Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Avant Garde Cataloging


Published on

Avant-Garde Cataloging: Pushing the Boundaries of Traditional Standards to Better Serve Arts Library Users

ALA Midwinter 2010/ACRL Arts Division virtual presentation, Saturday, January 16, 2010, 11am EST

Published in: Education
  • Be the first to comment

Avant Garde Cataloging

  1. 1. Pushing the Boundaries of Traditional Standards to Better Serve Arts Library Patrons<br />
  2. 2. What isavant-garde?<br /><ul><li>“Avant-garde represents a pushing of the boundaries of what is accepted as the norm or the status quo,” …“The vanguard, a small troop of highly skilled soldiers, explores the terrain ahead of a large advancing army and plots a course for the army to follow. This concept is applied to the work done by small collectives of intellectuals and artists as they open pathways through new cultural or political terrain for society to follow.” –Wikipedia
  3. 3. a term taken from the French which originally applied to the foremost part of an army, or vanguard, and was used in this sense in English from the 15th to 19th century. However, since the early 20th century it has been used to describe contemporary pioneers or innovators in any of the arts and also signifies work which challenges accepted standards. –Oxford Companion to Western Art (via Oxford Art Online)</li></li></ul><li>pushing of the boundaries/ work which challenges accepted standards<br />a small troop of highly skilled soldiers/ small collectives of intellectuals and artists/ contemporary pioneers or innovators <br />explores the terrain ahead and plots a course for the army to follow/ open pathways through new cultural or political terrain for society to follow<br />
  4. 4. Who am I?<br /><br />
  5. 5. What is the purpose of cataloging?<br />
  6. 6. What is the purpose of cataloging?<br /><ul><li>FIND
  7. 7. IDENTIFY
  8. 8. SELECT
  9. 9. OBTAIN </li></li></ul><li>There are several objectives that direct the construction of cataloguing codes. <br />The highest is the convenience of the user.<br /><ul><li>0.1. Convenience of the user of the catalogue. Decisions taken in the making of descriptions and controlled forms of names for access should be made with the user in mind.</li></ul>Statement of International Cataloging Principles, April 10, 2008 version from the IFLA Meeting of Experts on an International Cataloguing Code,<br />
  10. 10. Cataloging is a user service.<br />Librarianship is a service profession<br />The highest objective is the convenience of the user<br />It is important that we support and integrate known user behaviors into our library catalogs, but how?<br /><ul><li>Research
  11. 11. Observation
  12. 12. Surveys</li></ul>User needs assessment<br />2010 is the Year of Cataloging Research<br />
  13. 13. What are artistic patrons looking for, and how are they looking for it?<br />Information needs<br />Information seeking behavior<br />
  14. 14. Surveys over time have identified five areas of information that appear most commonly sought by artists:<br />Inspiration<br />Specific visual image needs<br />Technical knowledge (“how-to”)<br />Marketing & career guidance<br />Current trends and events<br />What are they looking for?<br />Hemming, W. S. (2008). The information-seeking behavior of visual artists: a literature review. Journal of Documentation, (64)3, 343-362.<br />
  15. 15. visual and physical collection browsing<br />visual information over textual formats<br />human reference assistance rather than self-navigated catalogs and indexes<br />How are they looking for it?<br />Joan M. Day and Elizabeth McDowell, “Information needs and use of art and design students,” Education Libraries Bulletin, 28, No. 3 (1985): 31-41.<br />
  16. 16. Where current cataloging falls short<br /><ul><li>Disparate media and material types
  17. 17. Unfamiliar classification and vocabulary
  18. 18. Focus on text-based & known-item searching
  19. 19. Failure to incorporate IFLA criteria
  20. 20. Lacks of arts context, focus</li></li></ul><li>Bridging the gap<br />
  21. 21. Include all material types<br />Include all material types<br />
  22. 22.
  23. 23. Support physical browsing<br />
  24. 24. Classification for browse-based access<br />
  25. 25. Alternative classification<br />
  26. 26.
  27. 27. Color<br />
  28. 28.
  29. 29.
  30. 30.
  31. 31.
  32. 32. Tweaking Standard Classification<br />
  33. 33. Support virtual browsing<br />
  34. 34.
  35. 35.
  36. 36.
  37. 37.
  38. 38.
  39. 39.
  40. 40.
  41. 41. Enhanced metadata<br />
  42. 42.
  43. 43.
  44. 44.
  45. 45.
  46. 46.
  47. 47. Improved subject access<br />
  48. 48.
  49. 49.
  50. 50.
  51. 51. Questions?<br />Rachel “Ivy” Clarke<br /><br /><br /><br />Images from Veer, FIDM Library (Los Angeles) or screenshots of respective websites.<br />Material for this presentation based on “Cataloging and Classification for Art School Libraries: Challenges and Considerations,” <br />in Handbook of Art &Design School Librarianship, <br />forthcoming from Facet in May 2010<br />