Thursday, February 21, 2008

New Database

Today's meeting with Will Real was very productive; with many thanks to Rachel Delphia, we have a new and improved database which will implement the following organizational schema:

In this case, Record Type will correspond to journal, monograph, book series, thesis, article, or catalog. Title will include the full MARC 245 field; Abbreviated Title will be the local heading/cover title.

The Contributor fields similarly break-down: Full Name is as First-Middle-Last to crosswalk with the current Parties module in the CMA records; Cited will cover the authority name in the LC record. Contributor Role defines author, contributor, translator, editor, or creator, with the position of the main access point (MARC 100/110/111) in place 1, additional entries following. This was a simplified way to combine the strictness of the standard record with the goals for greater access to which the CMA aspires.
Contributor Type fits the person, organization, or collaboration; analogous to MARC Personal, Corporate, or Conference terms.

Friday, February 15, 2008

Intriging Discrepancies

A couple of notable finds that reinforce Marc's reflections on inconsistency among records, and which have piqued my interest:

I. Translated Texts

245 Tea ceremony utensils
100 Ryoichi Fujioku
700 Louise Allison Cort (translation and adaptation)

245 Japanese arts and the tea ceremony
100 Joseph P. Macadam (translation and adaptation)
700 Tatsuaburo Hayashiya
700 Masao Nakamura
700 Seizo Hayashiya

Is the translator the main access point for Japanese Arts because there are three authors? Or is this just a case of incorrect cataloging?

II. Serials and Cutter Numbers

The Everson Museum publishes a serial catalog of Ceramic National Exhibition, but the two individual issues which the collection contains have very different call numbers:

050 NK4008 ‡b .C468 1987
111 Ceramic National Exhibition ‡n (27th : ‡d 1987 : ‡c Everson Museum of Art)
245 American ceramics now / ‡c Twenty-seventh Ceramic National Exhibition ; [editor of catalogue, Thomas Piché, Jr.].


050 NK4008 ‡b .A14 1993
245 The 29th Ceramic National : ‡b fiction, function, figuration.

711 Ceramic National Exhibition ‡n (29th : ‡d 1993 : ‡c Everson Museum of Art)

Why is the OCLC record so disparate for these items? Shouldn't they share the majority of information, save for a subtitle and an edition?

Thursday, February 14, 2008

OCLC and/or/vs. LCCN

We've started pulling the books off the shelves and getting a hold of their records within OCLC. With quite a good many number of books done, we're really starting to get a sense of what the physical shelves look like organized, and trends are being recognized. Exciting! We're also putting the books back onto the shelves with added info. such as: LC call #, title, author, pertinent info. in the 7XX field, OCLC #, etc... This, we are doing in anticipation of the new database that is being formulated as a collaboration between ourselves and the museum staff. I am really starting to think about the Access database and what form it is going to take....Granted, conceptually, this is really only in its infancy right now. We have several considerations that have yet to work themselves out...

We have discussed the need to tailor the new DB so that it is not only comprehensive, functional, and efficiently searchable, but a tool the museum staff is able to effectively use. It has to be one where information is cross-linked and referable. This is all possible within Access, it's just a matter of including enough information so that nothing is left out. This is a tricky bit, what with books about art and artists, published by certain museums or galleries, and with contributions by so and so, introductions, joint authorships, etc.. All of these should be and will be searchable under the new DB. If a person wants to search for anything in the collection published by/associated with/exhibited at - the Virginia Museum of Art - that will be possible. For all intents and purposes, this system can and will, indeed, be considered something of a "hybrid".

One issue we've started to encounter is that, given a number of books that have been entered into the OCLC system, some of these have been cataloged in England, Germany, Australia, or some other country. They are, therefore, not necessarily utilizing the same class. system and do not contain LC call #s. Where this is the case, we endevor to look to LC itself to provide information and an alternative LCCN. We are able to then make note of this for future reference, when the important task of going back to access the record will need to be done.
Another quandry occurs when there is a book, as Lauren has stated, that is completely in a foreign language and who's statement of responsibility is, unfortunately to our eyes, unusable. Other examples include those items in the library that are corporate in nature, in a foreign language, and not reallly in book form at all. They are more like catalogs In these instances, where no OCLC or LCCN reference is available, where no cataloger has gotten their hands on the item and given it a proverbial place in the world, I can only assume that we will somehow have a hand in this very task. We will have to, at some level, because it will need to fit into our system somewhere - so that it can be found. How this formulates, so that it fits into both the museum staff's vision and is standardized enough to be included in an OPAC is the challenge that we are working toward achieving with our work...

General Thoughts of an unspecified, flowery nature....

Having gone through many older volumes (within the subject of Porcelain) and perusing Connexion to address which record best fits what is in my hand, sometimes it is very tedious to find the exact edition from several entries. I feel an almost Sherlock Holmes-like scrutiny and constant vigil is required - perhaps, and most likely if it is a newer book, an ISBN will come to the rescue, that is, if it is entered in the first place. I understand the implicit responsibility to find the most accurate and exact match possible, although there are several instances where this has not been possible for us to do.
Using Connexion, I have noticed records that are critically imcomplete or grossly innaccurate. I feel compelled to change these, but, not unlike a person on a freighter who sees a lifeboat, I am unable to do anything and must merely let myself pass beyond it.
Conversely, it is an extremely helpful tool, and one that has provided much in the way of information and guidance. Several things in the "librarian's toolbox" look to provide further information for us...

Titles Questions, Foreign Language

A) I'm curious to know what benefit, if any, there would be in distinguishing the MARC 245 $a title and 245 $b subtitle in our databse. I don't think that it would be necessarily appropriate to separate the fields, but it has been a pattern that either the main title is not representative of the information, or the subtitle is incredibly long and includes exhibition/curatorial details that are repeated in the 100, 110, and 111 fields. We are striving for consistency, and would appreciate suggestions on a method for showing title hierarchy in the database.

B) The Museum holds many foreign language titles in their collection, and I am unsure of how much transliterated text to inlcude in the records. When the official LC 245 is Japanese, but the title page of the item has a complete English entry, should we limit the database record to English? Make a note in the note field? I cannot predict the methods the collction users will search, but when English is available, it seems reasonable to think that they will know/seek the English access point. One such record example:

MARC 245: Shōwa no Momoyama fukkō : ‡b tōgei kindaika no tenkanten = Modern revival of Momoyama ceramics : turning point toward modernization of ceramics / ‡c shusai Tōkyō Kokuritsu Kindai Bijutsukan ; [henshū (Tōkyō Kokuritsu Kindai Bijutsukan) Kaneko Kenji ... [et al.]]
MARC 710: Tōkyō Kokuritsu Kindai Bijutsukan.

I have temporarily saved this title as Modern revival of Momoyama Ceramics, and the corporate contributor as Museum of Modern Art, Tokyo. We want to make a standardized record, but isn't access of primary importance?

More Database Suggestions: "Parties"

As it stands now, the name fields are to be entered Last, Middle, then First. A) It seems counterintuitive to enter Middle before First name, and B) it may not be necessary to have three fields, especially if the authority name is First Last and Dates, or only First Last. How closely should we be following LC authorities for contributors in these records? Or should we create our own authorities for authors/artists/editors based upon this current system?

Wednesday, February 13, 2008

Screenshot of Current Access Database


I think the Subject fields, separated, seem almost like tags, and will work very well for the Museum's searching needs. I would like to see the option of adding addition contributors and contributor type. Also, is it possible that we may want to add record type, i.e., journal, monograph, pamphlet?

Database Questions

Some patterns have started to develop in the contributor decisions we must make in cataloging the art books, especially concerning translators, contributors, and essayists. Marc and I were wondering how to best deal with these situations in the new database. As it stands now, there is a single Author field, a single Contributor field, and a single Editor field. Perhaps we could talk about a unnamed personal name or corporate conributor field to add to the record with a drop-down menu to select contributor type. This way, additional creators of content could be added, be searchable, and have their own record in the "parties" module. If done with a standard 700 note, I think they might lack an access point of their own.

Thursday, February 7, 2008

We are under way...

We've only been working on cataloging the Carnegie Museum of Pittsburgh's Decorative Arts book collection for awhile now, but are really excited by the prospect. This is an amazing chance to be on the ground floor and looking up at what, eventually, will develop into a more workable and searchable system. The implications of this, for not only us but present and future users, is something that we are going to take very seriously.
We are learning along the way and trying to develop this to the best of our abiltity and so that it is most efficient for those users to access. We will be putting our thoughts out here into the world and relish any thoughts, suggestions, and input that anyone is ever willing to contribute.
Let the cataloging begin!

Monday, February 4, 2008

Initial Post

This blog will record the progress of the Decorative Arts cataloging project at the Carnegie Museum of Art. We will post questions, procedural decisions, and records of work and achievement as they occur.