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New Professional Application at the Musee D'orsay

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New Professional Application at the Musee D'orsay New Professional Application at the Musee d'Orsay Laurence des Cars '*', Franqoise Le Coz '" and Sylvie Julk '" '*' MusCe dtOrsay, Paris, France E-mail: [email protected] '" Musee d'Orsay, Paris, France E-mail: [email protected] '"' Musee dtOrsay, Paris, France E-mail: [email protected] ABSTRACT perspectives of publishing information Based on evaluations conducted in the are opened, in particular an online early 1990's on the use of its catalogue of thc collections (more than documentary system by curators and 73000 entries). researchers, the Musee dlOrsay has adopted an original, resolutely user- KEYWORDS: user-oriented approach, oriented approach. The close database, methodology of project collaboration of users to the project has management made it possible to develop a centralised system made up of modules adapted to INTRODUCTION the different functions (curators, The Muske d'Orsay (Paris) is about to researchers, registrar's office, cultural celebrate the fifteenth anniversary of its service, visitors' information, etc). The opening to the public. It is a r&ltidisciplinary museum studying and main actors are provided with a tool that presenting a limited period covering makes it easy for them to search the only a few decades, li-om 1848 to 19 14, database but also to bring new in all its cultural aspects. A rcccnt information (creation of artwork or creation. the museum integrated- the use artist records, dealing with artwork of new information and commi~nication movements, updating of information), technologies (NICT) in its museum using a graphical and ergonomic programme, including a documentary interface. This corpus, crucial in the life database on the collections. In spite of of the museum, is meant to become the the co-operation of thc curators and reference on the museum collections. researchers, the prqiect was The step by step implementation of the disappointing. In 1992-1 993, the new system, which necessitated a close guidelines for computer development analysis of the organisation of work, has resulted in a specialisation of certainly contributed to the evolution of applications according to different uses the way information technologies are by the large public or by professionals. perceived by the museum teams. The problems encountered by users With this system of information and were analysed. The lack of an management of the collections new appropriate human-machine interface was a powerful obstaclc. despite the ichim 01 ~ ~..~ ~ CULTURAL HEHITAGE and TECHNOLOGIES ~n thc TIIIRD MILLENNIUM training sessions and the publication of All these requirements prompted the a thorough user's guide. Two other launch of the Base Orsay project. issues added to this handicap: the cataloguing of artworks was not PRESENTATION AND AIMS OF BASE yet comprehensive, ORSAY the number of terminals giving One of the essential characteristics of access to the data was insufficient. the system developed at the MusCe These facts accentuated the reluctance d'Orsay was the centralisation of of some of those who had the information. This option, strongly information to support computerisation. emphasized from the very first version of the database reflects the artistic creation of the period covered by the To overcome these obstacles that, MusCe d'Orsay (1 848-1914). In those cumulated, endangered the future of the times, the idea of an intricate project, several decisions were made relationship between the arts, developed between 1993 and 1995: First, to offer as soon as possible a in particular by Baudelaire, explains the progressive disappearance of the human-machine interface for users traditional hierarchy between major and to consult the existing system (this minor arts. In this logic, all techniques was achieved in 1995). (painting, sculpture, decorative arts, Secondly, to involve an important photography, architecture drawings and number of voluntary curators and archives) are dealt with a single researchers in the elaboration of a computer referent. system that would meet their needs. The different modules The curatorial department wanted to This centralisation of data also applies take possession of the system, and to to museum logistics. Different modules do so, had very precise requirements: coincide with different professional completc control over the data, uses. This database thus constitutes an simple and user -friendly graphical information and management system of interfaces, the collections. To understand this data structured to allow for spcedy approach, here is a description of the research of precise information, a database and its modules. screening and edition mode that would meet the conventions of The artwork management and museum catalogue edition, localisation module is particularly intended for the registrar. It was tools facilitating repetitive tasks necessary because of the large (edition of labels, of condition number of artworks under the rcports.. .), museum responsibility (more than and, from 1995 onwards, to manage 73000). The reliability of the hand- thc localisation of the artworks and written-cards had become too the planning of their movements. uncertain and access to information The computing department added was too limited. For instance, the technical requirements: number of artwork movements well-tried technologies, exceeds several thousands a year. a widc competition on the market The implementation of this module of computer development. was also motivated by administrative reasons linked to the obligation to ensure a rigorous managenient of the French State collections (this issue was highlighted by several official reports published in the 1990's). For the module to be immediately adopted by the registrar's office, its ergonomics had to reproduce as nearly as possible the structure of the hand-written cards (Figure I). Figure 2: Graphical localisation model The documentary artwork files constit~itethe core of Base Orsay in an "artwork repertory". These data had been collected first. The user-interface of the system that preceded Base Orsay allowed only for data retrieval. Base Orsay made it possible for curators and researchers to add new data and to update them. Until then, this task Figure 1 : Artworks management had had to be devolved to an screen external enterprise because of the importance of the volume of This nodule perfectly meets the information to be processed and requirements of a secured and the complexity of integration tools. internal use. It was not designed as The structure of the final product a comm~~nicationtool to be used by is similar to that of the paper the visitors' information staff. catalogue of the collections. To meet this need, the graphical (Figure 3). The main evolutions of localisation module will be docun~entary files have been functional in 2002. Herc again, the devised to proceed to new editions idca was to follow as closely as of the collection catalogues. possiblc cxisting uses, with maps Tcclinical developments of the similar to those handed OLI~to Internet and the evolution of web visitors. Lt is based on thc same sites incidentally make it possible data as the previous modulc to consider online publication of (Figure 2). these files. ichirn 01 ~ ~ . - .. .. - - -. pp CULlURAL HERllAGE and TECHND!OBIES in the THIRD MILLENNIUM Figure 3: Documentary screen Figure 4: Artist repertory model To the artwork repertory will soon Implementation stages or how be added an artist repertory unforeseen events may favour the (Figure 4), also integrated in the completion of a delicate project. samc fiilly cross-referenced The museum has limited human system. The data came from an resources. It is therefore more practical independent base that listed the to segment projects into well-delimited artists documented in the museum stages ensuring an efficient, but not research centre. The integration of always speedy, completion. Priorities this information, done by the were decided on. The implementation of museum documentary team, soon one module after the other ensures each proved difficult because of the time that the system fimctions in a number of files to check. To give satisfactory way for users who are an idea of the task at hand, 34,000 trained to use it and accompanied in artists were registered with a total their mastering of the system. Several estimation of 100,000 references. versions of the software are necessary But the fact that it was not before the exploitation, but even then, comprehensive made the very use new versions are necessary to get a fully of the database irrelevant. It was satisfactory result. therefore decided to "frecze" the database and to merge it with the artists of the Base Orsay. A number of lessons can be drawn. Even though the purpose of the Base was originally documentary, the addition of a management module proved decisive in the integration of documentary computing in the museum life. Between the initial brainstorm and the time of implementation, the computerised management of artwork movements had indeed become a priority. For this reason, thc documentary module, although it had been designed first, was not the first to be implemented, and it came second to ichirn 01 ~ . -~ ~ ..~ ~-~~ CIJLTIIRAL. HL-HITAGE and IECHNOIOGIES I" the THIRD MILLENNIUM the management module baptised "Kardcx". Because this information is vital, the management module became the driving force of a more thorough use of computers. When computers take charge of a crucial part of the work of an institution, and when they do so in a satisfactory way, they quickly become indispensable. It was a point of no return from which to build on. The use of "Kardex" has de ,fuclo Figure 5: User-friendly up-dating become compulsory for some museum screen teams, and curators and researchers have to attend a training session to learn ORGANISATION AND METHOD how to update new data. Some of them In order to guarantee the fulfilment of have volunteered first, out of an interest these ambitious aims, a new in the system or because they had organisation chart and new working specific needs (huge volume of their methods were implemented.
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