ARCHIVES AND MUSEUM INFORMATICS Cultural Heritage Informatics Quarterly VOLUME 10 - NUMBER 2 -1996 Archives and Museum Informatics: Cultural Heritage Infor­ I Archives and Museum Informatics I matics Quarterly (ISSN 1042-1467) is published by Archives & Cultural Heritage Injonnatics Quarterly :I Museum Informatics, 5501 Walnut Street, Suite 203, Pittsburgh, 1 Pennsylvania 15232-2311; (412) 683-9775; fax 412-683-7366. Volume 10· Number 2· 1996 II' Thejournal is edited by David Beannan, whose authorship may be presumed for all items not otherwise attributed. CONTENTS Archives andMuseum Informatics carries news, opinions, and reports on information technologies, techniques, and theories relevant to archives and museums. EDITORIAL Submissions of press releases, publications, and software for Evolution / 101 review, articles, and letters to the editor are welcomed. Copy is preferred double-spaced. Longer articles will be requested in ARTICLE machine-readable form ifaccepted for publication. Deadlines for contributed articles and press releases are the 15th ofMarch, June, Electronic Imaging & the Visual Arts (EVA) Conferences, September, and December. 1993-96 / David Bearman / 104 Subscriptions are available on a calendar year basis at CONFERENCES US$90.00 for institutions, US$50.00 for individuals (paid in advance, by personal check, and delivered to their home address), "Managing the Record Continuum" / 133 US$25.00 for individuals employed with subscribing institutions (mailed to business address), with a surcharge of US$1O.00 for Calendar / 137 subscriptions outside the United States and Canada. Back issues are also available at a reduced price. All payments must be made INBOX in US currency. Credit cards are not accepted. "Le Louvre - The Palace & Its Paintings," A CD-ROM Archives & Museum Informatics also publishes occasional Review / Ecaterina Geber / 138 technical reports available for purchase. Prepaid orders include handling fees. Billed orders are subject to a US$5.00 billing/han­ Preserving Digital Information, Report of the Task Force on dling fee. Current titles can be obtained from the above address. Archiving ofDigital Information commissioned by the Com­ mission on Preservation and Access and the Research Librar- ies Group: A Review / 148 The SAA Case Studies Series: A Review / 154 Reports, Articles and Books, Journals and Newsletters, Annual EDITORIAL Reports / 157 II NEWS Evolution In-Depth Reports: This year, after a decade ofpublishing Archives and Museum NARA Issues Strategic Plan / 168 fnformatics, I decided that the journal needed to be separated from my personality and that I needed a break from writing most ofeach CONFU - Digital Image Discussion Group, Educational Fair issue. Fortunately, Kluwer Academic Publishers, a respected Use Guidelines for Digital Images, Discussion Draft / 173 Dutch publishing house, expressed interest in taking over the title and continuing it as a peer reviewed quarterly devoted to the same News Briefs / 180 issues in cultural heritage informatics that it has always addressed. II This summer we were able to reach agreement on how to effect STANDARDS the change ofpublisher and ofeditor. For volume 11, 1997, I will continue nominally as Editor-in­ Developments in Metadata Management Frameworks / 185 I Chief. Jennifer Trant will assume the responsibilities as content editor beginning with volume 10, number 4. For those who are not I I Standard Briefs / 189 aquainted with her, Jennifer Trant has recently been appointed I I Collections and Standards Development Officer at the Arts and II Humanities Data Service, a UK national service funded by the I I Joint Information Systems Committee of the Higher Education ! Funding Councils, and housed at King's College London. She is responsible for developing frameworks for interoperability and retrieval for digital resources made available to UK higher educa­ tion institutions through JANET. Previously she was Manager of I' the lPaul Getty Trust, Art History Information Program, Imaging Initiative where she directed the Museum Educational Site Licens­ I I ing Project, efforts to promote imaging standards, and imaging I research and education. A specialist in arts information manage­ I I ment and documentation, she has worked with automated docu­ mentation systems in major Canadian museums including the National Gallery of Canada and the Canadian Centre for Archi­ tecture where she developed and implemented common catalog­ ing standards for the Prints and Drawings, Photographs and © Archives & Museum Informatics, 1996 101 :I Archives collections. In recent years as an independent consultant Claes Granstrom, National Archives ofSweden, Sweden she prepared the report ofthe Art Information Task Force (Cate­ Alice Grant, The Science Museum, UK gories for the Description ofWorks of As an active member Alt). Margaret Hedstrom, University ofMichigan, USA ofthe ICOM-CIDOC Reconciliation ofStandards Working Group and chair of the Multimedia Working Group, Jennifer has been Jeanne Hogenboom, Bureau IMC, The Netherlands actively involved in the definition of archives and musewn data Cary Karp, Swedish Museum ofNatural History, Sweden standards and intellectual integration of collections from ma..'ly I~ric Ketelaar, Rijksarchief, The Netherlands disciplines. Her current interests center around access to digital Vanessa Mack, Macleay Museum, U.of Sydney,Australia resources and use ofinformation technology in higher education. John McDonald, National Archives ofCanada, Canada We have recruited an international editorial board to assist in J\ngelika Menne-Haritz, Archivschule Marburg, Germany identifying articles for the journal and to serve as peer reviewers John Perkins, CIMI, Canada with the intent that the journal to continue to provide timely and technical opinion, discussion and critique, and to serve as a review Xavier Perrot, Consultant, France that is both international and interdisciplinary in scope. As in the Barbara Reed, Monash University, Australia past, the emphasis will be on representation of knowledge and Seamus Ross, The British Academy, UK management of information relating to archives, museums, and Deirdre C. Stam, Syracuse University, USA libraries. We will expect to continue to bring about fruitful inter­ action between the intellectual perspectives of different arts and Jennifer Trant, Arts and Humanities Data Service, UK humanities disciplines and between the methods and techniques Vicki Walch, Independent Consultant, USA used in different kinds ofcultural institutions. We would like to use this occasionto welcomethe new editorial board and invite you to submit articles to the journal over the commg years. I Editorial Board I Michael Alexander, The British Library, UK David Bearman, Archives & Museum Informatics, USA I Joseph Busch, Getty Information Institute, USA Piers Cain, International Records Management Trust, UK Costis Dallas, Hellenic Ministry ofEducation, Greece Kathy Jones Garrnil, Peabody Museum, Harvard University, USA Ecaterina Geber, ArtExpo, Romania 102 Archives and Museum Informatics Vol 10 • No 2 • 1996 © Archives & Museum Informatics, 1996 103 I ARTICLE The EVA conference papers have been made available to 1 ........................................................ attendees on the day ofthe sessions in a spiral-bound (and some­ limes loose) form. They are organized according to the order of I, presentation at the conference and correspond all too closely with Electronic Imaging & the Visual Arts (EVA) what the speakers actually say in their talks (to be fair, many of 1 Conferences, 1993-96 these speakers are presenting in other than their native language). ( )nly the 1994-1996 Proceedings are still available for purchase, Introduction and even these can hardly be said to be "published.,,2 However, VASARI Ltd. is now considering publishing a CD-ROM contain­ ~ince 1990, Brameur Ltd. and VASARI Ltd. have organized a ing the full proceedings ofpast meetings. senes ofconferences in Europe under the commontitle Electronic Im~gingand the Visual Arts (EVA), which have come to occupy This review takes the perspective ofa reader ofthe Proceedings an Important place in the dissemination and assessment of tech­ of EVA in the summer of 1996, which may seem a bit unfair to contributors to a rapidly changing field, but it strikes me as the niques in.these fiel~s. From the initial annual summer workshop only useful way to report on these conferences today. In retrospect, and tutonals held In London, EVA has grown into a year-long program ofevents in London, Paris, Edinburgh, Berlin and most many reports on the state of various implementation efforts, recently Florence and Athens. While each ofthe meetings outside however timely and exciting at the time they were given, hold little London is more modest in scale, all are growing and the number other than historical interest today. Ironically some papers report­ ofvenues have been expanding with each year. ing narrow technical results, which may not have been seen as the most interesting contributions at the time, hold up much better and For the past four years, the EVA London conference has been aggregate into an impressive body of knowledge about how to ~he ~e facto place where European Union funded research projects image visual arts most effectively. In vIsual arts and telecommunication, have reported their plans and results. As a consequence, others from around the world who Overall I believe that the problem with EVA Proceedings, as share an interest in these issues have