Abstract

Without metadata, the value of the stock shots archived as audiovisual heritage decreases due to the limitations of content retrieval. A number of archives are not catalogued yet, and others have a metadata structure but need to be re-catalogued and re-indexed. Incomplete metadata, legal issues related to the right to be forgotten, new relevance of events or people, or new journalistic approaches to the information are some of the triggers of this requirement, which is extremely complex and sometimes unviable. This leads us to assume that there are certain unachievable limitations on audiovisual archives management.

Abstract

In 2016, the first Spanish libraries will begin using RDA cataloging rules (Resource Description and Access), replacing AACR2. This note article explains that RDA should be viewed as a confluence of three trends: savings, sharing, and developing technology. The objectives of the catalogs (to find a known work, to find works by the same author or subject, and to provide relationships between authors or entities) are explained. A brief historical review of AACR, MARC format, ISBD, FRBR, and Bibframe, is made, finally, to explain the RDA rules.

Abstract

The main features of the resource description and access (RDA) standard, published in 2010, are analyzed. Designed to facilitate the capture, storage, retrieval and visualization of data with the most advanced data base technologies, RDA remains compatible with older technology still in use. Its advantages and disadvantages, relationship to other bibliographic standards and some consequences of its implementation are discussed.

Abstract

Having observed the progress of museums in the computerization of collections, the author warns about the need to ensure that the cataloguing efforts adopt appropriate technological solutions to produce value on Web 2.0. Metadata should be able to define complex cultural objects much more broadly than the simple description of a single piece or monument. Context and environment information should be added. Formal description processes should not be limited to inside the museum.

Abstract

A paradigm shift is taking place in cataloguing codes. After the massive success of simple information retrieval systems like Google, some cataloguers are calling for a simplification of document descriptions. Coyle  and Hillmann  criticize the AACR update because of the excessive weight given to library traditions in the work that is underway.

Abstract

The difficulty of gathering information from databases not indexed by search engines is the origin of what is called the deep or invisible Internet. In bibliographic and cataloguing systems, lack of description of book contents leaves users with a kind of blindness. Search technologies are being developed that try to index and provide access to this invisible content. Bibliographic and cataloguing systems, such as ISBN, must take measures to gather and process book contents, particularly specialized texts, and make them accessible to readers. It is proposed that these systems be modified to provide gateways, using protocols similar to Z39.50, that support the capture of book chapters, summaries or synopses of literary works so that the information can be incorporated into the corresponding areas of bibliographic records in online catalogues.

Abstract

Using internet research to study the current market of programs related to image management, we searched for the best software solutions for the description, dissemination and promotion of a photographic archive. With the experience obtained from using and configuring these programs and with an evaluation using previously established requirements, a list of the most adaptable and versatile software having the added value of being capable of expansion has been elaborated. In addition, we have been able to contribute to establishing the criteria and recommendations to determine which of them are better for each type of archive, for a public or private institution, an agency, or a personal archive.

Abstract

The online museum has been defined since its early days as a place devoid of spatial references. However, institutional communication and content mediation in museum websites is commonly linked to the museum’s physical space. This connection produces a mismatch due to a lack of correlation between the physical museum’s topology and the Net hypermedia system. Consequently, access to museographic online information is mostly laid out in taxonomic structures, typical of gallery cataloguing systems, rather than syntagmatic structures, inherent to online exploration. Furthermore, the profusion of online references to the museum’s architectural structure help to consolidate the museum’s physical space as a model for the online discourse, as well as to restore the museum’s building as an identity symbol, a value blurred by virtuality.

Abstract

Many important filmmakers have perfected their cinematographic technique by filming advertisements. For this reason, it is not surprising that advertising materials are often included when filmmakers donate their work to a film archive. However, these materials are not always properly catalogued and their dissemination and use is quite limited. This paper describes the quantity and variety of advertising documents preserved in the Spanish film archives, emphasizes their importance as primary information sources for understanding the history of advertising in particular and of cinematography in general, and explains some of the difficulties and challenges of analysing them as documents. The challenge of documentary control of these materials lies not only in the amount of work, but 1) the lack of a methodology that encompasses all documentary procedures and 2) the lack of qualified personnel.