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<idisciplinary 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

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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. collections). They were joinded by other Due to its professional uses, the users in 2000. French national museums responsibility for "Base Orsay" had to have to proceed to a check (rkolement) be transferred from the cultural service of the collections every three years or to the curatorial service. Thus the so, a process that was made easier by project could be supervised by a Base Orsay. The ease of this operation curator, which facilitated the (hardly 15 minutes of training were involvement of the museum teams. necessary) (Figure 5) helped rallying the last irreducible opponents, while at Steering authorities the same time the validation of A curatorial steering Committee of information, the recording of new information systems was thus created. acquisitions went on and future This committee is chaired by the head perspectives (publication) werc of the computer department and made explored. up of curators, researchers, the system administrator and one representative from the cultural service and it meets on a monthly basis. It defines general objectives, the strategies to fulfil them, establishes priorities, and sets up necessary workgroups. Its reports regularly inform the museum director and the executive secretary. The follow-up committee studies technical issues, organises work between the museum teams, and creates specific workgroups when necessary. It meets as often as required. Workgroups are set up for varied up of about fifteen people (the most lengths of time, starting with the eager curators, researchers.. .) met at collection of needs and remaining least once a week for long, sonletimes operational for as long as necessary to fastidious or stormy sessions. The the end of thcir task. curator in charge then sometimes had to compel some participants to keep on External actors attending these meetings for a project in Of the importance of an input of which they did not believe. Laurent cxternal contributions Chastel's good mood and his deep To achieve those goals, multiple knowledge of this "microcosm" ensured abilities were necessary, in particular the completion of the project. for the collection of needs: screen modelling, the chairing of meetings, co- Relations with the computing enterprise ordination with outside enterprises, etc. No software development can be made The ~nuseumtherefore chose to hire the in-house because of the lack of specific services of a consultant. In order to be human resources. The museum accepted by the museum teams, the therefore has turned to external service consultant had to command an providers. Following a first extensive Itnowledge of museum consultation, the firm RS2I has been practices: the specific uses of art selected for the design of the model. historians and those of documentary Familiar with the development of databases. He also had to have ability databases and of information systems, for synthesising the needs expressed by this firm did not command any users, and to conceive ergonomic screen references in the cultural field. As they models that met sometimes- were willing to enter this market with a contradictory demands. For instance, renowned institution, they were the interface had to remain user-friendly prepared to reduce cost and keep a high even though it had to process complex level of quality. requests. Finally, this consultant had to The redaction of detailed specifications be able to communicate easily with comes after a first stage of computer programmers. These aptitudes understanding the museum needs as were found in the person of Laurent stated in the terms and conditions. Once Chastel, who besides being Andre validated by all in-house and external participants, this document is used by Chastel's son, had already followed the the enterprise to determine the cost and evolutions of databases in the 1980's the planning of the development. This and had devised an interfacing system stage is essential as financial or for two national databases. technical constraints often lead to compromises: what seems simple in the His part was crucial at the time of the mind of the neophyte is sometimes collection of needs and in the hardly feasible. As a result, it is conception of the system. Relaying the necessary to inform end-users regularly determination of the museum to involve of palliative solutions. Then comes users, he chaired and animated the software development. This also meetings of the workgroup in charge of necessitates a follow-up to deal with the the elaboration of the new system. problems that may arise. During several months, this group made Indeed, the development has effects on graphic charts: screen models and several levels of software: Oracle, for chaining of screens. As soon as the ~nanagemcntof the database, Delphi possible, a model was coniputerised to :IS development language, and XML for verify their relevance and feasibility. screening. The firm RS21 has suggested At every stage, there were constant using XML for the screening of the exchanges between end-users and artwork card vcry carly on (in 1998), project-managers. Each stage is whereas at that time this approach was validated by all. This process is time- very unusual. This choice was made for consuming as it often implies profound two reasons: first to dissociate the changes. If such an organisation today content of a card and its appearance, seems self-evident, it nonetheless secondly to havc an international constitutes a huge workload for all exchangc standard. It must be owned that a large part of progran1niing those involved. But the alternation d~fficultics arose from the between brainstorming, conception, ~niplemcntat~onof the graphic interface validation and modelling, with constant set bv the museum. Tlic number of exchanges, is really the condition for functions to be taken into account oftcn the museum to ensure a satisfactory complicates the last stage, testing, and result of the definitive conception. so docs the number of layers involved (data, structure of the data, ficld, request CONCLUSIONS and incerface parameters). The Finally, we would like to highlight four olganlsatlon of work must allow for a major points. tl~alogue between the dcvelopers and The first point we wanted to insist on is the end-users. the attention to technological evolutions a system such as Base Orsay induces. Documcntary Expertise The permanent evolutions of computer The museum also had a thorough software mean that such a tool cannot documentary expertise acquired through afford to be static. It must be able to the intermediary of the firm GRAHAL. evolve constantly both in terms of This was a valuable asset at the time of technology and on the conceptual level. data-migration and at the time of Computer uses create new needs, but checking the data-structure in the new above all they induce previously database. The museum priorities unfathomed new working and thinking included maintaining the coherence of environments. the data, the tracing of actions, and their reversibility. Secondly, the example of Rase Orsay and its already long history also makes A Visual and Iterative Process it possible to assess the place of To ensure a good comni~~nication docuinentary computing in a museum, between end-users and the project in particular in financial terms. It must managers, new working methods have be regarded as a permanent element in becn implc~ncnledin the museum. the life of a museum and not as a one- time investment. This idea is sometimes Each workgroup meeting was of course difficult to bring through, when the followed by a report. From the amounts at stake are compared with beginning, this took the form of other operations vital for the museum. ichirn 01 .- -.- -.- - ~-- CULTURAL HERITAGE and TECHNOLOGIES in the THIRD MILLENNIUM

When considered more closely, systems actors in the project, especially as the of this kind appear to be constantly author of each update is identified. We bordering between the two budgetary hope that part of Base Orsay will be notions of investment and functioning. available on the Internet with a specific This situation leads to new rounds of interface by 2002. bargaining with every budgetary year. This rclative instability explains why ABOUT THE AUTHORS we have to compromise and sometimes Laurence des Cars, curator in the to give up ideas. These administrative MusCe d'Orsay has graduated at the difficulties also reflect the necessarily ~coledu Louvre and the Paris IV- fluctuating relationship between the Sorbonne University. She is a former museum and society. student of the ~coleNationale du Patrimoine and a specialist of late As far as methodology is concerned, the nineteenth-century painting. She user-oriented approach described earlier contributed to exhibitions and to the is successful. The application has been catalogues published on these occasions. designed with a wide participation of Within the curatorial depaltment of thc involved professionals. The project Musee d'Orsay, she is in charge of the team remains attentive to users' needs co-ordination of documentary and to their remarks, organises as many databases. training sessions as necessary and E-mail: devises tools to help users, including [email protected] paper documentation and on-line contextual help. Basc Orsay thus really Fran~oiseLe Coz studied History of meets daily needs of over a hundred Art (~cole du Louvre, Paris IV- users, and makes it possible to share Sorbonne 1Jniversity). She was part of information efficiently between the the group who had to define the different museum departments. possible uses of computers by the public in the Musee d'Orsay. She is now in Finally, concerning the use of the base, charge of the museum Web site (within the gains in terms of efficiency, the Cultural Department) and she is the availability, and reliability of administrator of Base Orsay (as part of information must be highlighted, the Curatorial Department). particularly for collection management. E-mail: ,francoise.lecoz@mu~ee-orsuy.fr As for scientific use, the end result to this day is more contrasted. The Sylvie Jule, head of the Computing rcfcrencc to paper is often preferred, as Service in the Musee dlOrsay, was using the database means acquiring new between 1987 and 1998 Computers working habits. This can bc explained System Manager for CXP, a firm by the fact that, in the field of research, specialised in information and a complex notions, the bulk of consulting service in software-package information, imply a longer training selection. time before one can master this new E-mail: sylviejzrle@mu.~ee-or.~ay.fr tool. Nevertheless, the perspectives of on-line and off-line publication are a motivation for the users to become