-term preservation and access of large digital collections, archivists gather information such as the collections' contents, their organizational structure, and their file format composition. To date, the process of analyzing a collection-from data gathering to exploratory analysis and final conclusions-has largely been conducted using pen and paper methods. To help archivists analyze large-scale digital collections for archival purposes, we developed an interactive visual analytics application. The application narrows down different kinds of information about the collection, and presents them as meaningful data views. Multiple views and analysis features can be linked or unlinked on demand to enable researchers to compare and contrast different analyses, and to identify trends. We describe and present two user scenarios to show how the application allowed archivists to learn about a collection with accuracy, facilitated decisionmaking, and helped them arrive at conclusions.

This year the Anne Frank House opened up all its research results in an online knowledge base. More than 1,100 items were added, structured in a new way and enriched with (moving) images.

To achieve this result, we had to transform all of our texts into data fields to make the information searchable, findable and reusable for others. We created a data model for four types of content: persons, locations, events and subjects.

This presentation will talk the audience though this process, share our workflows and show the results. We will demonstrate:

1) How heritage organisations can use this way of working to unlock valuable information for the public (other than collection information)
2) Do’s and don’ts for data migrations - Points of attention to make it reusable for others (Linked Open Data/ API)
3) How to present the information in such a way that it’s interesting for different types of target audiences - structure your data in a layered way

The result of this project is an online knowledge base, accessible for everyone interested in Anne Frank, her people, locations and subjects that are linked. Via basic search fields, advanced search options and filters people can search through our knowledge base, without having to contact an expert from our museum. Search results are structured in a list or can be plotted on a map for storytelling to present the data from the knowledge base in an accessible way for students and teachers.

Cultural Heritage institutions have been exploring new ways of making available their catalogues in digital format. Recently, new approaches have emerged as methods to reuse and make available the contents for computational purposes. This work introduces a methodology to transform digital collections into Linked Open Data following best practices. The framework has been applied to Indigenous and Spanish colonial archives based on the collection Relaciones Geográficas of Mexico and Guatemala provided by the LLILAS Benson Latin American Studies and Collections. The results of this work are publicly available. This work aims at encouraging Cultural Heritage institutions to publish and reuse their digital collections using advanced methods and techniques.

The Information Institute of Syracuse at Syracuse University is engaged in a project designed to build collaborative digital museum and digital library reference services. To that end, the project team is currently developing, testing, and evaluating procedures and mechanisms that will enable museums and libraries to work together in providing reference assistance over the Web to support patrons' image information needs. The user-centered project is based upon a successful model for digital reference that has been widely embraced in the digital library community. This approach is expected to yield new insight into users' image seeking behavior that will help museums and libraries provide transparent access to visual resources across collections and institutions. This article presents an overview of the project and discusses the challenges involved in helping users find appropriate images on the web.

PurposeThe purpose of this paper is to examine affordable access and digital preservation solutions for digital collections developed by under-resourced small- and mid-sized cultural heritage organizations.Design/methodology/approachThe paper presents a case study ofJeffco Stories, a collection of digitized oral histories created by the Jefferson County Public Library in Colorado.FindingsThis paper describes how the Jefferson County Public Library undertook a migration project of its oral history digital collection into an open-access platform, Omeka, and selected DuraCloud as a hosted digital preservation service.Research limitations/implicationsAs a case study, this paper is limited to one institution’s experience with selecting access and digital preservation solutions.Practical/implicationsThis paper is relevant to librarians and archivists who are exploring access and preservation solutions for digital collections and to those who are considering migrating to open-access conten...

Objective – this article examines the role of libraries in expanding access to primary sources through digitization and in providing support for humanities research. Research method – the author analyzes the literature on information behavior of humanist scholars in light of the increased use of digitized primary sources. Next, using the example of the digitized photographs and diaries from the Harrison Forman Collection, the author explores the emerging role of libraries in creating a new source of scholarly materials and supporting research in humanities. Results and conclusions – digitization increasingly matters not only for practical reasons of ease of use and access but also by offering a new potential for humanistic research. Digitization projects provide enhanced intellectual control of primary resources, offer an opportunity to uncover hidden collections, and bring together scattered materials. Digital collections in their present design demonstrate some limitations in supp...

Uma classificação de tipos de objetos de patrimônio para integração de acervos digitais de arquivos, bibliotecas e museus Una clasificación de los tipos de objetos patrimoniales para la integración de colecciones de archivos digitales, bibliotecas y museos A classification of heritage object types to integrate the digital collections of archives, libraries and museums

It is not entirely clear just when the title "Rebecca and Eliezer" became attached to the composition that is the subject of this article, a composition by Francesco Primaticcio depicted in two Fontainebleau etchings, one by Léon Davent (Zerner 1 , Jenkins 2 LD 43, fig. 1) and one by the Master I♀V (Jenkins I♀V 31, fig. 2). When Adam Bartsch described both prints, in volume 16 of his Peintre-Graveur, published in 1818, 3 he wrote for them both that the composition shows "Un jeune homme buvant de l'eau que lui donne une femme…" (A young man drinking water given to him by a woman)-a pure description with no specific subject identified. But then Bartsch, somewhat confusedly, despite knowing that the prints recorded a composition by Primaticcio, went on to mention a painting by Rosso that Vasari wrote of in his Life of that artist. 4 This painting is of Rebecca and Eliezer (the only known version is a copy, in the Museo Nazionale di San Matteo, Pisa 5), although, to add to the confusion, Vasari, without naming the woman, misidentified the man as Jacob (who of course was Rebecca and Isaac's younger son). Bartsch wrote in his entry for the print by the Master I♀V (under anonymous printmakers) that the painting was made for Giovanni Cavalcanti and was sent to England; in neither entry did he identify the subject of the painting.