Towards a global “objectification” of Japanese art data Towards a global “objectification” of Japanese art data Towards a global “objectification” of Japanese art data Towards a global “objectification” of Japanese art data 3rd Group: Moon Junglee, Carolyn Jane Wargula, Cordula Treimer 2. 2. 2. 2. Towards Towards Towards Towards a Global Objectification of a Global Objectification of a Global Objectification of a Global Objectification of Japanese Art Data Japanese Art Data Japanese Art Data Japanese 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
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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
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.
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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.
20
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.).
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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.