Download Free Subject Access To Museum Objects Book in PDF and EPUB Free Download. You can read online Subject Access To Museum Objects and write the review.

Museum Object Lessons for the Digital Age explores the nature of digital objects in museums, asking us to question our assumptions about the material, social and political foundations of digital practices. Through four wide-ranging chapters, each focused on a single object – a box, pen, effigy and cloak – this short, accessible book explores the legacies of earlier museum practices of collection, older forms of media (from dioramas to photography), and theories of how knowledge is produced in museums on a wide range of digital projects. Swooping from Ethnographic to Decorative Arts Collections, from the Google Art Project to bespoke digital experiments, Haidy Geismar explores the object lessons contained in digital form and asks what they can tell us about both the past and the future. Drawing on the author’s extensive experience working with collections across the world, Geismar argues for an understanding of digital media as material, rather than immaterial, and advocates for a more nuanced, ethnographic and historicised view of museum digitisation projects than those usually adopted in the celebratory accounts of new media in museums. By locating the digital as part of a longer history of material engagements, transformations and processes of translation, this book broadens our understanding of the reality effects that digital technologies create, and of how digital media can be mobilised in different parts of the world to very different effects.
The illicit trade in art and other cultural objects now constitutes one of the most prevalent categories of international crime. Law-enforcement agencies have long recognized that documentation is critical to the protection and recovery of these objects. Standards were needed that would make it possible for information on stolen objects to move easily across electronic networks and, at the same time, that would be intelligible to law enforcement and art communities alike. Developed through the collaboration of museums, police and customs agencies, the art trade, the insurance industry, and appraisers of art and antiques, Object ID is an international standard that defines the minimal information needed to identify art, antiques, and antiquities. Introduction to Object ID summarizes the evolution of Object ID, explains its nine categories, and offers guidelines for using them. The book provides suggestions for writing descriptions of objects and includes a brief discussion of five additional categories that some institutions opt to employ. The second part of the book sets out guidelines for choosing viewpoints, selecting backgrounds, and positioning lighting when documenting cultural objects with photography. The Introduction to series acquaints professionals and students with the complex issues and technologies in the production, management, and dissemination of cultural heritage information resources.
Today more than ever before, the historical witness is now a “museum objectâ€_x009d_ in the form of video interviews with individuals remembering events of historical importance. Such video testimonies now not only are part of the collections and research activities of museums, but become deeply intertwined with narrative and exhibit design. With a focus on Holocaust museums, this study scrutinizes for the first time this new global process of “musealisationâ€_x009d_ of testimony, exploring the processes, prerequisites, and consequences of the transformation of video testimonies into exhibits.
Translating visual works into verbal form is clearly a formidable task. While libraries have a century of cooperative cataloguing behind them, museums and other cultural institutions have tended to go their separate ways, believing the objects in their collections are unique. Dr. Kupietzky has put together a guide for digitizing encyclopedic, multilingual museums that promises to both standardize and streamline the process. Part I provides a review of the literature and of the problems concerning methods used in the computerization of museums. Part II offers practical guidelines for mono- or multilingual museums seeking to implement a database to aid in cataloguing their holdings. A six-step process of computerizing museum collections (the SAGE-K method) was developed to facilitate the application of these ideas by all museums and enable them to achieve the goal of digitization.
Drawing on the research of experts from the fields of computing and library science, this ground-breaking work will show you how to combine two very different approaches to classification to create more effective, user-friendly information-retrieval systems. A much-needed analysis of the intersection of information organization and technology, this interdisciplinary work encompasses both current and potential methods of organizing information by subject. It examines traditional approaches as they are used in the online environment and explores computer science approaches, such as ontologies and automated tools for subject information organization. Entries review the advantages and disadvantages of the two approaches, showcase their applications today, and project what those applications may be in the future. Content ranges from background on the importance of information organization in general to the importance of information organization by subject in particular. Traditional and modern knowledge-organization systems are covered, as are technological standards, selected topics in automated tools, and interdisciplinary research and cooperation. By tackling varied approaches, the work provides you with an appreciation of the tools—and an understanding of common aims.
In a visual and artifact-filled world, cataloging one-of-a-kind cultural objects without published guidelines and standards has been a challenge. Now for the first time, under the leadership of the Visual Resources Association, a cross-section of five visual and cultural heritage experts, along with scores of reviewers from varied institutions, have created a new data content standard focused on cultural materials. This cutting-edge reference offers practical resources for cataloging and flexibility to meet the needs of a wide range of institutions—from libraries to museums to archives. Consistently following these guidelines for selecting, ordering, and formatting data used to populate metadata elements in cultural materials' catalog records: Promotes good descriptive cataloging and reduces redundancy Builds a foundation of shared documentation Creates data sharing opportunities Enhances end-user access across institutional boundaries Complements existing standards (AACR) This is a must-have reference for museum professionals, visual resources curators, archivists, librarians and anyone who documents cultural objects (including architecture, paintings, sculpture, prints, manuscripts, photographs, visual media, performance art, archaeological sites, and artifacts) and their images.
Get practical tools to successfully develop collaborative online learning projects! Virtual museums provide an opportunity to spark learning through online access to multi-sensory information, and collaboration between sources is needed to efficiently and effectively catalog and present material. Collaborative Access to Virtual Museum Co
Collection care is a fundamental responsibility for museums and other collecting institutions, and the foundation of collection stewardship is good collection management policies. The new third edition of Things Great and Small continues to be a comprehensive resource for developing, implementing, and revising collection management policies and includes new information for addressing prolonged or permanent closure of museums, wider parameters for collection storage environments, and sustainable collection management practices to cope with climate change. Drawing on more than 50 years of experience as a collection manager, educator, consultant, and AAM Museum Assessment Program peer reviewer, John E. Simmons reviews the most recent collection management thinking and literature, helps determine which policies an institution needs, and provides guidance on policy content. In this new edition, coverage of critical areas is expanded, including digital objects, intellectual property rights, deaccessioning, decolonization, standards and best practices, collection storage environment parameters, managing off-site storage facilities, health and safety, laws and regulations, risk management, and sustainable collection management practices. With more than 50 tables and charts and model policy templates, this major publication is aimed at museums of all kinds, historic houses and sites, and other collecting institutions.
In this second edition to Museum Librarianship, the author offers guidance in planning and providing information services in a museum--beginning or revitalizing the library; collection development and the bibliographic process; technical services; administration; space and equipment requirements; fundamental services; extended information services; and the information partnership between museums and their libraries. The Internet and other electronic resources are fully covered. The focus of this new edition has shifted slightly from mainly dealing with the start-up aspects to an emphasis on the goals of library and information services in a museum, and the processes through which such services can be achieved. The author's underlying goal is to help enhance and enrich the encounter of the museum-goer with enduring objects, in a time when we all seem to be assailed on every side by random noise and flickering image.
This is the first book to examine, in depth, the multi-million pound redisplay and reinterpretation process in British museums in the early twenty-first century. Acknowledging the importance of the Heritage Lottery Fund (HLF) as project catalyst, Hannah Paddon explains and explores the complex process, from the initial stages of project conceptualisation to the final stages of museum re-opening and exhibition evaluation. She also provides an in-depth look, using three case study museums, at the factors which shape each museum redisplay project including topics such as museum architecture, government agendas and the exhibition team. Finally, the book offers discussions and conclusions around pitfalls and successes and thoughts about the future of collection redisplay.