1 CIDOC CRM + FRBR ER = FRBR OO … an equation for a harmonised view of museum information and bibliographic information Martin Doerr First CASPAR Seminar about Methods and Techniques for Intangible Heritage Preservation IRCAM, Paris, France April 19, 2007 Center for Cultural Informatics Institute of Computer Science Foundation for Research and Technology - Hellas Patrick Le Bœuf BnF (National Library of France) Department for Performing Arts

2  Libraries document "bibliographic resources" in order to facilitate access to them  Museum objects and their cultural context are referred to, described and studied in "bibliographic resources"  Museum documentation classifies and describes museum objects, and refers to "bibliographic resources"  Museums and libraries also produce "bibliographic resources" about their holdings  Libraries may document and curate rare objects as museums do  Museums may document and curate "bibliographic resources" as libraries do The FRBR - CRM Harmonisation Library and Museum Information

3  In one word, documentation tasks of museums and libraries overlap  However, they are also different  Museum and library communities can learn from each other's methodology  Research needs an integrated view on museum and library information  This integrated view can only be obtained by harmonising the conceptual models that were developed in both domains: FRBR and CIDOC CRM

4  FRBR: Functional Requirements for Bibliographic Records  an entity-relationship model aiming to conceptualise the structure of bibliographic information  CIDOC CRM: (ICOM) CIDOC Conceptual Reference Model  a core ontology in object-oriented formalism, aiming to integrate cultural heritage information The FRBR - CRM Harmonisation Library and Museum Information

5 The FRBR - CRM Harmonisation FRBR  FRBR  was developed by IFLA, now being complemented for "authority data" and "subject cataloguing"  defines stages/abstraction levels of intellectual products: Work, Expression, Manifestation, Item  lacks an explicit notion of processes (how things are created/transformed/destroyed, how they evolve over time)  is flawed by partially ambiguous definitions

6 The FRBR - CRM Harmonisation CRM  CIDOC CRM  developed since 1996 by CIDOC / ISO TC46; now an ISO standard (ISO 21127)  centres descriptions not around the things themselves, but around the events that connect people, material and immaterial things in space-time  models typologies both as classification means and as objects of the cultural-historical discourse  makes it clear that appellations are entities distinct from the things they refer to  lacks a model of intellectual work

7 The FRBR - CRM Harmonisation The Harmonisation Project  2003: formation of the International Working Group on FRBR/CIDOC CRM Harmonisation  A collaboration of CIDOC CRM-SIG and the IFLA FRBR Review Group  Objectives: — To express the IFLA FRBR model with the concepts, ontological methodology and notation conventions provided by the CIDOC CRM — To facilitate the integration, mediation and interchange of bibliographic and museum information  Drafts of resulting "FRBRoo" (i.e., "object-oriented FRBR") available from

8 The FRBR - CRM Harmonisation How FRBRoo models performing arts Basic ontological distinctions: Concepts Signs Physical carriers of signs (True or not? We leave it to philosophers to say… But these distinctions are useful to us)

9 The FRBR - CRM Harmonisation How FRBRoo models performing arts How those basic ontological distinctions are reflected in FRBR ER, CIDOC CRM, and FRBR OO (simplified* representation) *: The actual correspondences between the three models are more complex than that FRBR ER CIDOC CRMFRBR OO Work Expression Item F1 Work F2 Expression E24 Physical Man-Made Thing E28 Conceptual Object E73 Information Object E24 Physical Man-Made Thing

10 The FRBR - CRM Harmonisation How FRBRoo models performing arts Specialisation of those notions for performing arts F1 Work F2 Expression F51 Performance Work F50 Performance Plan (= the director's, conductor's, choreographer's etc. concepts about what a performance should look/sound like + interpretation of these concepts by performers and other participants) (= the director's, conductor's, choreographer's etc. indications to performers + performers' and other participants' semiotic input: playwright's text, composer's musical text, scenographer's stage setting, etc.) is a

11 The FRBR - CRM Harmonisation How FRBRoo models performing arts What happens during a performance F1 Work F2 Expression F51 Performance Work F50 Performance Plan (= at the level of mere concepts) (= at the level of signs) (= something that says how to do something) E29 Design or Procedure R69 is realised in (realises) F52 Performance E7 Activity F2 Expression R64 performed (was performed in) R63 incorporates (is incorporated in) (e.g., text of play, musical text…)

12 The FRBR - CRM Harmonisation How FRBRoo models performing arts Physical evidences of performances (documentation left by performances) F2 Expression F51 Performance Work F50 Performance Plan F52 Performance E24 Physical Man-Made Thing E31 Document P128 carries (is carried by) P70 documents (is documented in) P128 carries (is carried by) R69 is realised in R64B was performed in R63 incorporates (= at the level of signs) (= at the physical level)

13 The FRBR - CRM Harmonisation How FRBRoo models performing arts A theatrical example from BnF F2 Expression F51 Performance Work F50 Performance Plan F52 Performance E31 Document E24 Physical Man-Made Thing F2 Expression E31 Document E24 Physical Man-Made Thing Sergei Radlov's conceptions about how to stage King Lear Sergei Radlov's indications about how to perform King Lear at the Moscow State Jewish Theatre, 1935 Lev Pulver's incidental music A. Tyshler's stage setting S. Galkin's Yiddish translation of King Lear Manuscript score held at BnF Wooden model held at BnF English translation of a text by Radlov Visual content of photographs Typescript held at BnF Photographs held at BnF P128 P70 R69 R64 R63

14 The FRBR - CRM Harmonisation Conclusions  The combined model CIDOC CRM – FRBR OO :  is a coherent model for the conceptualisation of museum and library information  enriches CIDOC CRM with notions of the stages of intellectual creation  enriches FRBR with the general model of historical events of CIDOC CRM  clarifies and makes explicit many notions more vaguely specified in FRBR  … and, last but not least…  information about performing arts (music, theatre, dance…) fits well in the conceptual framework reflected in "FRBRoo-plugged-into-CIDOC CRM"!! SEE: