1. ICS-FORTH September 16, 2008 1 FRBR OO, a Conceptual Model for Performing Arts Athens, September 16, 2008 Martin Doerr*, Patrick LeBoeuf**, Chrysoula Bekiari* * Center for Cultural Informatics Institute of Computer Science Foundation for Research and Technology - Hellas ** Bibliotheque National de France, Paris, France

2. ICS-FORTH September 16, 2008 2  Who documents and preserves knowledge about Performing Arts?  Performing Arts is an expression of culture,  but 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.  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. Documenting Performing Arts Introduction

3. ICS-FORTH September 16, 2008 3  The typical library contents: “The whole stories”  Secondary literature (research results)  Facts brought into causal context  Categorical: theories and hypotheses  Fiction.  The typical archive contents: “The needle in the haystack”  Primary sources, “bits and pieces” (letters, legal documents, administration acts, images, scientific records).  factual, kept in the sequence of creation, as by the creator or responsible.  The typical museum information: “Museum objects rarely talk”  Factual documentation of properties and context per object, references, classification  Highly heterogeneous, disparate. Archive, Library, Museum Information

4. ICS-FORTH September 16, 2008 4 Museum Information “ A Monet is not like a Dinosaur”  Museum objects may be:  Unique in form, valuable out of context — Valued art objects: “La Pie by Monet”, aesthetic minerals, exceptional life forms, curiosities. Could be a Unique by particular context, not valuable out of context, valuable only as illustration or symbol, — Historical heirlooms, relics of saints, “John Lennon’s T-Shirt” Not unique, not particularly valuable. Used as example of a category out of the particular context — Most objects in Natural History, ethnology, archeology. Unique by rarity, valuable as evidence out of a particular context — Most objects in paleontology, many unique archeological objects: “6th left rib from a T. Rex”

5. ICS-FORTH September 16, 2008 5 Information Integration Management Objects and Knowledge  The ultimate goal of users seeking information is not to get an “object” but to understand a topic.  Understanding lives from relationships:  objects are interpreted by context (e.g., bone finds in Evan’s “bathtubs”)  contexts are interpreted by objects (e.g., many arrowheads in Troy IV)  objects are interpreted by categories (e.g., Evan’s Minoan “bathtubs”)  categories are supported by examples (e.g., the shape of a kris)  categories may be based on rare evidence (e.g., a hominid tooth)  We need to integrate museum, archives, libraries in a sensible way to find integrated knowledge and produce new knowledge, to provide evidence for new hypotheses or verify or challenge old hypotheses.

6. ICS-FORTH September 16, 2008 6  Museum and library information has complex interrelations. Museum and library information overlaps, and otherwise is different.  Libraries document literature in order to facilitate access to it.  Museum documentation classifies and describes museum objects, their context and relevance. It refers to literature. Museums produce regularly (secondary) literature.  Museum objects are referred to and published in literature. Literature may describe museum objects, their context and theories about and related to them. Literature describes concepts that are exemplified or illustrated by museum objects. No standard documentation format yet for that!  Libraries may also produce literature. Libraries may document and curate rare objects as museums do. Most museums maintain libraries. Information Integration Management Library and Museum Information

7. ICS-FORTH September 16, 2008 7 Libraries Museums Archives illustrate, exemplify refer to Books Objects primary Documents provide finding aids are about document features & context provide finding aids make narratives from publish using Information Integration Management Relations of Archive, Library and Museum Information

8. ICS-FORTH September 16, 2008 8 The FRBR - CRM Harmonization The Harmonization Project  Formation in 2003 of the International Working Group on FRBR/CIDOC CRM Harmonisation:  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.  Summer 2008, complete text “FRBR OO ” 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 FRBR ER to FRBR OO, OWL/RDF files, VISIO graphics.  Work continues with an “FRBR Core” model, as extension of CRM Core.

9. ICS-FORTH September 16, 2008 9 The FRBR - CRM Harmonization CRM  The CIDOC Conceptual Reference Model (CRM)  developed since 1996 by CIDOC / ISO TC46, now ISO 21127:2006  a core ontology aiming to integrate cultural heritage information  Innovations:  centre descriptions not around the things, but around the events that connect people, material and immaterial things in space-time.  explicit description of the discourse on relations between identifiers and the identified.  typologies modeled both as classification means and as objects of the cultural- historical discourse.  Covers performances as activities, but lacks a model of intellectual work.

10. ICS-FORTH September 16, 2008 10 The FRBR - CRM Harmonization CRM: history as meetings S runner 1 st Athenian coherence volume of first announcement coherence volume of the battle of Marathon Marathon otherSoldiers Athens 2 nd Athenian coherence volume of second announcement Victory!!! Victory!!! t

11. ICS-FORTH September 16, 2008 11 The FRBR - CRM Harmonization FRBR  The Functional Requirements for Bibliographic Records (FRBR)  developed 1992-1997 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  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.  Lacks: explicit notion of the processes behind. Partially ambiguous definitions (overgeneralization).  Thought to cover performing arts, but cannot describe temporality (events).

12. ICS-FORTH September 16, 2008 12 The FRBR - CRM Harmonization FRBR : Abstraction Levels Work Expression Manifestation Item has part is realized through (is a realization of) has part is embodied in (is the embodiment of ) has part is exemplified by (exemplifies ) has part has a complement has a successor has a summary has a supplement has a transformation has adaptation has an imitation “a distinct intellectual or artistic creation… there is no single material object one can point to as the work...” “the intellectual or artistic realization of a work in the form of alpha-numeric, musical, or choreographic notation, sound, image, object, movement, etc” “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…” “a single exemplar of a manifestation...” has a complement has a successor has a summary has a supplement has a transformation has adaptation has an imitation

13. ICS-FORTH September 16, 2008 13 The FRBR - CRM Harmonization Results: The “externalization” process E28ConceptualObject E84InformationCarrier E24PhysicalMan-MadeThing E65CreationE12Production F31 Expression Creation F2 Expression F20 Self Contained Expression F23 Expression Fragment F4 Manifestation Singleton F46 Individual Work F21 Complex Work F1 Work F5 Item F3 Manifestation Production Type F40 Carrier ProductionEvent R49 created a realization of realization of R56 is realized in R45 created R9 comprises carriers of R10 belongs to type R22 created created R41 produced (was produced by)

14. ICS-FORTH September 16, 2008 14 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):  R2.1 has type:  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 ”

15. ICS-FORTH September 16, 2008 15 A Model of Performing Arts: Basic Classes F20 Performance Work F25 Performance Plan F21 Recording Work F26 Recording R13 is realised in (realises) R12 is realised in (realises) F28 Expression Creation R17 created (was created by) R19 created a realisation of (was realised through) F31 Performance R25 performed (was performed in) F29 Recording Event R22 realised (was realised through) R21 created (was created by) R14 incorporates (is incorporated in) F2 Expression R14 incorporates (is incorporated in) COLLOCATION! R66 recorded (was recorded though) Participants may write up other memories (performances may not be recorded) Activities Conceptual Objects

16. ICS-FORTH September 16, 2008 16 A Model of Performing Arts: Derivation and Incorporation Chains R68 realised ( was realised through) R69 is realised in (realises) R67 created (was created by) F46 Individual Work Henry IV part 1 Adaptation F31 Expression Creation Expression creation of Adaptation of Henry IV part 1 R49 created a realisation of (was realised through) F20 Self-Contained Expression Henry IV part 1 Adaptation Text R22 created (was created by) 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) F50 Performance Plan Henry IV part 1 “mise- en-scene” R22 created (was created by) F55 Recording Event Recording Performance 25/12/07 R66 recorded (was recorded though) R63 incorporates (is incorporated in) R64 performed (was performed in) F56 Recording DVD Henry IV part 1 Play 25/12/07 F52 Performance Performance 25/12/07 F53 Recording Work Henry IV part 1 recording work R70 is realised in (realises) R63 incorporates (is incorporated in) F21 Complex Work Henry IV R12 has member (is member of) F54 Container Work R56 is realised in (realises) F46 Individual Work Henry IV part 1 R58 derivative of (has derivative) F46 Individual Work Henry IV part 2 R12 has member (is member of) R12 has member (is member of) R1 has logical successor

17. ICS-FORTH September 16, 2008 17 P128 carries (is carried by) P129 is about (is subject of) P70 documents (is documented in) R12 is realized in (realizes) R25 performed (was performed in) R14 incorporates (is incorporated in) F20 Performance Work Sergei Radlov's conceptions about how to stage King Lear F52 Performance at the Moscow State Jewish Theatre, 1935 F25 Performance Plan Sergei Radlov's indications about how to perform King Lear E73 Information Object Lev Pulver's incidental music E33 Linguistic Object S. Galkin's Yiddish translation of King Lear E38 Image A. Tyshler's stage setting E24 Physical Man-Made Thing Wooden model elements held at BnF E24 Physical Man-Made Thing Manuscript score held at BnF E31 Document E38 Image Visual content of photographs 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 E24 Physical Man-Made Thing Manuscript held at BnF E24 Physical Man-Made Thing Photographs held at BnF A Model of Performing Arts: A Documentation Case

18. ICS-FORTH September 16, 2008 18  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.  To our knowledge the most comprehensive model for documenting performing arts in ALM.  A nice example how archive, museum and library information can be integrated based on sense making relations. A Model of Performing Arts Conclusions