1. FRBRoo and performing arts
Christian-Emil Ore
University of Oslo, Norway
CIDOC 2015, Delhi, 6th September 2015
Slides from FRBRoo material by C.Bekiari, M. Doerr, P. Le Boeuf

2. The FRBR - CRM Harmonization
2003 International Working Group
A collaboration of CIDOC CRM-SIG and the IFLA FRBR Review Group.
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.

3. CIDOC CRM extension suite
Conceptual Reference Model (CRM)
CRM
Few concepts,
high recall
Event
Thing
happened at
Actor
was present at
FRBRoo
Special concepts,
high precision
CRMSci
CRMInf
CRMGeo
PRESSoo
CRMArcheo
CRMDig
Acc. Martin Doerr 2015

4. The FRBR - CRM Harmonization
2008, complete text “FRBROO” reviewed by IFLA. Definition available as text in the format of the CRM.
Other forms: A comprehensive text with all related CRM definitions and complete mappings FRBRER to FRBROO, OWL/RDF files.
2015, FRBROO 2.0

5. The FRBR - CRM Harmonization FRBR
The Functional Requirements for Bibliographic Records (FRBR)
developed by IFLA, now being complemented by the Functional Requirements for Authority Files (FRAR)
A core ER model to integrate library objects by content relation
Intended to formulate a new library practice

6. The FRBR - CRM Harmonization FRBR
Innovations:
Definition of stages/ abstraction levels of intellectual products:
Work, Expression, Manifestation, Item.
Clusters publications and items around
the notion of derivation,
complement and common
conceptual origin across stages / abstraction levels.

7. The FRBR - CRM Harmonization FRBR
Lacks:
explicit notion of the processes behind.
Partially ambiguous definitions (overgeneralization).
Thought to cover performing arts, but cannot describe temporality (events).

8. The FRBR - CRM Harmonization FRBR : Abstraction Levels
“a distinct intellectual or artistic creation…there is no single material object one can point to as the work...”
has a complement
has a successor
has a summary
has a supplement
has a transformation
has adaptation
has an imitation
has part
Work
is realized through
“the intellectual or artistic realization of a work in the form of alpha-numeric, musical, choreographic notation, sound, image, object, movement, etc”
Expression
is embodied in
“the physical embodiment of an expression of a work…all the physical objects that bear the same characteristics……may be only a single physical exemplar…”
has part
Manifestation
is exemplified by
has part
“a single exemplar of a manifestation...”
Item

9. The FRBR - CRM Harmonization Results: The “externalization” process
Creation
E12
Production
E28 Conceptual
Object
F31 Expression
Creation
F3 Manifestation
Production Type
F40 Carrier
Production
Event
R22
created
R41 produced
(was produced by)
R9 comprises
carriers of
R49 created a
realization of
F1 Work
E24 Physical
Man-Made
Thing
E84 Information
Carrier
F2 Expression
R56 is realized in
R45 created
R10 belongs
to type
F21 Complex
Work
F46 Individual
Work
F20 Self Contained
Expression
F23 Expression
Fragment
F4 Manifestation
Singleton
F5 Item

10. Documenting Performing Arts Introduction
Performing Arts is an expression of culture
It is not objects and not literature.
It is planned, heard and seen and then gone.
It may use objects and literature.
It may leave recorded memories and other traces of activities behind.

11. Documenting Performing Arts Introduction
Who documents and preserves knowledge about Performing Arts?
Records and objects may be found across museums, archives, libraries.
Any institution would document differently.
How to recognize the common facts behind?
We need to understand the relationships between museums, archives, libraries documentation.
Performing Arts is a good showcase.

12. A Model of Performing Arts: Incorporation – a new relationship
R2 is derivative of (has derivative):
R2.1 has type:
R1 is logical successor of (has successor):
R14 incorporates (is incorporated in):
This property associates an instance of F22 Self-Contained Expression with an instance of F2 Expression that was included in it and that is a realisation of an independent work. The incorporated expression may be self-contained or fragmentary.
“has a summary”
“has a transformation”
“has adaptation”
“has an imitation”
“has a complement”
“has a successor”
“has a supplement”

13. A Model of Performing Arts: Basic Classes
Activities
Conceptual Objects
R19 created a realisation of (was realised through)
F20 Performance Work
F2 Expression
R12 is realised in (realises)
F28 Expression Creation
R17 created
(was created by)
F25 Performance Plan
R14 incorporates (is incorporated in)
R25 performed
(was performed in)
F31 Performance
R66 recorded
(was recorded though)
COLLOCATION!
R22 realised
(was realised through)
F21 Recording Work
F29 Recording Event
R13 is realised in (realises)
(performances may
not be recorded)
R21 created
(was created by)
Participants may write
up other memories
F26 Recording

14. A Model of Performing Arts: Derivation and Incorporation Chains
F21 Complex Work
Henry IV
F54 Container Work
R12 has member (is member of)
R69 is realised in (realises)
F31 Expression Creation
Expression creation of Henry IV part 1 mise-en-scene
F51 Performance Work
Henry IV part 1 idea of mise-en-scene
R49 created a realisation of
(was realised through)
R22 created
(was created by)
R68 realised
(was realised through)
F53 Recording Work
Henry IV part 1 recording work
F46 Individual Work
Henry IV part 1
R1 has logical
successor
F46 Individual Work
Henry IV part 2
R70 is realised in (realises)
R58 derivative of (has derivative)
F46 Individual Work
Henry IV part 1 Adaptation
R49 created a realisation of (was realised through)
F55 Recording Event
Recording Performance 25/12/07
R66 recorded
(was recorded though)
R67 created
(was created by)
F31 Expression Creation
Expression creation of Adaptation of Henry IV part 1
R56 is realised in (realises)
R64 performed
(was performed in)
F52 Performance
Performance 25/12/07
R22 created
(was created by)
F20 Self-Contained Expression
Henry IV part 1 Adaptation Text
F50 Performance Plan
Henry IV part 1 “mise-en-scene”
R63 incorporates (is incorporated in)
R63 incorporates
(is incorporated in)
F56 Recording
DVD Henry IV part 1 Play 25/12/07

15. A Model of Performing Arts – ALM
R12 is realized in (realizes)
F20 Performance Work
Sergei Radlov's conceptions about how to stage King Lear
F25 Performance Plan
Sergei Radlov's indications about how to perform King Lear
R25 performed (was performed in)
P129 is about (is subject of)
E33 Linguistic Object
English comments by Edward Gordon Craig on the performances of King Lear at the Moscow State Jewish Theatre in 1935 in Radlov’s mise-en-scène
R incorporates (is incorporated in)
E73 Information Object
Lev Pulver's incidental music
E38 Image
A. Tyshler's stage setting
E33 Linguistic Object
S. Galkin's Yiddish translation of King Lear
F52 Performance
at the Moscow State Jewish Theatre, 1935
E31 Document
E38 Image
Visual content of photographs
P70 documents (is documented in)
P128 carries (is carried by)
E24 Physical Man-Made Thing
Photographs held at BnF
P128 carries (is carried by)
E24 Physical Man-Made Thing
Manuscript score held at BnF
P128 carries (is carried by)
E24 Physical Man-Made Thing
Wooden model elements held at BnF
P128 carries (is carried by)
E24 Physical Man-Made Thing
Manuscript held at BnF
By Patrick Le Bœuf

16. A Model of Performing Arts Conclusions
Documenting Performing Arts is confusing:
Conceptions, repeated patterns, recordings, and the actual volatile events are hard to distinguish in our mind.
CRM & FRBROO form a consistent whole:
CRM already captures consistently the event aspect: participants (actors, recorders, audience), used things, space and time.
FRBR adds the intellectual work chain.
FRBRoo detects a new relationship of intellectual products:
The recording may “incorporate”, rather than “represent” the performance plan.
Recording and performance are seen as one coherent activity.

17. A Model of Performing Arts Conclusions
To our knowledge the most comprehensive model for documenting performing arts in libraries and museums.
An example how archive, museum and library information can be integrated based on sense making relations.