Академический Документы
Профессиональный Документы
Культура Документы
UNIRIO
DOCUMENTAO MUSEOLGICA:
caminho para a identificao da impresso
digital de objetos de coleo.
Rio de Janeiro
2007
DOCUMENTAO MUSEOLGICA:
caminho para a identificao da impresso
digital de objetos de coleo.
Rio de Janeiro
2007
DOCUMENTAO MUSEOLGICA:
Aprovada em:
BANCA EXAMINADORA
____________________________________________________
Prof. Anaildo Bernardo Baraal - UNIRIO
____________________________________________________
Profa. Avelina Addor UNIRIO
____________________________________________________
Profa. Diana Farjalla Correia Lima - Orientador UNIRIO
Dra. em Cincia da Informao IBICT/ UFRJ
AGRADECIMENTOS
RESUMO
A Documentao Museolgica possui como alguns de seus objetivos a
segurana da informao sobre os objetos e o gerenciamento de acervo, portanto,
promove tambm a segurana fsica dos mesmos. Os manuais para Documentao
Museolgica padronizam os procedimentos de catalogao de bens culturais. A
catalogao de aspectos formais dos objetos primordial para sua identificao,
principalmente em caso de roubo. Entretanto verifica-se que alguns manuais para
catalogao de acervo museolgico no enfatizam a identificao de caractersticas
fsicas dos objetos.
SUMRIO
1. CONSIDERAES INICIAIS.
2. OBJETIVOS
14
15-49
Documentao Museolgica
3.1 Conhecendo
prticas
Documentao:
conceito,
histrico
15
32
Algumas Consideraes
38
40
4.
DIRETRIZES
INTERNACIONAIS
MUSEOLGICA EM TRS TEMPOS
PARA
DOCUMENTAO 50-72
51
59
59
64
67
of
Standards.
Documenting
73-97
76
84
6. CONSIDERAES FINAIS.
98
REFERNCIAS
102
108
126
131
135
1. CONSIDERAES INICIAIS
Ao empregar o conceito impresso digital de objetos de colees, considerase o conjunto de dados bsicos/ imprescindveis para a identificao das
caractersticas fsicas do objeto na qualidade de pea nica, fornecidos pela
catalogao de acervo no campo da Museologia. Faz-se referncia s categorias de
informao descritivas que compem um Sistema de Recuperao de Informao
Museolgica.
A Documentao Museolgica consiste na aplicao das tcnicas da
disciplina cientfica Documentao, referentes catalogao e indexao de
documentos, no campo especfico da Museologia, na qual o documento
representado pelo objeto de coleo. Esta [] intermdia [intermdia] fontes de
informao e usurios e se estrutura em funo do objetivo de atender s
necessidades de sua clientela.
Documentao
Museolgica
(Museum
Documentation
Association),
ou
padres
relativos
aos
processos
de
um
Sistema
de
as a documentation standard that establishes the minimum level of information needed to identify an
object;
THORNES; DORRELL; LIE, op. cit., p. 1
aplicao
procedimentos
da
Documentao
Documentao
na
Museologia,
Museolgica
estabelecendo
os
(Museum Documentation) e
Com
mtodo
de
anlise
empregaram-se
tabelas
comparativas
MENSCH, 1987 apud FERREZ, Helena D. Documentao museolgica: teoria para uma boa
prtica. In: Estudos Museolgicos. Rio de Janeiro: IPHAN, 1994, p. 66
2. OBJETIVOS
Geral:
Identificar a partir do que foi denominado por impresso digital do objeto, ou
critrio de dados bsicos para a identificao de objetos expresso na matriz
Introduo ao Objeto ID: diretrizes para o registro de artes e antigidades,
(Introduction to Objetct ID: guidelines for making records that describe art, antiques,
and antiquities), normas/ padres de segurana que orientam o campo Museolgico
contra o trfico ilcito de bens culturais, com a finalidade de verificar se existe efetivo
atendimento a este padro de segurana em duas situaes diferentes.
Modelo para Documentao Museolgica, em formato simples da rea de
Documentao do ICOM Conselho Internacional de Museus, (International Council
of Museums), considerado sob o aspecto de sugesto de campos informacionais
fundamentais para catalogao museolgica.
Modelo estabelecido para a catalogao de diversas colees de museus
cobrindo as grandes reas do conhecimento, Cincias Humanas e Naturais,
considerado sob o aspecto de exemplar efetivamente implantado.
Especficos:
--- Analisar comparativamente o modelo simplificado do CIDOC Comit
Internacional para Documentao (International Committee for Documentation)
CIDOC Ficha Tcnica 1 (CIDOC Fact Sheet 1) que sugere categorias de informao
fundamentais para a catalogao museolgica, a respeito especificamente das
categorias que descrevem as caractersticas fsicas do objeto, com o padro bsico
exposto no Objeto ID.
--- Analisar e comparar o Manual para Padronizao: documentando as Colees
Africanas - AFRICOM (Handbook of Standards. Documenting African Collections AFRICOM), modelo implantado em museus do Continente Africano, concernente aos
campos de informao que descrevem caractersticas fsicas do objeto, com o
padro bsico apresentado pelo Objeto ID.
3.1 Conhecendo
prticas.
Documentao:
conceito,
histrico
e finalmente a Internet.
ou seja, a necessidade,
MESQUITA, Esprito Santo. Objeto, conceito e meios de documentao. In: DASP. Diretrizes da
documentao. [S.l.]: Servio de Documentao, 1964, p. 122
3
Ibidem, loc. cit.
4
MINELLI, op. cit., p. 142.
5
SMIT, Johanna. O que documentao? So Paulo: Brasiliense, 1986, p. 19
6
MINELLI, loc. cit.
7
CHAUMIER, Jacques. As tcnicas documentais. [S.l.]: Publicaes Europa Amrica, [s.d.], p. 7
19
21
23
22
cientista
Joseph Henry, diretor do Smithsonian Institution de Washington,
sugeriu que a British Association for the Advancement of Science
19
24
assumiu a responsabilidade sobre este trabalho. Os catlogos publicados -Catalogue of Scientific Papers --, e os especficos nas reas da matemtica e fsica
foram fruto do esforo de especialistas que no dominavam as tcnicas
bibliogrficas, com isso, em 1902, quando apareceu o ltimo volume
do
25
26
27
considerado o pai da
Biblioteconomia,
estabelecendo
uma
nova
disciplina,
Organizao
Bibliogrfica.
24
A Academia Nacional de Cincia do Reino Unido possui um corpo independente e beneficente cuja
legitimidade e competncia vem dos seus 1400 filiados e membros estrangeiros. Suas origens
remontam ao colgio invisvel formado pelos filsofos naturais, que comearam a se encontrar em
meados de 1640 para discutir as idias de Francis Bacon. A data de sua fundao oficial 28 de
Novembro de 1660, quando 12 destes filsofos decidiram fundar um Colgio para a promoo do
aprendizado fsico-matemtico experimental. Neste grupo, estavam inclusos Christopher Wren,
Robert Boyle, John Wilkins, Sir Robert Moray, e William e Viscount Brouncker. No incio
aparentemente sem denominao, o nome Real Sociedade publicado pela primeira vez em 1661. A
Sociedade rapidamente comea a formar uma biblioteca e um depsito/ storage, ou museu de
espcimes de interesse cientfico. Em 1662, a Sociedade recebe Autorizao Real para publicar. Em
1665, o primeiro nmero do Philosophical Transactions (Negociaes Filosficas) foi editado. A
Sociedade deu continuidade publicao aps alguns anos e Philosophical Transactions hoje o
mais antigo jornal cientfico ainda publicado. (texto adaptado). Royal Society. Disponvel em:
http://www.royalsoc.ac.uk/. Acesso em: 12 abr. 2007
25
COBLANS, op. cit., p. 21
26
Ibidem, loc. cit.
27
A partir de 1895, Otlet se dedica criao do Mundaneum e elaborao de seu projeto. Durante
a Primeira Grande Guerra, passa a trabalhar em um projeto da Sociedade das Naes, para pr fim
aos conflitos. Em Outubro de 1914, publica o Tratado da paz geral, carta mundial que declara os
direitos humanos e organiza a Confederao dos Estados. Em 1916 preside, em Lausanne, o
Congresso das Nacionalidades. (texto adaptado). Mundaneum. Paul Otlet. Disponvel em:
http://www.mundaneum.be/index.asp?ID=246. Acesso em: 12 abr. 2007
28
28
Advogado por formao, La Fontaine lutou pela paz, pelo fim de conflitos atravs da diplomacia,
internacionalismo, voto universal, pelo direito educao, direito das mulheres e direitos trabalhistas.
Como membro do Partido Trabalhista belga foi eleito senador em 1895 e, entre 1919 e 1932, ocupou
a vice-presidncia do Senado. Fundou a Sociedade Belga para Diplomacia e Paz em 1883 e entre
1907 e 1943 ocupou o cargo de presidente da Agncia da Paz Internacional. Foi um dos membros da
delegao belga na Conferncia da Paz, em Paris em 1919 e, no ano seguinte, representou seu pas
na primeira Assemblia Geral da Liga das Naes. Ele publicou numerosos artigos e obras a partir
dos anos 1880, tanto sobre questes de direito como nas reas literria, poltica e esportiva,
especificamente sobre esqui. Fervoroso admirador de Wagner, ele traduziu a caderneta das
Valqurias.
(texto
adaptado).
Mundaneum.
Henri
La
Fontaine.
Disponvel
em:
http://www.mundaneum.be/index.asp?ID=246.
Belgium.be. Henri La Fontaine. Disponvel em:
http://www.belgium.be/eportal/application?languageParameter=en&pageid=contentPage&docId=5869.
Acesso em: 12 abr. 2007
29
COBLANS, op. cit., p. 21
30
SMIT, op. cit., p. 12
31
COBLANS, op. cit., p. 22-23, passim
32
MESQUITA, op. cit., p. 123
33
34
33
43
45
48
50
sobre
questes
ticas,
tambm
50
atua
na
disseminao
56
Comit
Internacional
para
Documentao
(International
57
58
os quais esto
59
Apesar de estarem
60
[]
61
62
63
65
66
na
67
Centro de Documentao. Critrios devem ser seguidos para a seleo do que ser
adquirido, pois coletas e selees bem feitas levam a uma noo de qualidade e
confiabilidade das informaes repertoriadas pelo centro de documentao. 68
O tratamento da informao, hoje chamado processamento devido
automao dos Sistemas Documentais, que est contida nos documentos engloba
duas atividades bem complexas, a anlise do contedo dos mesmos - a
representao da informao - e sua posterior recuperao, atravs a indexao.
A anlise consiste em uma operao, ou um conjunto de operaes, que se
destina a representar o contedo de um documento numa forma diferente da sua
forma original, a fim de facilitar a consulta. Uma das tcnicas de representao da
informao utilizadas o resumo, cujo intuito extrair os assuntos principais do item
a ser avaliado, podem ser resumos sinalticos com poucas linhas, resumos
analticos com dez (10) ou mais linhas e resumos crticos
69
pginas.
Entretanto, o mtodo mais utilizado a indexao, que segundo a museloga
Auta Barreto a atribuio de um ou mais termos a um documento de forma a
64
70
Os termos escolhidos,
71
que alm do
72
Esta
70
75
BARRETO, Auta. Museu e informtica. In: Boletim Associao Basileira de Museologia ABM. Rio
de Janeiro, n. 10/11, set/ dez. 1985, jan/ mar. 1986, p.10
71
GONALVES, Jerusa Borges. Recuperao e disseminao de informao. Rio de Janeiro:
Fundao Getlio Vargas: Instituto de Documentao, 1973, p. 62
72
CHAUMIER, op. cit., p.51 (grifo nosso)
73
Ibidem, op. cit., p. 52
74
FERREZ, Helena Dodd, BIANCHINI, Maria Helena S. Introduo. In: Thesaurus para acervos
museolgicos. Rio de Janeiro: Fundao Nacional Pr-Memria: Coordenadoria Geral de Acervos
Museolgicos, 1987, 1 v., p. xv
75
CHAUMIER, op.cit., p.17 18, passim
cada termo de indexao em que constam todos os documentos nos quais esta
caracterstica aparece.
A procura documental ou recuperao da informao ocorre atravs das
relaes lgicas, ou operaes boleanas, reunio de classes, a interseco e a
excluso determinadas pelas operaes ou, e, exceto, outros operadores como
menor que, maior que, seguido por so usados em buscas refinadas. Na reunio
de classes, so utilizados os operadores ou e e, por exemplo, todos os documentos
caracterizados por A ou por B ou por A e B em conjunto. J a interseco de
classes presume a operao e, por exemplo, todos os documentos caracterizados
ao mesmo tempo por A e por B. Finalmente, a excluso de classes, vale-se do
operador exceto, por exemplo, todos os documentos caracterizados por A com
excluso dos caracterizados por B.
76
77
76
78
79
80
CHAUMIER, op.cit., p. 21
SMIT, op. cit., p. 12
80
, ou seja, tratar a
81
82
do ICOM, documento
83
Ao processar as
81
HARTY, Marcia Cottis, VILCEK, Marica, RHYNE, Brice. Cataloguing in the Metropolitan Museum of
Art, with a note on adaptations for small museums. In: DUDLY, Dorothy H., WILKINSON, Irma Bezold,
et al. Museum Registration Methods. 3. ed. Washington D.C: American Association of Museums.
1979, p. 219
82
INTERNATIONAL COUNCIL OF MUSEUMS (ICOM). Cdigo de tica para Museus. Seul. 2004.
No paginado.
83
FERREZ, Helena D. Documentao museolgica: teoria para uma boa prtica. In: Estudos
Museolgicos. Rio de Janeiro: IPHAN, 1994. p. 65
84
85
84
87
Standard),
elaborado
pela
Associao
de
Documentao
support physical and intellectual access to objects: they can be used to support access to
objects themselves and information about the objects.
88
THORNES, Robin; DORRELL, Peter; LIE, Henry. Introduction to Objetct ID: guidelines for making
records that describe art, antiques, and antiquities. Los Angeles: Getty Information Institute, 1998. p. 1
89
90
93
com o assunto documentado. Esta anlise pode, e deve, ser complementada com
dados colhidos em outras fontes, chamadas informaes extrnsecas,
94
as quais
de
partes
inter-relacionadas,
desenvolvido
para
assegurar
as
93
99
100
(grifo em
101
e tambm atravs de
99
102
Algumas Consideraes
Antes iniciar a descrio de um Sistema de Documentao Museolgica,
deve-se discutir alguns pontos para melhor entendimento das questes a serem
tratadas pelo presente trabalho.
No texto, Documentao Museolgica: teoria para uma boa prtica, Ferrez
aborda o Sistema de Documentao Museolgica em um sentido que engloba todos
os procedimentos pelos quais os objetos passam ao serem adquiridos/ admitidos
pelo Museu, representados, pelas etapas aquisio, registro, marcao e
armazenagem (citao referida anteriormente p. 23). Pode-se traar, assim, um
paralelo com o manual CIDOC Fact Sheet 1, que descreve em oito (8) passos os
procedimentos a serem realizados desde a entrada do objeto na Instituio e Ferrez
aborda desde a aquisio dos objetos/ documentos. Os passos de 1 a 4 podem ser
equiparados aos componentes entrada e organizao e controle, denominados
por Ferrez, como ser visto mais adiante, na seo 4.2.2.
Isto posto, o Sistema de Documentao Museolgica ser aqui descrito de
acordo com o que est sendo expresso e ser feita analogia aos termos
empregados anteriormente (3.1) para descrever um Sistema de Documentao.
Seguindo a ordenao descrita por Ferrez, o registro da pea seria o primeiro
procedimento. Em seu texto, embora no haja definio deste termo, fica evidente
pelo recorte citado que registro e catalogao no so equivalentes.
Far-se- analogia a outros documentos que estabelecem diferenas entre
inventrio e catalogao, como as Diretrizes Internacionais para Informao de
Objetos Museolgicos: as categorias de informao do CIDOC (International
Guidelines for Museum Object Information: the CIDOC Information Categories), j
mencionado, e o Manual para Padronizao: documentando as colees africanas
(Handbook
of
Standards:
documenting
African
Collections),
do
Conselho
103
104
105
106
[] an inventory consists of the basic collections management information about each object in a
collection, including the details that are essential for accountability and security;.
CIDOC International Committee for Documentation, International Council of Museums (ICOM).
Objectives of museum documentation. In: International Guidelines for Museum Object Information: the
CIDOC Information Categories. [S.l.]: CIDOC, 1995. No paginado.
104
[] inventory information, which the museum must have at its disposal for each object so that the
museum can justify its status and ensure its conservation and security []. Steps towards the
adoption of the standards.
INTERNATIONAL COUNCIL OF MUSEUMS (ICOM); INTERNATIONAL COMMITEE FOR
DOCUMENTATION (CIDOC). Introduction. In: Handbook of Standards. Documenting African
Collections. AFRICOM. Paris, 1996. No paginado.
105
[]a catalog is a fuller record with additional details about the historic significance of the objects.
CIDOC, 1995, op. cit. No paginado.
106
[] and the cataloguing information which documents the object in order to be able to exploit it in
its activities (research, exhibitions, educational programmes, etc.). Steps towards the adoption of the
standards.
ICOM; CIDOC, 1996, op. cit. No paginado.
aproveitamento
nas
suas
atividades
(pesquisa,
exposies,
programas
educacionais, etc.).
Portanto, significa registrar informaes complementares sobre o objeto, o
retrato de sua histria dentro e fora da Instituio, ou seja, as caractersticas
extrnsecas ao objeto. Desta forma, pode-se entender, no caso explicitado, que o
termo registro equivaleria ao termo inventrio. O termo registro ser abordado ao
longo deste trabalho no sentido de registrar ou escrever ou lanar no registro;
consignar por escrito; mencionar.
107
108
(grifo em
109
107
110
111
112
113
(grifo em negrito do
Enable accountability for any object, at any time; Enable the provision of up-to-date information
about all objects in the care of the organisation including loans in and out, temporarily deposited
objects and other unaccessioned objects; Provide a reference to ownership of each object; Provide
the current location of each object.
MCKENNA; PATSATZI, (Ed.). op. cit., p. 77.
114
Manual system: a recording system which uses pen and paper rather than computers. Catalogue
cards, index cards, and accession registers are examples of manual systems.
Ibidem. op. cit., p. 34
115
FERREZ, op. cit., p. 72
116
ou fichas-documentos que so
No. Registro:
Material: (indexador)
Localizao:
Ttulo:
Autor:
Tcnica:
117
AUTOR
0
30
21
72
13
164
46
17
68
79
80
141
584
35
57
614
155
197
129
120
No caso da Museologia,
119
120
em lugar de listas de termos, pois aqueles tm larga utilizao entre instituies afins
o que facilita o compartilhamento de informaes. 121
No Brasil, encontra-se, por exemplo, o THESAURUS para acervos
museolgicos de Ferrez e Bianchini 122 , e o Tesauro de Folclore e Cultura Popular
Brasileira Centro Nacional de Folclore e Cultura Popular - CNFCP/IPHAN. 123 No
exterior, por exemplo, os thesauri da Fundao J. Paul Getty largamente utilizados
por Instituies e Museus de Arte, como o Tesaurus de Arte e Arquitetura (Art &
Architecture Thesaurus - AAT) e o Tesaurus para nomes geogrficos (Getty
Thesaurus of Geographic Names TGN). 124
Em Instituies Culturais, a disseminao de informao ocorre, sob duas
formas. Sob forma restrita, atravs de exposies temporrias ou permanentes e
outros tipos de publicaes. Tendo-as como veculos de comunicao, o Museu
explicita seu discurso, baseado em pesquisas sobre o seu prprio acervo. 125
8.4 Responsabilidades acadmicas e cientficas
Os profissionais de museus devem desenvolver a pesquisa,
preservao e uso de informaes referentes s colees. Portanto,
eles devem abster-se de executar qualquer atividade ou envolver-se
em circunstncias que possam resultar em perdas de informaes
acadmicas e cientficas. 126
130
127
A book or set of books listing and/or illustrating all the known works 1) of a particular artist
(including photographers and architects), 2) of a school of artists or art movement, or 3) in a given
medium, usually written by a leading expert and sometimes published as a supplement to another
volume (example: Edward Hopper: A Catalogue Raisonn [1995] by Gail Levin, published in three
volumes by W. W. Norton). As a general rule, each entry in the list includes date of production, size,
condition, provenance, location, exhibition history, and other important information about the work. The
images in a catalogue raisonn are often small and may be printed in black and white, the primary
purpose being to authoritatively document the body of work rather than to display it for the reader's
appreciation and enjoyment. A catalogue raisonn may not be identified as such in library catalogs,
but its title often provides a clue ("The Complete Works of..." or "The Paintings of..."). CATALOGUE
RAISONE. In: REITZ, Joan M. Online Dictionary for Library and Information Science ODLIS.
(traduo nossa). Disponvel em: http://lu.com/odlis/search.cfm. Acesso em: 22 jun. 2007
128
LIMA, Diana F. C.; COSTA, Igor F. R. Cincia da Informao e Museologia: estudo terico de
termos e conceitos em diferentes contextos subsdio linguagem documentria. In: ENCONTRO
NACIONAL DE ENSINO E PESQUISA DA INFORMAO (VII CINFORM). Trabalhos
apresentados....Salvador: UFBA, 2007. No paginado. 1 CD-ROM
129
ICOM; CIDOC, 1996, op. cit. Introduction. No paginado.
131
132
130
RUSH, Carole E.; CHENHALL, Robert G. Computers and Registration: principles of information
management. In: DUDLY, Dorothy H., WILKINSON, Irma Bezold, et al. Museum Registration
Methods. 3. ed. Washington D.C: American Association of Museums. 1979, p. 321
131
Ibidem, p. 322
132
FERREZ, op. cit., p. 67
133
INTERNATIONAL COUNCIL OF MUSEUMS (ICOM). Cdigo de tica para Museus. Seul. 2004.
No paginado.
de
Documentao
automatizado
atravs
dos
manuais
para
134
STARR, Keneth. Foreword. In: DUDLY, Dorothy H., WILKINSON, Irma Bezold, et al. Museum
Registration Methods. 3. ed. Washington D.C: American Association of Museums. 1979, p. 7
135
GONALVES, Jerusa Borges. Recuperao e disseminao de informao. [Rio de Janeiro]:
Fundao Getlio Vargas: Instituto de Documentao, 1973. p. 85
136
ICOM; CIDOC, 1996, op. cit.,.Introduction. No paginado.
137
4.
DIRETRIZES
INTERNACIONAIS
MUSEOLGICA EM TRS TEMPOS
PARA
DOCUMENTAO
Museus Etnogrficos;
Jardins Zoolgicos;
Jardins Botnicos;
profissional, como linha poltica geral, foi acordado que ser dado prioridade ao
treinamento e intercmbio de estudantes e curadores, e aos Comits Nacionais foi
pedido que informassem sobre o acesso aos treinamentos em suas prprias
regies. 2
A sede do ICOM fica em Paris (Frana). Este mantm relaes formais com a
UNESCO e parte integrante do Conselho Social e Econmico das Naes Unidas
(United Nations' Economic and Social Council). [] est comprometido com a
conservao, permanncia e comunicao para a sociedade do patrimnio natural e
cultural mundial, presente e futuro, tangvel e intangvel. 3 Seus recursos provm
das filiaes, de recursos governamentais e outros organismos. composto por
vinte e um mil (21.000) membros de 140 pases, valendo que se mencione na sua
estrutura:
- Comits Internacionais. Em nmero de trinta (30). Destacam-se alguns
relacionados com o presente trabalho, como:
As a general line of policy it was agreed that priority should be given to the training and exchange of
students and curators, and National Committees were asked to report on training facilities within their
own regions. (traduo nossa)
INTERNATIONAL COUNCIL OF MUSEUMS ICOM. Resolutions adopted by ICOMs General
Assembly 1946. Disponvel em: www.icom.org > governing bodies > general assembly > resolutions
adopted by the general assembly (1946-2004)> 1946
3
which is committed to the conservation, continuation and communication to society of the world's
natural and cultural heritage, present and future, tangible and intangible.
INTERNATIONAL COUNCIL OF MUSEUMS ICOM. Mission. Disponvel em: www.icom.org > what
is icom > mission. (traduo nossa).
Organizaes
Mundiais
Alfandegrias
(World
Customs
Organisations). 4
Dentre os objetivos do ICOM, pode-se destacar trs itens (a, c, e) diretamente
relacionados s Diretrizes e normas vinculadas padronizao de informao de
colees de Museus, ou Manuais para Documentao Museolgica.
(a) encorajar e apoiar o estabelecimento, desenvolvimento e a
gesto profissional de todos os tipos de museus;
(b) promover o conhecimento e entendimento da natureza,
funcionamento e funo dos museus no servio para a sociedade e
seu desenvolvimento;
(c) organizar a cooperao e assistncia mtua entre os museus
e entre os profissionais de museus em diferentes pases;
(d) representar, apoiar e promover todos os tipos de interesses dos
profissionais de museus;
(e) promover e disseminar o conhecimento em museologia e
outras disciplinas relativas gesto e funcionamento dos
museus. 5
Unidos;
os
profissionais
especializados
sentiram
necessidade
de
10
(no Brasil
usa-se muselogos).
No mesmo documento foram apresentadas suas trs (3) principais tarefas:
1. Reunir todas as informaes sobre: museus e colees pblicas
[]; centros para estudos museolgicos; catlogos de museus;
catlogos de leiles; prtica museolgica [];
2. Traar regras com relao s publicaes dos catlogos dos
museus, sua padronizao, e o uso de cpia dos cartes de
referncia fotogrfica;
3. Organizar o intercmbio internacional de publicaes, fotografias e
informao. 11
9
LIMA, Diana Farjalla Correia. Cincia da Informao, Museologia, Arte: trptico em moldura
integrada. In: Cincia da Informao, Museologia e fertilizao interdisciplinar: informao em Arte,
um novo campo do saber. 2003. Tese. Orientadora Lena Vnia Ribeiro Pinheiro. (Doutorado em
Cincia da Informao) IBICT/ PPGCI-UFRJ/ECO, Rio de Janeiro, p. 20.
10
Considering that it is necessary to improve and develop, at the international level, the
professional facilities available to museographers.
INTERNATIONAL COUNCIL OF MUSEUMS ICOM. Resolutions adopted by ICOM's General
Assembly 1948. Disponvel em: www.icom.org > governing bodies > general assembly > resolutions
adopted by the general assembly (1946-2004)> 1948. (traduo nossa)
11
1. To assemble all information on: museums and public collections (of which a complete list should
be drawn up, classified by country and by subject); centres for museological studies; museum
catalogues; auction sale catalogues; museum methods (a special bibliography concerning
museography should be published annually);
Internacional
para
Documentao
(International
Committee
12
for
Subordinado ao
2. To draw up rules regarding the publication of museum catalogues, their standardization, and the
use of duplicate photographic reference cards;
3. To organize the international exchange of publications, photographs and information. (traduo
nossa)
12
Em LIMA, 2003, p. 160-169, a autora traa o histrico deste Comit.
13
Article 17 - International Committees
3. An International Committee may be established by the Executive Council with a mandate covering a
particular aspect of museology, of museum policy or practice, or one or more of the disciplines or
professions concerned with museum management and operations. []. INTERNATIONAL COUNCIL
OF MUSEUMS ICOM. Statutes. Disponvel em: www.icom.org > what is icom > statutes. (traduo
nossa)
15
Internacional
para
Normalizao
(International
Organization
for
14
documentation;
(iv) provide a forum for communication, cooperation and information exchange, between
museums, professional museum workers and others concerned with museum information
and documentation;
[]
(vi) represent the interests of museum information and documentation within ICOM;
[].
INTERNATIONAL COMMITTEE FOR DOCUMENTATION - CIDOC. Rules: September 1992.
Disponvel em: http://www.willpowerinfo.myby.co.uk/cidoc/ > introduction to cidoc> cidoc rules
objeto, portanto alm de ser normalizada, esta Documentao dever ter uma
linguagem accessvel aos no-especialistas
16
em patrimnio cultural.
18
16
non-specialists
THORNES, Robin; DORRELL, Peter; LIE, Henry. Introduction to Object ID: guidelines for making
records that describe art, antiques, and antiquities. Los Angeles: Getty Information Institute, 1998, p. v
17
THORNES; DORRELL; LIE, op. cit., p. 1-2, passim
18
[] international standard for the minimum information needed to identify art, antiques, and
antiquities.
Ibidem, p. 1
19
Ibidem, loc. cit.
as a checklist of the information required to identify stolen or missing objects;
as a documentation standard that establishes the minimum level of information needed to identify
an object;
as a key building block in the development of information networks that will allow organizations
around the world to exchange descriptions of objects rapidly;
as a key component in any training program that teaches the documentation of art, antiques, and
antiquities. (traduo e grifo nosso)
20
22
23
portanto, o Brasil
comunidades
mencionadas.
Hoje,
uma
Norma
reconhecida
24
24
Tipo do objeto;
Materiais e tcnicas;
Dimenses;
Inscries e marcas;
Ttulo;
Tema;
Data ou Perodo;
Fabricante. 25
Nmero de inventrio;
Referncias escritas;
Data do registro. 26
Inventory Number, Related Written Material, Place of Origin/Discovery, Cross Reference to Related
Objects, and Date Documented.
THORNES; DORRELL; LIE, op. cit., p. 8
These 7 steps ensure that the minimal data concerning a museum object are recorded.
27
Foi desenvolvido para qualquer tipo de acervo, pode ser aplicado a sistemas
manuais ou automatizados e pode ser complementado de acordo com as
necessidades particulares da Instituio. Faz-se til principalmente para os Museus
que no possuem corpo tcnico especializado.
Estabelece os campos de informao imprescindveis que tratam da aquisio
do objeto, sua incorporao ao acervo, sugerindo alguns campos para a
identificao da pea. Orienta como o profissional deve agir nas diferentes
situaes, por exemplo, em caso de emprstimo, devoluo ou integrao do objeto
ao acervo. H tambm a sugesto de alguns campos complementares, caso seja do
interesse da Instituio adicion-los.
Indica oito (8) passos. Em cada um descreve-se qual procedimento tomar nas
situaes determinadas.
nome do Museu;
nmero de inventrio;
palavra-chave do objeto;
ROBERTS, Andrew. Registration step by step: when an object enters the museum CIDOC Fact
Sheet 1. Reviso de Leonard Will, 2000. [S.l.]: ICOM - CIDOC Services Working Group, 1996. No
paginado. (traduo nossa)
localizao permanente. 28
material/ tcnica;
dimenses;
localizao temporria;
estado de conservao;
origem;
preo;
manuseio;
conservao;
notas, etc.
29
Recomenda ainda, que na maioria das sees, dados estruturados devem ser
inseridos de maneira pr-definida usando listas de terminologia controlada, breve
28
institution name, inventory number, object key word, brief description and/or title,
acquisition/accession, method; acquired/accessioned, from (person/institution); acquisition/accesion,
date; permanent location.
ROBERTS, op. cit. No paginado. (traduo nossa)
29
material/technique, measurements, temporary location, condition, cultural and/or historical
references, natural history references, site, production (artist, date), price, photo(negative)number,
handling, conservation, notes, etc. (traduo nossa).
ROBERTS, op. cit. No paginado. (traduo nossa)
30
Contudo, no
31
While in most sections structured data should be entered in predescribed ways using controlled
terminology lists, "brief description and/or title" and "notes" normally contain free text..
Ibidem, no paginado. (traduo nossa)
31
CIDOC International Committee for Documentation, International Council of Museums (ICOM).
International Guidelines for Museum Object Information: the CIDOC Information Categories. [S.l.]:
CIDOC, 1995. No paginado.
32
34
(International
Council
of
African
Museums) 35 ,
voltada
para
36
Pretende
Vale chamar a ateno para o fato de que tanto o Conselho, quanto o Manual
para Documentao Museolgica desenvolvido por eles em conjunto com o CIDOC,
levam a mesma sigla, AFRICOM.
Este Manual visa incentivar a realizao de inventrios, fomentar a produo
de conhecimento, por exemplo, o desenvolvimento de atividades que tenham como
base a informao sobre o objeto, alm de constituir meios para a circulao efetiva
de informao entre Instituies e a troca de experincias entre profissionais, pois
seu principal interesse reforar as medidas de segurana relativas aos acervos
museolgicos.
36
"AFRICOM must help professionals in Africa to create museums adapted to the continent".
BIRTH of the International Council of African Museums (AFRICOM). Disponvel em: www.icom.org >
what is icom > press releases> africom> BIRTH of the International Council of African Museums
(AFRICOM)
37
The Objectives of AFRICOM are to promote the development of museums and museum-related
institutions in Africa in the context of global development, to promote the development of professions
on which museum activities are built, to strengthen collaboration and cooperation among museums
and museum professionals in Africa, and develop exchanges with museum professionals abroad, to
promote the participation of all components of society in the protection and enhancement of cultural
and natural heritage and finally to fight against the illicit traffic of African heritage.
AFRICOM. Disponvel em: www.icom.org> committees> affiliated organizations> africom. (traduo e
grifo nosso)
38
ICOM; CIDOC; op. cit., introduo/ why standards. No paginado
dos
objetos,
seu
inventrio
(registro),
sua
localizao e controle;
39
41
42
Consiste em
40
The selected fields have been grouped according to their customary use in the museums:
Object management: groups data necessary for the identification of the objects, their inventorying
(registering), their localisation and their control;
Object description : is a detailed physical identification of the object;
History of the object: groups all the information enabling the object to be placed in its socio-cultural,
geographical and chronological context;
Documentation: contains the references to the bibliographic or other sources, contributing to a
greater knowledge of the object.
ICOM; CIDOC; op. cit., introduction/ what is the documentation of collections? No paginado.
(traduo nossa)
41
ICOM; CIDOC; op. cit., introdution/ the terminilogies. No paginado
42
[] inventory information, which the museum must have at its disposal for each object so that the
museum can justify its status and ensure its conservation and security and the cataloguing information
which documents the object in order to be able to exploit it in its activities (research, exhibitions,
educational programmes, etc.).
Ibidem. Introduction. No paginado.
Parte do corpo, diz respeito s colees de Cincias Naturais, desta forma, esta
categoria s aparecer nas fichas catalogrficas das colees especficas desta
rea. A lista completa das categorias de informao apresentada pelo Manual
encontra-se em anexo (ANEXO C), bem como as listas de dados bsicos (ANEXO
D).
importante ressaltar que este Manual foi desenvolvido como padro para a
atuao dos museus no Continente Africano. Continente este, de propores
gigantescas e com uma pluralidade cultural proporcional sua extenso geogrfica.
Trabalho fruto da cooperao entre Museus de tipologias diferentes, de pases
distintos, com idiomas oficiais diferentes, alm dos inmeros dialetos existentes no
Continente, alguns deles representados pelos profissionais que atuaram no
desenvolvimento deste Manual. Todas as diferenas foram ultrapassadas e como
resultado tem-se um modelo de Documentao Museolgica consistente, eficiente,
que atinge seus objetivos prticos, e global no sentido de aplicvel a Instituies do
mundo todo.
que as
Object IDs nine information categories Type of Object, Materials & Techniques,
Measurements, Inscriptions & Markings, Distinguishing Features, Title, Subject, Date or Period,
and Maker [].
THORNES; DORRELL; LIE, op. cit., p. 8
2
cultural heritage organizations (including museums, national inventories, and
archaeological organizations); law-enforcement agencies; customs agencies; the art trade; appraisers;
the insurance industry.
Object ID
Title:
The title of an object is a word or phrase by
which the object is known and may be
identified. An object may be given a title
either at the time of its creation or at a later
date.
Ttulo:
Material/ Technique
used
in
the
creation
and
Object ID
Type of Object:
and period.
Tipo do Objeto:
registrado ou na forma de um termo
tcnicas
de
construo,
mecanismo e perodo.
Measurements:
Measurements
Medidas
Object ID
Date or Period:
When was the object made (e.g., 1893,
early 17th century, Late Bronze Age)?
Data ou Perodo:
Quando o objeto foi feito (p.ex., 1893, incio
do sculo XVII, Idade do Bronze tardio)?
Maker:
This may be the name of a known individual
(e.g., Thomas Tompion), a company (e.g.,
Photo(negative) number
Nmero da foto (negativo)
Este fabricante pode tambm ser traduzido por artista, na qualidade de pessoa que criou/ elaborou/
fez o objeto.
Object ID
Distinguishing Features:
Estado de Conservao
Object ID
category
includes
both
text
and
or
otherwise
applied
or
tenham
sido
inscritos,
fundidos,
impressos/estampados/carimbados ou por
outro lado, aplicado ou incorporado no
objeto no momento de fabricao ou em
data
posterior.
Deve
incluir
CHAVE, [] aquilo que facilita ou explica alguma coisa []; PALAVRA, [] vocbulo, termo,
expresso [].
FERNANDES, Francisco; LUFT, Celso Pedro; GUIMARES, F. Marques. Dicionrio Brasileiro da
Lngua Portuguesa. 30. ed. So Paulo: Globo, 1993. p. 220 e 520
Object ID
Subject:
A description of any subject depicted or
represented is potentially one of the most
AFRICOM
2.18 Content:
A description of the subject matter or
iconography of an object.
2.18 Contedo:
Object ID
AFRICOM
2.19 Inscription:
or
otherwise
applied
or
Inscries e Marcas:
Esta categoria inclui ambos texto e
marcas
que
tenham
sido
inscritos,
impressos/estampados/carimbados
ou
posterior.
Deve
incluir
fundidos,
em
Object ID
AFRICOM
Distinguishing Features:
any
distinctive
este
um
dentre
quando
imagem,
deve
possibilitar
algum
Object ID
AFRICOM
2.14 Material:
The materials of which the object and its
components
are
made
(including
the
como
em
quaisquer
2.15 Tcnica:
A tcnica usada para criar ou produzir o
objeto e seus elementos decorativos. Pode
ser necessrio usar vrios termos para
descrever as tcnicas aplicadas quando da
produo de um objeto complexo.
Object ID
AFRICOM
2.13 Title:
Title:
The title of an object is a word or phrase The title or the name given to the object by
by which the object is known and may be its producer or collector or with reference
identified. An object may be given a title to its iconography.
either at the time of its creation or at a
later date.
2.13 Ttulo:
Ttulo:
O ttulo de um objeto uma palavra ou O ttulo ou o nome dado ao objeto pelo seu
frase pela qual o objeto conhecido e produtor
ou
colecionador
ou
com
Is recorded either in the form of a single The common name of the object (e.g., axe,
term (for example, spear) or as a short statuette, dress, etc.) not to be confused
descriptive
phrase,
if
known,
combines information about the objects (e.g., statuette instead of the horseman,
form, function, materials and techniques jar instead of terracotta).
of construction, mechanism, and period.
Tipo do Objeto:
nome
comum
do
objeto
(p.ex.,
materiais
tcnicas
Object ID
Measurements:
AFRICOM
2.16 Dimensions:
2.16 Dimenses:
When was the object made (e.g., 1893, The date when the object was made (year
early 17th century, Late Bronze Age)?
or range of years).
[]
the age of the object itself which is
recorded
in
the
field
3.5
Date
of
production.
Data ou Perodo:
Quando o objeto foi feito (p.ex., 1893, A data de quando o objeto foi feito (ano ou
incio do sculo XVII, Idade do Bronze intervalo de anos).[]
tardio)?
Object ID
AFRICOM
3.1 Producer:
The name of the person or workshopwho produced or made the object.
Maker:
This may be the name of a known
individual (e.g., Thomas Tompion), a
3.1 Produtor:
O nome da pessoa ou oficina que
produziu ou fez o objeto.
group
ethnic,
(social,
socio-professional,
archaeological
culture
group,
Este fabricante pode tambm ser traduzido por artista, na qualidade de pessoa que criou/ elaborou/
fez o objeto.
Object ID
AFRICOM
2.1 Image:
FOTOGRAFIA
continente.
No foram consideradas para anlise as categorias descritivas referentes
identificao fsica de espcimes, pois o Objeto ID tem como objeto de trabalho as
artes e antigidades, portanto no h base para comparao com as categorias de
informao especficas da rea das Cincias Naturais.
Observa-se que todas as categorias de informao apresentadas pela diretriz,
Objeto ID, possuem equivalentes no manual AFRICOM.
Segue a apresentao das categorias de informao cujas denominaes e
contedos so correspondentes:
--- Inscries e Marcas (Objeto ID), relacionado 2.19 Inscrio (AFRICOM).
6
fazem
referncia
palavra
ou
frase
atribudas
ao
objeto
pelo
que
maior
nmero
das
categorias
de
informao
distinctive characteristics.
ICOM; CIDOC, op. cit., 2.17 Physical Description.
fazem
referncia
ao
produtor
indivduo/artista
ou
coletivo/grupo/empresa.
Observa-se que a sugesto dada pela diretriz, Objeto ID, referente
fotografia do objeto possui correspondente no manual, AFRICOM, pois este
apresenta o campo de informao 2.1 Imagem, no qual deve ser registrado o
nmero de referncia da fotografia, ou desenho do objeto.
Com a finalidade de visualizar as diferenas e semelhanas gerais relativas
ao emprego de termos para nomeao dos campos de informao, tem-se a
seguinte tabela:
Object ID 10
AFRICOM
Title
2.13 Title
Ttulo
2.13 Ttulo
2.14 Material
or title
Breve descrio e/ou
ttulo
Material/ technique
2.14 Material
Material/ Tcnica
Materiais e Tcnicas
2.15 Technique
2.15 Tcnica
Object ID
AFRICOM
2.10 Object name
Palavra-chave do
objeto
Brief description and/
or title
Breve descrio e/ou
ttulo
Measurements
Medidas
Measurements
Medidas
2.16 Dimensions
2.16 Dimenses
Date or Period
Data ou Perodo
Produo (artista,
Maker
data)
Fabricante
3.1 Produtor
3.3 Group of
production
3.3 Grupo de
produo
Photo(negative)
FOTOGRAFIA
2.1 Image
number
Nmero da foto
(negativo)
2.1 Imagem
Object ID
AFRICOM
Distinguishing Features
2.17 Physical
description
quanto ao estado de
conservao
Subject
2.18 Content
Tema
2.18 Contedo
2.19 Inscription
Inscries e Marcas
2.19 Inscrio
6. CONSIDERAES FINAIS
Inscriptions & Markings can greatly assist in the identification of objects. They are particularly
important in differentiating between a number of objects of similar appearance.
THORNES, Robin; DORRELL, Peter; LIE, Henry. Introduction to Objetct ID: guidelines for making
records that describe art, antiques, and antiquities. Los Angeles: Getty Information Institute, 1998,
p.17 (traduo nossa)
2
A description of any subject depicted or represented is potentially one of the most important ways of
identifying an object or finding an image of it.
Ibidem, op. cit., p. 23 (traduo nossa)
Desta forma, pode-se entender que o CIDOC Fact Sheet 1, manual para
procedimentos de registros museolgicos, no enfatiza a identificao do objeto a
partir de suas caractersticas intrnsecas, pois considera essenciais apenas duas (2)
categorias de informao referentes aos dados fsicos da pea. Portanto, permite
complementao com base em outras normas para catalogao de objetos de
coleo, como o prprio Objeto ID.
Em relao segunda situao analisada constatou-se que existe efetivo
atendimento do Manual para Padronizao: documentando as colees africanas AFRICOM (Handbook of Standards. Documenting African Collections - AFRICOM)
ao padro estabelecido pela matriz Objeto ID. Portanto, todas as categorias de
informao sugeridas pela Diretriz possuem correspondentes no referido Manual
para catalogao de colees museolgicas africanas.
Desta forma observa-se que a preocupao explicitada no Manual sobre a
segurana do patrimnio africano foi posta em prtica no desenvolvimento dos
padres para catalogao apresentados pelo AFRICOM.
O manual a resposta inicial dupla preocupao dos
profissionais de museus: proteger o patrimnio Africano por meio da
documentao e produo sistemtica de inventrios e
desenvolvimento das atividades dos museus []. 4
as a documentation standard that establishes the minimum level of information needed to identify an
object;
THORNES; DORRELL; LIE, op. cit., p. 1
4
The handbook is the initial response to a two-fold concern of museum professionals: to protect the
African heritage by documenting and producing systematic inventories and developing museum
activities []. Why Standards?
INTERNATIONAL COUNCIL OF MUSEUMS (ICOM); INTERNATIONAL COMMITEE FOR
DOCUMENTATION (CIDOC). Introduction. In: Handbook of Standards. Documenting African
Collections. AFRICOM. Paris, 1996. No paginado
REFERNCIAS
ASSOCIAO BRASILEIRA DE NORMAS TCNICAS. Informao e
Documentao Trabalhos acadmicos Apresentao (NBR 14724). Rio de
Janeiro, 2005
BRADFORD, S. C. Documentao. Rio de Janeiro: Editora Fundo de Cultura, 1961.
cap. 1, p. 68-77.
CHAUMIER, Jacques. As tcnicas documentais. [S.l.]: Europa Amrica, [s.d.]
108p. (Saber, 72).
COBLANS, Herbert. Introduo ao estudo de documentao. Rio de Janeiro:
D.A.S.P. S.D., 1957. (Ensaios de Administrao, 8), 149p.
COUTINHO, Helenyr. Documentao, instrumentos e tcnicas. In: DASP. Diretrizes
da documentao. [S.l.]: [DASP] Servio de Documentao, 1964, p. 121-142.
CRUZ, Anamaria da Costa; PEROTA, Maria Luiza Lourdes Rocha; MENDES, Maria
Tereza Reis. Elaborao de Referncias (NBR 6023/2002). 2. ed. Rio de Janeiro:
Intercincia; Niteri: Intertexto, 2002. 89 p.
DUDLY, Dorothy H., WILKINSON, Irma Bezold, et al. The Registration of Objects. In:
Museum Registration Methods. 3. ed. Washington D.C: American Association of
Museums. 1979, p. 21-40.
FERREZ, Helena Dodd, BIANCHINI, Maria Helena S. Introduo. In: Thesaurus
para acervos museolgicos. Rio de Janeiro: Fundao Nacional Pr-Memria,
Coordenadoria Geral de Acervos Museolgicos, 1987, 1 v., p. xv xxxviii.
FERREZ, Helena D. Documentao museolgica: teoria para uma boa prtica. In:
Estudos Museolgicos. Rio de Janeiro: IPHAN, 1994. p. 65-73. (Cadernos de
ensaios 2).
GONALVES, Jerusa Borges. Recuperao e disseminao de informao. [Rio
de Janeiro]: Fundao Getlio Vargas: Instituto de Documentao, 1973.
HARTY, Marcia Cottis, VILCEK, Marica, RHYNE, Brice. Cataloguing in the
Metropolitan Museum Of Art, with a note on adaptations for small museums. In:
DUDLY, Dorothy H., WILKINSON, Irma Bezold, et al. Museum Registration
Methods. 3. ed. Washington D.C: American Association of Museums. 1979, p. 219227.
MENDES, Maria Tereza Reis; CRUZ, Anamaria da Costa; CURTY, Marlene
Gonalves. Citaes: quando, onde e como usar (NBR10520/2002). 1.
Reimpresso. Niteri: Intertexto, 2005. 63 p.
OUTRAS FONTES
BOLETINS
BARRETO, Auta. Museu e informtica. In: Boletim Associao Basileira de
Museologia ABM. Rio de Janeiro, n. 10/11, p. 10-11, set/ dez. 1985, jan/ mar.
1986.
DICIONRIOS
FERNANDES, Francisco; LUFT, Celso Pedro; GUIMARES, F. Marques. Dicionrio
Brasileiro da Lngua Portuguesa. 30. ed. So Paulo: Globo, 1993. 720p.
MICHAELIS: minidicionrio: portugus ingls, ingls portugus. 20. ed. So
Paulo: Melhoramentos, 2000. 665 p.
OXFORD ESCOLAR: para estudantes brasileiros de ingls: portugus ingls,
ingls - portugus. 5. ed. So Paulo: Oxford University, 2000. 685 p.
DOCUMENTOS ELETRNICOS
CIDOC International Committee for Documentation, International Council of
Museums (ICOM). Objectives of museum documentation. In: International
Guidelines for Museum Object Information: the CIDOC Information Categories.
Edited by a joint project team of the CIDOC Data and Terminology and the CIDOC
Data Model Working Groups. Editors: Alice Grant, Josphine Nieuwenhuis, Toni
Petersen.
[S.l.]:
CIDOC,
1995.
No
paginado.
Disponvel
em:
http://www.cidoc.icom.org/guide/guide.htm. Acesso em: 05 jun. 2006.
______. Role of the Guidelines. In: International Guidelines for Museum Object
Information: The CIDOC Information Categories. Edited by a joint project team of
the CIDOC Data and Terminology and the CIDOC Data Model Working Groups.
Editors: Alice Grant, Josphine Nieuwenhuis, Toni Petersen. [S.l.]: CIDOC, 1995.
No paginado. Disponvel em: http://www.cidoc.icom.org/guide/guide.htm. Acesso
em: 05 jun. 2006.
______. Content and Terminology Control. In: International Guidelines for
Museum Object Information: The CIDOC Information Categories. Edited by a joint
project team of the CIDOC Data and Terminology and the CIDOC Data Model
Working Groups. Editors: Alice Grant, Josphine Nieuwenhuis, Toni Petersen. [S.l.]:
CIDOC,
1995.
No
paginado.
Disponvel
em:
http://www.cidoc.icom.org/guide/guide.htm. Acesso em: 05 jun. 2006.
______. Labelling and marking objects. [S.l.]: CIDOC Services Working Group,
1994.
No
paginado.
(CIDOC
Fact
Sheets;
2).
Disponvel
em:
http://www.willpowerinfo.myby.co.uk/cidoc/fact2.htm. Acesso em: 16 jun. 2007
INTERNATIONAL COUNCIL OF MUSEUMS (ICOM); INTERNATIONAL COMMITEE
FOR DOCUMENTATION (CIDOC). Introduction. In: Handbook of Standards.
Documenting African Collections. AFRICOM. Paris, 1996. No paginado. Disponvel
em: http://icom.museum/afridoc/index.html. Acesso em: 26 mai. 2007
______. Foreword. In: Handbook of Standards. Documenting African Collections.
AFRICOM.
Paris,
1996.
No
paginado.
Disponvel
em:
http://icom.museum/afridoc/index.html. Acesso em: 26 mai. 2007
______. Partners Museums. In: Handbook of Standards. Documenting African
Collections. AFRICOM. Paris, 1996. No paginado. Disponvel em:
http://icom.museum/afridoc/index.html. Acesso em: 26 mai. 2007
______. List of Fields. In: Handbook of Standards. Documenting African
Collections. AFRICOM. Paris, 1996. No paginado. Disponvel em:
http://icom.museum/afridoc/index.html. Acesso em: 26 mai. 2007
INTERNATIONAL COUNCIL OF MUSEUMS (ICOM). Cdigo de tica para
Museus. Seul. 2004. No paginado. Disponvel em: www.icom.org > what is icom >
code of ethics for museums. Acesso em: 24 set. 2006
LIMA, Diana Farjalla Correia. Cincia da Informao e Museologia em tempo de
conhecimento fronteirio: aplicao ou interdisciplinaridade?. In: Cincia da
Informao, Museologia e fertilizao interdisciplinar: informao em Arte, um
novo campo do saber. 2003. 358f.Tese. (Doutorado em Cincia da Informao)
IBICT/ PPGCI-UFRJ/ECO, Rio de Janeiro, 2003. p. 122-151. Disponvel em:
www.minerva.ufrj.br. Acesso em: 29 mai. 2007
______. Cincia da Informao, Museologia, Arte: trptico em moldura integrada. In:
Cincia da Informao, Museologia e fertilizao interdisciplinar: informao em
Arte, um novo campo do saber. 2003. 358f.Tese. (Doutorado em Cincia da
Informao) IBICT/ PPGCI-UFRJ/ECO, Rio de Janeiro, 2003. p. 1-25. Disponvel em:
www.minerva.ufrj.br. Acesso em: 29 mai. 2007
MCKENNA, Gordon; PATSATZI, Efthymia (Ed.). SPECTRUM: The UK Museum
Documentation Standard. Revised with the participation of the museum community.
Cambridge: MDA, 2007. 393 p. Disponvel em: http://www.mda.org.uk/spectrum.htm.
Acesso em: 22 mar. 2007.
OTLET, Paul. Os Organismos de Documentao. Biblioteca. Centro de
Documentao. In: Documentos e Documentao. Introduo aos trabalhos do
Congresso Mundial da Documentao Universal, realizado em Paris, em 1937.
Disponvel em: http://www.conexaorio.com/biti/otlet/index.htm.
REITZ, Joan M. Online Dictionary for Library and Information Science ODLIS.
Disponvel em: http://lu.com/odlis/search.cfm. Acesso em: 22 jun. 2007
ROBERTS, Andrew. Registration step by step: when an object enters the museum
CIDOC Fact Sheet 1. Reviso de Leonard Will, 2000. [S.l.]: ICOM - CIDOC
Services
Working
Group,
1996.
No
paginado.
Disponvel
em:
http://cidoc.icom.museum/fact1.htm. Acesso em: 16 jun. 2007.
ENDEREOS ELETRNICOS
http://www.royalsoc.ac.uk/ - home > about the society > history of the society > brief
history of the society. Acesso em: 12 abr. 2007
http://www.mundaneum.be/index.asp?ID=247 - accueil > un peu d'histoire(s) > Paul
Otlet. Acesso em: 12 abr. 2007
http://www.mundaneum.be/index.asp?ID=246, - accueil > un peu d'histoire(s) > Henri
La Fontaine. Acesso em: 12 abr. 2007
http://www.mundaneum.be - accueil > un peu d'histoire(s) > projet. Acesso em: 12
abr. 2007
http://www.belgium.be/eportal/application?languageParameter=en&pageid=contentP
age&docId=5869 - home > about belgium > the country > population > famous
belgians > politics > Henri La Fontaine. acesso em: 12 abr. 2007
www. unesco.org - the organization > about UNESCO. Acesso em: 27 mai. 2007
www.icom.org what is ICOM > mission
> partners
- statutes
- committees > affiliated organisations
- international committees. Acesso em: 27 mai. 2007
http://www.ibict.br/secao.php?cat=Histrico sobre o IBICT> histrico. Acesso em: 7
jul. 2007
www.getty.edu/research/conducting_research/ - the Getty> research institute>
conducting research. Acesso em: 7 jul. 2007
PERIDICOS
SARACEVIC, Tefko. Cincia da informao: origem, evoluo e relaes.
Perspectivas em Cincia da Informao. Traduo Ana Maria P. Cardoso, Belo
Horizonte, v. 1, n. 1, p. 41-62, 1996.
TRABALHOS EM EVENTOS
LIMA, Diana F. C; COSTA, Igor F. R. Cincia da Informao e Museologia: estudo
terico de termos e conceitos em diferentes contextos subsdio linguagem
documentria. In: ENCONTRO NACIONAL DE ENSINO E PESQUISA DA
INFORMAO (VII CINFORM). Trabalhos apresentados....Salvador: UFBA, 2007.
No paginado. 1 CD-ROM.
ornament
decoration
Bhudda
broach
What if a particular type of object is known by a number of widely used names? For
example, long case clock, tall case clock, and grandfather clock are different names
for the same object. More than one term for the same object causes problems when
it comes to retrieving information: if an object is documented using one term, and
searched for using another, it will not be found. For this reason, some organizations
select one term to be the "preferred term" the term used by the organization to
describe a particular type of object and make other terms synonyms. For example,
the preferred term might be short case clock and the synonym grandmother clock.
This process may be taken further by providing a list of approved terms from which to
choose when entering and retrieving information. This "pick list" approach makes the
information more retrievable, and is useful in multilingual databases by creating links
between the names of an object in different languages. On the other hand, it tends to
restrict users by offering too few choices, resulting in the need for the options other or
miscellaneous for objects not covered by the list.
Many organizations categorize their objects at two levels, placing them in broad
categories (for example, arms and armour) as well as specific types (for example,
breast-plate). Some go further by employing on-line, hierarchically structured thesauri
to enable information to be entered and retrieved at a number of levels.
Example:
Level
Level
1 furniture
chair
Level
Level 4
3
fan-back windsor chair (US)
windsor
chair
Perhaps the best known of these thesauri is the Art & Architecture Thesaurus (AAT)
(www.gii.getty.edu/vocabularies/aat), a controlled vocabulary that provides terms for
documentation of the cultural heritage. The AAT aids retrieval of information in
computerized databases, by providing paths composed of synonyms, broader and
narrower terms, and related concepts. The tool enables users to refine, expand, and
enhance searches and achieve more comprehensive and precise results.
A collection of related objects such as a baptismal set requires a choice whether to
describe individual component parts or the set as a whole. For example, a tea and
coffee service comprises a number of objects i.e., teapot, coffee cups, tea cups,
saucers, plates, cream jug, sugar bowl, and slop bowl that can be described either
as a whole or as a number of individual related objects. The service can be
documented as a whole by entering the collective name under Type of Object and
providing a description of the individual objects using the category Description.
Example:
Type
of
Object:
tea
and
coffee
service
Description:
A Spode tea and coffee service painted in red, blue-green, and gold with birds,
flowers, and foliage in the Oriental style, comprising: 7 in. teapot and cover, 4.5 in.
cream jug, five tea cups, six saucers, 5 in. sugar bowl and cover, 5 in. slop bowl, and
six coffee cups.
Bear in mind that some objects incorporate, or comprise, other objects of a different
type, made of different materials and techniques, or by a different maker at a different
date.
Example:
Gold intaglio bracelet set with 13 cornelian and hardstone intaglios, mostly Roman
1st to 3rd century AD, the intaglios mounted in gold circa 1820.
Non-experts may know that an object is made of wood, maybe even that it is made of
more than one type of wood, but not that it is of rosewood cross-banded with
kingwood and lacewood and inlaid with satinwood banding and boxwood lines.
Where there is uncertainty about the exact material, use a broad term (e.g., wood,
ceramic, metal), or if there are only two or three possible materials, record them with
appropriate qualification (e.g., oak or elm).
Typically, descriptions vary from those that simply list the materials and techniques
employed (e.g., painted papier mch and glass), to ones that provide information
about which parts of the object were made using which materials and techniques
(e.g., ivory drum and a silver-gilt embossed and chiselled mount). Both approaches
are useful, although the latter is of more value when it comes to visualizing, and
therefore being able to identify, the object.
In the case of furniture it is common practice to describe only the visible surface
materials and/or the technique employed (e.g., mahogany veneered, marquetry) and
not the secondary internal materials, even if they constitute the greater part of the
object. Museums, on the other hand, often record both primary and secondary
materials (e.g., maple and yellow poplar with yellow and white pine), while some
record which parts of the object are made from which type of wood.
Example:
Black walnut case, doors, drawer fronts, top board on desk, and feet; pine drawer
bottoms, sides, and backs.
Materials & Techniques can also be used to provide information about the color(s)
of an object (e.g., black chalk, pink plastic). Some objects are of a single color, or a
small number of dominant colors. In these cases, it is well worth recording the
color(s), since they can provide an important means of identifying the objects. Many
objects, however, such as most paintings, have so many colors that attempting to list
them all is a time-consuming and pointless exercise.
Measurements
What is the size and/or weight of the object? Specify which unit of
measurement is being used (e.g., cm, in.) and to which dimension the
measurement
refers
(e.g.,
height,
width,
depth).
An object's measurements greatly assist identification. All measurements need to be
recorded as accurately as possible, since inaccurate information might prevent an
object from being identified. If accurate measurements are not possible for
example, if the description is made after the theft and the measurements must be
estimated from a photograph the information should include qualification, e.g.,
approximately 175 cm, 50 cm (estimated).
When paintings, drawings, and prints are measured the dimensions given should be
height followed by width (e.g., 66 x 45 cm). Unless otherwise specified, auction
houses and dealers always record the "sight size" of the work that is, the area
visible within the frame rather than the overall size of the canvas, paper, or panel.
Museums, on the other hand, often record the dimensions of the work unframed.
Since frames are easily removed, the dimensions of the sight size of a work are not
as valuable for purposes of identification as its dimensions unframed. Some
institutions provide both sets of dimensions together with qualifying remarks, such as
h.51; w.57.5. unframed h.55 cm; w.61.5 cm.
For sculpture, the height is invariably recorded, and usually the width and depth as
well. For works that are longer than they are tall, such as reclining figures, the length
should also be given. Whenever possible, measurements should be taken at the
highest and widest points, with qualification added (e.g., 250 cm to apex of finial). For
objects of irregular shape, where the highest or widest points are not clear, take
measurements that can be understood by another person examining the object, e.g.,
height 365 cm to point of spear, 358 cm to top of head, 98 cm across plinth.
The dimensions of furniture should include the height, width, and depth, in that order.
Some measurements will require qualification, e.g., width 250 cm with wings
extended. Appraisers, auctioneers, and dealers often provide only two or even one of
the key measurements for certain types of object for example chairs, where
common practice provides only the height of the back, or the height and width.
Circular objects such as plates and bowls should be recorded in diameter, whereas
for tall and irregularly shaped objects, such as vases and ewers, the height should be
given. For carpets, rugs, and tapestries, the length and width should be given, or the
diameter if the object is circular. Most clocks are measured in the same way as
furniture, although they may also be measured across the dial, e.g., Ht. 10' (305 cm)
Wd. 1' 10" (56 cm). Dial 1' 6" (46cm) by 2' 6" (76 cm).
The dimensions and/or weight of contemporary art installations may vary
considerably. In these cases, a range of measurements or average or "ideal"
measurements, should be provided
Examples:
Size variable, ranges from 14' 5" (440 cm) to 15' 9" (480 cm).
Silver-cellophane-wrapped candies, endlessly replenished supply, ideal weight 1,000
lb. Wt. varies with each installation. Dimensions variable.
The weight of objects made of precious metals such as gold and silver is customarily
recorded. Several units of measurements may be, including grams (gm.), and
avoirdupois (oz.), and Troy (oz. dwt).
This category includes both text and markings that have been inscribed, cast,
stamped or otherwise applied or incorporated into the object at the time of
manufacture or at a later date. It should include the location(s) of inscriptions and
markings, for example, inscription on frieze of plinth, makers mark on base.
Inscriptions & Markings can greatly assist in the identification of objects. They are
particularly important in differentiating between a number of objects of similar
appearance. The presence of a serial number or the position of a makers mark might
be the only difference between the object in question and others like it. Recorded
inscriptions and markings can assist in identifying the maker of an object, its place of
origin, the date or period in which it was made, or the material of which it is made,
and even supply information about its provenance.
Textual inscriptions should always be recorded exactly as they appear on the object,
including misspellings, although these should be followed by the qualifier sic in
brackets to indicate that the incorrectness is as given in the inscription, for example,
Spring Summer Autum [sic] Winter. If an inscription is only partly legible, record the
words/letters that can be read and indicate gaps (for example, Mytton wild [illegible]
shooting or Mytton wild. . .shooting). Where missing or illegible letters or words have
been inferred, indicate the part of the inscription that is not visible on the object, for
example, . . .ad fanum tuum [at]tulerint. When the correct reading of an object is
uncertain, add a question mark, except when recording signatures. A question mark
attached to a signature will suggest that there is uncertainty about the attribution (see
below). An inscription that is wholly illegible should be recorded as such, for example,
signature illegible.
Inscriptions should be recorded in the original language, although translations can be
provided if desired
Example:
docilianus bruceri deaesanctissime suli devoveoeum[.]ui caracellammeam
inuolaueritsi
uirsiferninasi
seruussiliber
ut[1-2]umdeasulis
maximoletum
[.]digatneceiso mnumpermit. This has been translated as: Docilianus (son) of
Brucerus [Brucetus?] to the most holy goddess Sulis. I curse him who has stolen my
hooded cloak, whether man or woman, whether slave or free, that. . .the goddess
Sulis inflict death upon. . .and not allow him sleep or children now and in the future,
until he has brought my hooded cloak to the temple of her divinity.
If the inscription cannot be recorded as it appears on the object, for example when it
is in an ancient language or in pictograms, its presence should be recorded, for
example, with pictorial cuneiform. A translation of the text can also be given, if
known, for example, inscription in runes on comb-case translates as "Thorfast made
a good comb". In these cases a photograph, or photographs, should also be taken of
the inscription to aid identification.
When documenting a mark, it is important to remember that non-experts are unlikely
to be able to visualize it from a description that gives its meaning, but does not
describe its appearance. For example, the information Makers mark of Pierre-
Franois Drais, charge and discharge marks of Jean-Baptiste Fouache does not tell a
non-expert anything about the appearance of the two marks mentioned. If possible,
therefore, describe the marks as well as interpreting them, for example, four
hallmarks: lion passant (sterling silver); rose (Sheffield, England); "i" (1997); initials
"PST" (Peter Scot Thornes). Close-up photographs or sketches of marks, and their
positions relative to each other, may provide a unique means of identifying the object
(see also Distinguishing Features).
A title that is engraved, carved, cast, or otherwise physically a part of the object
should be recorded under both Inscriptions & Markings and Title. Many markings
depict subject matter, ranging from simple designs (for example, anchor, lion, wheat
sheaf) to relatively complex images (for example, seated figure wearing long gown).
Descriptions of the subject matter of markings should follow the same approach as
that recommended under Subject.
The recording of signatures, dates, and inscriptions can indicate whether they are
believed to be authentic. For example, Christies includes the text "Signed. . ."/
"Dated. . ."/ "Inscribed. . ." to indicate its opinion that the work has been
signed/dated/inscribed by the artist, a question mark to indicate doubt about the
attribution (for example, Signed Marc Chagall?), and the qualification "With signature.
. ."/ "With date. . ."/ "With inscription. . ." to indicate that in its opinion the
signature/date/inscription is by a hand other than that of the artist.
If inscriptions and markings provide useful information about the history of an object,
they can also be misleading. Signatures can be added to paintings, and marks
cannot always be taken at face value. For example, the crossed swords used by the
Meissen porcelain factory (from ca.1722) were also used by English factories at Bow,
Worcester, Derby, Lowestoft and Coalport deliberately to mislead customers. Equally
if not intentionally misleading was the Chinese habit especially during the reign of
the Kangxi emperor (1662-1722) of applying the mark of an earlier emperor as an
act of reverence.
Note
on
Security
Marking
It is particularly important to record the presence and location of security markings
using substances that are invisible to the naked eye under normal light, for example,
zip code 20073 written with UV pen on underside of top right hand drawer; Smart
Water applied to stretcher; microchip concealed in frame. Alerting law-enforcement
agencies to the presence of these markings will enable them to test recovered
objects using the appropriate technology, such as ultraviolet light for inscriptions
written with UV marking pens and Smart Water and scanners for microchips.
Remember that security marking physically alters objects, may result in damage, and
can adversely affect their value. When considering marking an object for security,
first consult an expert for advice on whether to proceed, and, if so, which is the best
method to use.
Works
of
Art
on
Paper
Typical distinguishing features for works of art on paper include tears, creases,
abrasions, holes (losses), structural repairs, in-painting and other restorations, stains
(present and removed), watermarks, edge patterns, cropping of edges, and the exact
location and nature of collectors marks and watermarks. Consistency of paper
quality and the uniform procedures used to print multiple editions can produce
objects that are very difficult to differentiate. Because of the great similarity among
many multiples, it is wise to select and record two features.
Paintings
While paintings present fewer challenges than multiple editions, some painting styles
lend themselves to the production of exact copies, which can be difficult to distinguish
one from another. In such cases, even design elements may not record uniqueness.
More useful features include crackling in the paint surface, distinctive brush strokes,
damage or losses, repairs, irregularities at the edge of the canvas, and the pattern of
paint at the periphery of the paint area. When the artist paints with a dynamic
technique that results in a distinctive pattern of brushstrokes, the photographic details
of design elements can constitute a reliable and easily located set of unique features.
The reverse side of a painting can also provide an excellent and often overlooked
source of information, such as signatures, inscriptions, stains, stamps, damages, or
unique aspects of the fabric support. See Textiles below for further comments on
fabric.
Both paintings and paper objects are vulnerable to being cut down in size, so
recording only features located at the objects edges is unwise. Similarly, because
restorations are subject to change over time, they should not be used as the sole
means of establishing a record. Moreover, restorations on many paintings are nearly
invisible and can thus be difficult to record. The best distinguishing features are those
occurring in areas least subject to loss or alteration.
Metals
Cast metal objects often belong to editions of multiples. As with prints on paper, care
should be taken to select distinguishing features unique to an individual casting
rather than to the model from which it is derived. Tool impressions made on the
surface of the metal after casting can offer unique characteristics for recording
purposes.
Casting flaws, such as air bubbles or larger voids in the metal, and the applied metal
patches often used to repair them, offer suitable distinguishing features, as can
chance patterns caused by the flow of metal during casting. Cast and non-cast metal
objects have many features in common. Deep or highly visible scratches and
abrasions, dents, and irregularities in welds or other types of mends or joins can all
provide unique characteristics for recording purposes. However, it is important to
remember that there is a danger of some recorded features being eradicated at a
later date by polishing and reworking of the surface, painting and repatination, or
application of protective coatings.
Glass
and
Ceramics
The highly uniform production methods for glass and ceramic objects can result in
artifacts that are difficult to distinguish from one another. Chips, larger losses, cracks,
glaze crack patterns, bubbles, scratches, abrasions, repair locations, and areas of
irregular surface texture or coloration can be used to create records for accurate
identification. When intentional features of the design are substantially irregular,
these too can be used.
Wood
Wooden objects are often unique, and offer a wide variety of distinguishing features.
In addition to many of the damage-related features mentioned above, wooden
objects may often exhibit pronounced grain structure, irregularities in joinery, irregular
details of incised or carved surface decorations, and saw-mark patterns. Details of
decorative surface coatings and inlay work also provide unique characteristics
appropriate for identification records, unless they happen to be highly uniform.
Textiles
Machine-made and even hand-woven fabrics are often produced with great
uniformity. Irregularities in the assembly of separate components may provide a
degree of uniqueness in some cases. Losses, tears, wear patterns, irregularities in
the weave or fiber, repairs, stains, and the irregular application of colorants are the
most likely features for selection for this purpose. These features apply as well to the
backs of paintings on canvas.
Recording
the
location
of
the
distinguishing
feature
The location of the distinguishing feature selected should always be recorded.
Annotating the location of the distinguishing feature on an overall photograph is the
preferred technique of recording its location, or by adding the information to the
written description or sketch of the object. As with the descriptions of the features, the
more concise and precise the location description, the more useful it is likely to be.
Note
on
security
In the case of well-known works of art of high value, the existence of documented
distinguishing features should not be made public knowledge, either before or after a
theft. Descriptions and photographs of these features provide the owner/custodian
and police with information not known to individuals who may claim to possess the
object in an attempt to obtain a ransom under false pretenses. Any individual can
claim to have an object, and may be able to provide dimensions and a description of
its subject matter from published sources. Only the person in possession of it will be
able to answer questions such as "What can you see on the top left hand corner of
the rear of the canvas?"
Title
Does the object have a title by which it is known and might be identified (e.g.,
The
Scream)?
The title of an object is a word or phrase by which the object is known and may be
identified. An object may be given a title either at the time of its creation or at a later
date. Some objects are known by more than one title, e.g., Las Meninas (artists title)
and the Maids of Honor (popular title). Moreover, the title by which an object is known
in one country may be different from that of its country of origin (e.g., Skrik and The
Scream).
The title is sometimes physically part of an object (e.g., carved or cast into the base
of a statue, or engraved onto an etching). In these cases the title should also be
recorded under Inscriptions & Markings.
A title may or may not indicate the subject matter depicted or represented. For
example, the title A Pool Surrounded by Trees indicates the subject matter depicted,
but Number 14 does not. Thus, the former should also be recorded under Subject.
Subject
What is pictured or represented (e.g., landscape, battle, woman holding child)?
A description of any subject depicted or represented is potentially one of the most
important ways of identifying an object or finding an image of it. However, describing
subject matter in a way that is useful to others is one of the most difficult parts of the
documentation process.
Different individuals may describe the same subject matter in different ways. The
point is made by a true story: An oil painting recorded on a law-enforcement
database, but not matched with a recovered painting, was interpreted differently by
two individuals. A view of the city of Lincoln, England, with the cathedral looming
above the houses, was described by the creator of the record as a townscape, while
the person who searched for it used the term cathedral and did not find the painting.
Both persons were correct, but both provided only part of the information necessary
to enable matching identification to be made.
In descriptions of subject matter, the recorded information should be self-explanatory
to anyone without specialist or culturally specific knowledge. For example, experts
might identify a statue of a man wearing a lion skin and holding a club as a depiction
of Hercules and a Hindu representation of an eagle as Garuda, but those not familiar
with classical mythology and Hindu culture may not understand the references. One
way around this problem is to describe the subject matter in both specialist and nonspecialist terms, combining that which is actually visible with its meaning, e.g.,
Marsyas | naked male figure with arms above head, bound hand and foot.
Subject matter can be recorded in two ways: It can take the form of a textual
description that enables others to visualize the object, particularly useful if there is no
photograph of the object. Or it can be recorded as a series of keywords, a useful
approach when searching for the object in a retrieval system (see discussion under
Type of Object).
The keyword approach calls for a controlled vocabulary (e.g., interior scene, figure(s),
animal(s)), which permits more accurate retrieval of records. This approach is also
well suited to multilingual databases, since individual keywords can be coded and
linked to their equivalents in other languages. The disadvantage of the keyword
approach is that it can limit users to a relatively small number of choices, and cannot
convey information as nuanced as the textual description. However, the two ways of
recording subject matter can be complementary. A number of systems record subject
matter both as free-text descriptions and as keywords.
The most extensive iconographic classification system for describing subject matter
is ICONCLASS (www.iconclass.let.uu.nl), a database that provides a collection of
ready-made definitions of objects, persons, events, situations, and abstract ideas.
The ICONCLASS hierarchy is divided into ten basic classes intended to comprise all
the principal aspects of what can be represented: Religion and Magic (1), Nature (2),
Human Being, Man in General (3), Society, Civilization, Culture (4), Abstract Ideas
and Concepts (5), History (6), Bible (7), Literature (8), Classical Mythology and
Ancient History (9), and Abstract Art, Non-representational Art (0). The notation
codes used are alpha-numeric, with one digit added for every level in the hierarchy.
Example:
A 17th century Dutch print entitled "House built upon a rock, house built upon sand,"
depicts landscape with castle on rock; windmill in background. Its ICONCLASS
classification reads as follows: rock-formations (25H1123), castle (41A12), windmill
(47D31),"house built upon a rock; house built upon sand" doctrine of Christ on love.
(Matthew 7:24-27; Luke 6:47-49)(73C7455).
Date or Period
When was the object made (e.g., 1893, early 17th century, Late Bronze Age)?
Relatively few objects can be dated with precision. It is common, therefore, to
indicate age by date ranges (e.g., 1876-1878), parts of centuries (e.g., third quarter
of the 18th century, late 14th century), regnal or dynastic periods (e.g., Victorian,
Yuan dynasty), or cultural periods (e.g., Neolithic). No agreed rules exist for the terms
used to qualify dates, but the following suggestions are offered as a guide:
probably
for
fairly
certain
dates
circa
(ca.) ten
years
on
either
side
of
the
date
flourished (fl.) twenty years on either side of the date (describing the maker not the
object)
before up
to
100
years
before
the
date
given
after up to 100 years after a date
When date ranges (sometimes called date spans) are used, the first date should be
the earliest date, within reason, that the object could have been made and the latter
the latest possible date. Period names specific to one country (e.g., US Federal, UK
Regency) are best avoided when providing information for international circulation.
Some objects may have been created in one period and substantially altered at a
later date. In these cases both the date or period of creation and the date or period at
which the alterations were made should be recorded (e.g., early 17th century,
reworked 1879). An object or objects made in one period may be incorporated into
an object made in another, as is the case with the gold intaglio bracelet mentioned
earlier at the end of Type of Object: Gold intaglio bracelet set with 13 cornelian and
hardstone intaglios, mostly Roman 1st to 3rd century AD, the intaglios mounted in
gold, circa 1820. In these cases all relevant dates should be provided.
Maker
Do you know who made the object? This may be the name of a known
individual (e.g., Thomas Tompion), a company (e.g., Tiffany & Co.), or cultural
group
(e.g.,
Hopi).
Knowing the name of the Maker can help to narrow a database search to objects
made by that person, company, etc. Moreover, associating an object with a named
individual can greatly enhance its historic significance and in some instances its
value. However, the retrievability of this information depends on the use of the same
form of spelling by the person who documented the object and the person searching
for it. For example, the name of the painter Gerrit van Honthorst would be searched
for by a Dutch person using this "preferred" form of his name, while an Italian would
most likely search using Gherardo delle Notti.
One way of ensuring consistency is to use only "preferred" versions of names (see
discussion of preferred terms in Type of Object). Some organizations achieve this by
using a published reference work such as Bnzits Dictionnaire des peintres,
sculpteurs, dessinateurs et graveurs as their authority. A more flexible approach uses
the on-line, structured vocabulary tool Union List of Artist Names (ULAN). ULAN
(www.gii.getty.edu/vocabularies/ulan) is a database of biographical and
bibliographical information on artists and architects, including variant names,
pseudonyms, and language variants. It can be used as an authority file (see Type of
Object) and as a searching tool that enhances retrieval of multiple versions of
names.
Some objects have more than one maker, e.g., a clock made by Thomas Tompion
and Edward Banger. Sometimes the different roles played by individuals in the
creation of an object are also known, e.g., artist: Charles le Brun; engraver: Michel
Corneille, Francesco di Giorgio Martin; reworked by Baldassare Peruzzi. In the case
of mass-produced objects it may be possible to give only the name of the factory
(e.g., Wedgwood). In other cases, the names of designers may be known and their
work so distinctive that they are more useful for purposes of identifying an object than
the name of the company that actually made the object (e.g., designer: Clarice Cliff;
manufacturer: A.J. Wilkinson Ltd.). The maker may also be recorded as the tribe or
people to whom an anonymous maker belonged, e.g., Vuvi tribe, Gabon (see also
Place of Origin/Discovery).
In the art trade, attributions of responsibility are of considerable importance: they
enable one to say that an object was created by a particular individual, thereby
greatly enhancing its value. Where attribution is certain, the makers name can be
stated without accompanying qualifications. However, if the attribution is not certain,
it needs qualification. Degrees of certainty are expressed using terms such as
Example:
Theobald
Michau
(Tournai
1676-1765
Antwerp)
The
Fortune
Teller
Oil
on
panel,
33.6
x
48.2
cm
Signed
PROVENANCE
John
Theobald
Michau
Mitchell
&
Son,
1966
Private collection, UK
In the case of furniture, and many other types of objects, the emphasis is less on the
maker and more on the appearance of the object. The following is typical of the
information provided, although the order in which it is given varies:
Written Material). These categories do not greatly assist the process of identifying
an object, but can be of great value when it comes to proving ownership
particularly
when
title
is
disputed.
Ideally, a complete record of the provenance of an object includes all owners from
the time it left the makers possession to the time it was acquired by the present
owner. In addition to the names of owners, it may include their places of residence,
the dates of their ownership of the object, methods of acquisition, uncertainty or
lapses in provenance, and any other information regarded as relevant. The history of
the ownership of an object can, therefore, provide useful evidence, not only about
former owners, but also, by extension, about the location of the object throughout
time.
Example:
Robert Smythson (England, ca. 1535-1614); John Smithson (died 1634); Huntingdon
Smythson (died 1648); John Smithson the Younger (1640-1717);. . .sold by the 5th
Lord Byron at Newstead Abbey, Nottinghamshire, June 1778, lot 344; there bought
by the Rev. DEwes Coke of Broke-hill Hall, Derbyshire; by descent to Mrs. S. Coke
of Broke-hill Hall, from whom the drawing was purchased by the Royal Institute of
British Architects in 1927.
The exhibition history of an object provides the names, locations and dates of any
exhibitions at which the object is known to have been shown, e.g., Exhibited: Paris,
Grand Palais, Salon (Socit National des Beaux Arts), 1914. If an exhibition
catalogue was produced, this can be recorded in Related Written Material (see
Additional Recommended Categories).
Inventory Number
The Inventory Number is the name used by this guide for the accession numbers,
inventory numbers, catalogue numbers, or registration numbers used in many
museums and collections. Sometimes these numbers are written, painted, or
stamped on the objects. The purpose of these identifiers is to connect an object to its
documentation and distinguish it from other objects within the same collection,
museum, or other repository. They can be simple numbers, or may comprise various
types of information, including the acronyms of the organization and the date the
object was acquired or accessioned (e.g., 1989.25.1, RIBA X/19). It is important to
remember that although an Inventory Number can uniquely identify the object within
the institution that holds it, it may not uniquely identify it in the event of theft if other
organizations use the same numbering system. If the identifier has been inscribed on
the object, it should also be recorded under Inscriptions & Markings
Related Written Material
This category provides references, including citations, to other written material
related to the object (e.g., published information and/or specialist reports concerning
the objects significance, provenance, exhibition history, conservation history,
scientific tests, contextual information about its maker, or references to standard
texts). In the surveys undertaken to identify the categories to be included in Object
Japanese
Porcelain,
Lochem:
Place of Origin/Discovery
This category indicates the name of the place where the object was made or, in the
case of archaeological finds, the location where it was discovered. It is recorded with
varying degrees of precision, depending on the information available. The location
given can be the name of an archaeological site, a city, part of a country, a country,
tribal area, or a region of the world. Once again, this information can also be
recorded under Description.
Of course, the place the object was made might not be the same as the place of
discovery. For example, many objects excavated at Roman sites in countries
formerly within that empire originated in other countries once under the rule of Rome.
Moreover, it is not uncommon for objects made in the same style to be made in a
number of countries. For these reasons it can be difficult to identify the countries from
which illegally excavated objects were taken. For example, the Sevso Treasure
comprising fourteen pieces of fourth-century Roman silver has been claimed by
Croatia, Hungary, and Lebanon.
It is important not to confuse the style in which an object was made with its place of
origin. If an object is described as being in the Greek style, this does not mean that it
necessarily originated in Greece. Similarly, an object said to be in the French taste, is
not necessarily French. Style is often used in instead of place of origin when the latter
is not known.
Cross Reference to Related Objects
The historical interest of some objects may partly result from their relationship to
other objects. It is this relationship that Cross Reference to Related Objects is
designed to record.
Examples:
A closely similar example is in the British Museum, London.
This cabinet may be compared with a similar piece in the Muse Guimet, Paris, and
another larger piece in the Dr S.Y. Yip collection, Hong Kong.
Date Documented
The Date Documented is the date on which the description of the object was made.
From the appraisers point of view, no appraisal is valid without the date the object
was documented, together with the name of the creator of the documentation.
Evidence of an objects appearance at a given date could be of value if the object is
altered or damaged in some way at some point in the future. This category can also
be important for establishing ownership, by proving that an object was in the
possession of an individual or organization at a particular date.
step
Un
arrive
objet
by
step:
au
when
muse:
an
object
enters
Enregistrement
tape
the
museum
par
tape
Fact
fiche
Sheet
technique
CIDOC
1
no1
This page is the Web version of a Fact Sheet developed by the CIDOC Services
Working Group, Registration step by step: when an object enters the museum/Un
objet arrive au muse: Enregistrement tape par tape. It is one of a number of
pages about museum information standards prepared by the International Committee
for Documentation of the International Council of Museums ( ICOM-CIDOC):
CIDOC fact sheets are produced to disseminate to the museum world, information on
aspects of museum documentation in a simple format. This CIDOC fact sheet shows,
in 8 steps, how an object can be registered after entering the museum. This step by
step method is applicable, depending on the museum's circumstances, to both
manual and computerized registration systems.
Given are the minimal registration requirements. This implies simplification. A
museum might like to add more information to these basic data, according to its own
(or national) standards. The fact sheet closes with some literature for further reading.
Museums dealing with backlogs in registration or unregistered collections, should
follow steps 4 to 8.
step 1
The object is brought into the museum. The person bringing it in is given a receipt
which includes the following data:
brief object description
date of entry
name and signature of the museum employee receiving the object
name, address and signature of the person bringing the object
The museum holds a copy of the receipt and uses this for step 2. Step 1 can usually
be ommitted if a staff member brings in the object.
step 2
The object is entered in a Register, with numbered pages and columns for the
following data:
provisional (sequential) number
date of arrival
name and address of the owner or person bringing the object (if not a museum
employee)
identification (object key word or brief description)
reason for entry
temporary storage location
name of museum employee receiving and/or bringing the object
step 3
Three options are possible concerning the disposition of the object:
it will not be acquired for the collection (A)
it will be accepted as loan (B)
it will become the museum's property (C)
N.B.: as ownership is concerned, in most countries a legal document has to be
produced.
C. The object becomes the museum's property and is allocated a unique inventory
number
The object is marked (or labelled) with this number, which is also recorded in the
Register. Registration continues with step 4.
step 4
The object data are now recorded on a registration form that is well structured into
data sections. The form should contain at least the following sections:
institution name
inventory number
object key word
brief description and/or title
acquisition/accession, method
acquired/accessioned, from (person/institution)
acquisition/accesion, date
permanent location
Museums are advised to tailor a form to their specific needs and may add sections
on: material/technique, measurements, temporary location, condition, cultural and/or
historical references, natural history references, site, production (artist, date), price,
step 5
As part of the registration procedure, an object should be photographed (and/or
drawn). The negative or drawing number should be recorded on the form.
step 6
The object is now registered and can be taken to its permanent (or temporary)
location. At least the permanent location data are entered on the registration form.
step 7
For security reasons, a copy of the registration files should be kept in a safe place,
preferably outside the museum building. For legal reasons the museum will have to
possess a document to prove the status of objects in its collection. To achieve this,
the museum can use the Register or (photo)copies of registration cards. These
copies (or computer print outs containing the same data) will have to be bound, while
the pages have to be numbered and signed.
step 8
These 7 steps ensure that the minimal data concerning a museum object are
recorded. To make the information and thereby the objects more accessible, indexes
can be created. For computerized registration this is done automatically, while for
manual registration, files with index cards should be produced.
This method is most suitable for museums with few short-term loans. It combines (in
steps 2-3) a Register with an Inventory. For museums with many short-term loans,
another possibility is to record all objects entering and (!) leaving the museum on
receipts (see step 1). The receipts are sequentially numbered and the museum
keeps a complete set of copies as the Register. Registration on forms (from step 4
onwards) is the same for both methods
http://cidoc.icom.museum/fact1.htm
revised/dernire
mise
text:
Original
Now
jour:
31st
July
2000.
see
author
maintained
/
by
Auteur
/
Maintenant
above
original:
entretenu
Andrew
par:
Roberts
Leonard
Will
This series of fields will allow you to specify the status and the location of the
object.
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
Country
Institution where the object is located
Owner institution name
Accession number
Acquisition or accession method
Acquisition or accession date
Acquisition source
Permanent location of object
3.1
3.2
3.3
3.4
3.5
Production
Producer
Place of production
Group of production
Period of production
Date of production
Use
3.6 Function
3.7 Use
3.8 User
3.9 Place of use
3.10 Group of use
3.11 Date of use
Collection
This series of fields gives information on the conditions of the discovery
and collection of the object or specimen and must not be confused with
information concerning the acquisition by the museum of the object or
specimen.
3.12 Collection or excavation locality
3.13 Site geographical coordinates
3.14 Coordinates of the object within the site
3.15 Site reference or name
3.16 Type of site
3.17 Age
3.18 Geological period of the feature from which the object was collected
3.19 Environmental details
3.20 Group from which the object was collected
3.21 Collector
3.22 Expedition
3.23 Collection or excavation date
3.24 Collection or excavation method
3.25 Collection field number
3.26 Historical comments
The fields under this heading should be organized according to the needs of the museum.
_____________________________________________________________________________
This series of fields will allow you to specify the status and the location of the
object.
1.1
1.2
1.3
1.4
1.5
1.6
1.7
1.8
Country
Institution where the object is located
Owner institution name
Accession number
Acquisition or accession method
Acquisition or accession date
Acquisition source
Permanent location of object
Collection
This series of fields gives information on the conditions of the discovery
and collection of the object or specimen and must not be confused with
information concerning the acquisition by the museum of the object or
specimen.
3.12Collection or excavation locality
3.13Site geographical coordinates
3.14Coordinates of the object within the site
3.15Site reference or name
3.16Type of site
3.17Age
3.18Geological period of the feature from which the object was collected
3.19Environmental details
3.20Group from which the object was collected
3.21Collector
3.22Expedition
3.23Collection or excavation date
3.24Collection or excavation method
3.25Collection field number
Historical comments
3.26
The fields under this heading should be organized according to the needs of
the museum.