Download PDF Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images

Be different with other individuals that don't read this publication. By taking the great advantages of reading Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images, you can be smart to spend the moment for reading various other books. As well as here, after getting the soft fie of Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images and offering the connect to provide, you could also find other book collections. We are the best area to seek for your referred publication. As well as now, your time to obtain this publication as one of the concessions has been ready.

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images

Download PDF Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images

Reserve Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images is among the priceless worth that will certainly make you constantly rich. It will certainly not indicate as rich as the cash give you. When some people have absence to deal with the life, individuals with several books often will be wiser in doing the life. Why must be publication Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images It is in fact not indicated that publication Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images will certainly give you power to get to everything. Guide is to review and also what we suggested is the book that is reviewed. You could additionally view just how guide qualifies Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images and varieties of e-book collections are offering right here.

Waiting for launching this book is regardless of. It will not make you really feel bored as what you will certainly really feel when awaiting someone. It will certainly contain curiosity of just how this book is meant to be. When waiting a favorite publication to check out, one feeling that generally will happen is curious. So, what make you feel so curious in this Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images

To overcome your daily problems, related to your jobs, this book can be read page by pages. Of course, when you have no deadline jobs, you will also need what offered by this book. Why? It serves something interesting to learn. When you really love to read, reading something, what you can enjoy is the topic that you really know and understand. And here, Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images will concern with what you really need now and you need actually for your future.

Interested? Certainly, this is why, we intend you to click the web link web page to see, and afterwards you can take pleasure in guide Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images downloaded and install up until finished. You could save the soft file of this Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images in your gadget. Certainly, you will bring the device all over, won't you? This is why, whenever you have extra time, each time you could enjoy reading by soft copy publication Cataloging Cultural Objects: A Guide To Describing Cultural Works And Their Images

About the Author

Murtha Baca is head of the Getty Vocabulary Program and the Digital Resource Management Department at the Getty Research Institute in Los Angeles.Patricia Harpring is managing editor of the Getty Vocabulary Program.Elisa Lanzi is director of the Imaging Center at Smith College.Linda McRae is university librarian and director of the College of Visual and Performing Arts Visual Resources Library at the University of South Florida.Ann Baird Whiteside is head of Rotch Library of Architecture and Planning at MIT.The Visual Resources Association is a multi-disciplinary community of image management professionals working in educational and cultural heritage environments and actively supporting the primacy of visual culture in the educational experience. The Association, committed to providing leadership in the field, develops and advocates for standards, provides education tools, and offers opportunities for members.

Read more

Product details

Paperback: 432 pages

Publisher: Amer Library Assn Editions (September 1, 2006)

Language: English

ISBN-10: 0838935648

ISBN-13: 978-0838935644

Product Dimensions:

8.3 x 0.8 x 11 inches

Shipping Weight: 2 pounds (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

2 customer reviews

Amazon Best Sellers Rank:

#927,492 in Books (See Top 100 in Books)

Cataloging Cultural Objects (CCO) is a cataloging standard outlining the metadata elements and attributes (with formatting and punctuation rules for data entry) for describing works of art and other cultural objects. CCO is based on a subset of a larger, more comprehensive metadata element set, Categories for the Description of Works of Art (CDWA). CCO is "intended to advise in planning, implementing, and using databases and local cataloging rules." Where CDWA includes provenance, conservation history, exhibition history, copyright restrictions, and other administrative data, CCO is concerned only with descriptive cataloging of objects in a Work (as in "Work of Art") Record. The XML metadata schema which corresponds to CCO, called CDWA Lite, will soon become LIDO, a blending of CDWA Lite and a European metadata standard, MuseumDAT.The quest for a common core metadata for publishing to union catalogs--a shared data exchange format--and not museum cataloging per se has been the driving force behind cataloging standards, including CCO itself. An exhaustive search of museum and information science literature reveals nothing on how CCO can actually be implemented in any CMS (collection management system) in use museums. Yet, the CCO manual suggests that its purpose is to guide catalogers in this respect:"A CMS is a database system that allows a museum to track various aspects of its collections, including acquisitions, loans and conservation. Nonetheless, a large part of a typical CMS is the cataloging module. CCO provides guidance for the cataloging component of the CMS (that is, regarding descriptive data about the works in the collection)."CCO is a good standard, at least a good start. It is intended to allow for authority control of prescribed fields, capturing often complex relationships between a work and constituents and parts, and requiring metadata data to relate it to other objects both in the collection and to a broader cultural/art historical context. It allows fields for indexing and for display. The CCO standard is designed to work in conjunction with Getty authority files. The tone is decidedly prescriptive, laid out in the form of enumerative rules for each area of a work record. Emanating from the Getty Research Institute in 2006, it was designed to allow institutions to take advantage of the Getty Vocabularies, the ULAN, TGN, ATT, much like the way catalogers in libraries rely upon the Library of Congress authority files for name authorities and subject headings.The most significant advantage of using CCO is that it allows for richer querying of a collection management database, such that one could call up all objects pertaining to a particular movement, style, subject, culture or geographic region. Another advantage is consistency and the ability to leverage Getty vocabularies, which provides for cross referencing, global updates and authority control. The standard is somewhat similar to what librarians have been using to catalog books, with CCO functioning like AACR2 (Anglo-American Cataloging Rules, second edition) and CCO's corresponding XML Schema, CDWA Lite, serving as the Machine Readable Cataloging (MARC) record or portable technical format. Even the formatting of the CCO manual resembles that of AACR2.Because CCO can only be followed if all of the required elements are present (key principle number two of CCO is "Include all of the required CCO elements"), implementing it in existing collection management systems may be difficult because not all of the CCO data elements may be represented, with the right attributes; and fields (subject, culture, style, period, movement, etc.) might not allow for repeatable, authority-linked fields in the way the CCO data standard prescribes. Where library automation systems are universally built upon the data elements of a MARC record, museum systems have not caught up to the elements and the method of authority control specified by the CCO standard. Collection and Data Managers may find themselves frustrated that the standard and their systems don't match up.Why bother with CCO? There are many reasons, aside from its already serving as the de facto standard, given the lack of anything like a published standards manual or best practices guide for cataloging art objects. It is also worth noting that CCO's XML schema, CDWA Lite, has already been accepted as an international standard for data exchange by CIDOC.Widespread adoption of CCO standards has the potential to revolutionize museum cataloging through resource sharing in the same way that library cataloging was transformed by the advent of Machine Readable Cataloging Records (MARC) in the 60's and 70's. Widespread adoption means that museums would have a similar kind of core "work/object record" with identical elements, following the same punctuation, formatting and terminology, making it easier to contribute to union catalogs in the way that libraries today contribute bibliographic records to OCLC's WorldCat. But for many institutions, compliance to the CCO standard will probably be motivated less by a desire to share resources and more by a desire on the part of collection managers to enable more productive searches on museum collections and to have a set of published guidelines to which museum personnel may refer. These two advantages are alone enough to justify pursuing the CCO, even apart from improved resource sharing and data exchange capabilities.Although larger institutions have moved toward putting their collection records online, or opened up access to a subset of their collection database, there are still many who are undecided about the benefits of resource sharing. Museum collection managers and registrars don't necessarily want to increase loan requests in the way libraries want to increase circulation; and some directors fear that putting collections online will lower attendance. Furthermore, due to the perceived uniqueness of museum objects, the advantages of record sharing by collection managers may not even be immediately obvious, despite the fact that curators often spend hours researching the correct form of a title in published sources, or study how specialists at other museums have described a particular work, process or cultural artifact. Resource sharing is already taking place, only less efficiently.Because museums do not yet follow the same format and data standards for cataloging, the terms "resource sharing" and "data exchange" are generally interpreted to mean uploading data and images to a union catalog or website for public enjoyment--never downloading good quality metadata to assist with cataloging or research. Because all library systems are designed around the same metadata standards for technical format and content, the records themselves, not just the data, can easily be shared by institutions, resulting in faster workflows and in richer, more accurate and descriptive records.Resource sharing also means that catalogers in libraries are not dependent upon professors or subject experts to provide them with information about how to classify books or assign subject headings in the way that registrars and collection managers depend upon curators to provide them with information about objects. Without a great amount of curatorial input or the availability of authoritative union catalogs, CCO compliance--"descriptive" cataloging in general--places an excessive, perhaps even unrealistic burden on Registrars, by requiring that data elements such as "Work Type," "Materials and Techniques," "Subject," "Class," "Style" and "Culture" be populated with a multiplicity of appropriate terms. Even though use of the Getty Vocabularies assists somewhat with filling in the blanks of a CCO record, workflows would need to be redesigned to make sure that adequate art historical and interpretive data got added to the record.Although no mention of record sharing is made in the preface of the CCO manual, which presents itself as a prescriptive cataloging standard for museum professionals to describe cultural and art objects, it was created with data exchange in mind. The Getty, ARTstor--ARTstor ([...]) the largest union catalog of art objects--and OCLC, the largest union catalog of library holdings records and a source for downloadable records--worked together to create the CCO standard for the purpose of coming up with an easier model for contributing to union resources. CCO was used to provide content to the elements and attributes which comprise the CDWA Lite Schema.It is no wonder, given the origins of CCO, that while registrars and collection managers attempted to embrace the standard as best they could, product managers at software companies (like Gallerys Systems, maker of TMS) dismissed CCO as being useful only for metadata harvesting.However, the groundswell of interest in cataloging according to CCO guidelines, and towards greater descriptive cataloging in general, may be a catalyst for change in the design of collection management systems, for instance, to make them able to import and export CDWA Lite; offering more descriptive elements/fields to support greater description and access, as the CCO standard prescribes; and more sophisticated methods of authority control, for example, where authority records are imported into the system for global updates and so searchers could be redirected to the preferred (authorized) term in the way that library systems do.CCO, combined with CDWA, has given museum collection managers and data standards managers a new vision, and will hopefully serve as a foundation for the next generation of museum collection management systems.Emily Nedell Tuck

I am one of the authors: This book (CCO) is a manual for describing, documenting, and cataloging cultural works and their visual surrogates. The primary focus of CCO is art and architecture, including but not limited to paintings, sculpture, prints, manuscripts, photographs, built works, and other visual media. It also covers many other types of cultural objects, including archaeological sites, artifacts, and functional objects from the realm of material culture.CCO is designed for use by professionals in museum collections, visual resources collections, archives, and libraries that have a primary emphasis on art, architecture, and material culture.It is the more concise and more prescriptive grandchild of the comprehensive set of rules, Categories for the Description of Works of Art (CDWA), and it refers to the controlled terminology of the Getty Vocabularies (both of which are available online).

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images PDF
Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images EPub
Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images Doc
Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images iBooks
Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images rtf
Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images Mobipocket
Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images Kindle

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images PDF

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images PDF

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images PDF

Cataloging Cultural Objects: A Guide to Describing Cultural Works and Their Images PDF