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When designing data-driven web applications, users’ informative needs are aligned to knowledge organization (KO) requirements, which are secondly mapped to user interfaces (UI) components, and finally to user experience (UX) journeys. Particularly, when data are served as Linked Open Data, data and user requirements can be associated with competency questions that an ontology should address. However, to the best of our knowledge, there is no full-fledged methodology that systematically adopts ontology requirements to design UI components and UX journeys. In this article we propose a methodology to design web applications for information seeking purposes that leverages well-known ontology design methodologies and UI/UX approaches. We present a case study based on music heritage and we evaluate it via a user study.

Gino Roncaglia's book L'architetto e l'oracolo: forme digitali del sapere da Wikipedia a ChatGPT offers numerous insights into the relationship between ‘cathedrals of knowledge’ and generative artificial intelligence tools. Starting from the theme of fragmentation and complexity, the author delves into the terrain of online encyclopaedias, generative AIs and neural networks, dwelling on the issue of personal memories, and then moves on to the dimension of science fiction and the virtual librarian. Among the topics of interest for those dealing with book and document disciplines in a digital context, the semantic web and its possible developments in the light of the rapidly evolving framework are mentioned.

Il castello dei destini incrociati, thanks to its logical and combinatorial structure, lends itself to experiencing a formal ontology to achieve a semantic visualisation of the narrative created by the author using the tarot cards. Specifically, this research aims to investigate the macchina narrativa combinatoria ([1]: 124) of the work using Semantic Web technologies to formalise and analyse textual aspects that concern narrative and compositional structures of the collection. Data has been analysed in the light of three main aspects: the semantics conveyed by the tarot cards, the text structure and the relations between cards. The result is ODI (Ontologia dei Destini incrociati di Italo Calvino) and its corresponding Knowledge Base (BACODI, Base di Conoscenza dell’Ontologia dei Destini incrociati di Italo Calvino) that represent and describe the first complete edition of the work, the description of tarot cards - both as artefacts of the specific tarot deck and as narrative instances in the text - and the semantic links and narrative relations between tarot cards in each story, considering their coexistence in a single environment. All the contents can be browsed through MACODI (Macchina Combinatoria dell’Ontologia dei Destini incrociati di Italo Calvino), a web application for a multilayered view of the knowledge stored in BACODI.

In 2011, the Bibliothèque nationale de France (BnF) launched the Data.bnf research and development project to meet 3 main goals: to bring together in a single portal the data produced with different formats of the catalogue and the various applications of the BnF, to increase its visibility and promote its reuse by applying the technologies of the semantic web and to experiment a new way of structuring information based on IFLA’s conceptual models, thus foreshadowing the catalogue of the future. The contribution aims to trace the innovations that are partially appreciable and partially in the process of being implemented by Data.bnf, which, while remaining stable in its primary goals, has continued to evolve to improve accessibility and functions and adapt to the needs of users. [ABSTRACT FROM AUTHOR]

The paper presents the current stage of an ongoing project at the Fondazione Federico Zeri, aimed at the modelling of the art market starting from the recognition of the peculiarities of this sector and relying on the data collected by this institute during its research activities on its documentary collection. Specifically, this essay provides a preliminary analysis of the domain, aimed at guiding in the development of an ontology able to describe agents, events and sources which define the art market and enable its investigation. The recognition of existing conceptual models is hence followed by a reconstruction of the studied domain thanks to motivating scenario, examples and competency questions collected during the first iteration of the SAMOD methodology. For each scenario, the paper will provide the most relevant entities and will draft an alignment with existing ontologies, as well as propose necessary integrations.

Copyright of Bibliothecae.it is the property of University of Bologna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Paolo Bufalini’s Notebook (from here on PBN) is a critical edition of the personal notebook that the Italian politician and intellectual Paolo Bufalini held from 1981 to 1991. The edition offers the opportunity to plunge into the flow of thoughts of a man of the twentieth century who reflects on philosophy, poetry, and politics. The methodical goal of this edition, which is implemented with XML/TEI and RDF graphs, is to create an encoding system using Semantic Web technologies, able to emphasize the complex network of quotations and annotations that fills the pages. The digital edition aims to follow a data-centric paradigm. In this light, PBN is connected to authority files and external knowledge bases, such as DBpedia, VIAF, and WorldCat, to harness the power of the Linked Open Data universe. This review provides the reader with an overview of Paolo Bufalini’s work and the main features of the semantic critical edition. Finally, PBN can be evaluated as a decent edition, which responds to certain requirements of a digital edition, but not to all, and it still lends itself to improvements and new developments.

The Semantic Web in general, and the LOD in particular, suppose that the knowledge conveyed by documents must be adequately modeled and represented to produce reliable and trustworthy data. Following this statement, we understand that in the archival domain the tricky and subtle transition from the traditional methodologies for data description to LOD must be delegated to agents able to skilfully read the content of cultural objects. The Digital Hermeneutics model aims to propose a layered architecture that allows, beyond the descriptive specificities of each domain, to formalize the data transformation from the native system to LOD. The idea is to guarantee, through context information, that each moment of the transformation workflow is documented, finally strengthening the trust of the resultant dataset. [ABSTRACT FROM AUTHOR]

The research starts from some questions left open by a previous study, which had demonstrated the possibility of creating in an automated way the class numbers of the Colon Classification of some works of Italian literature. The article examines the entire process of creating book numbers - an additional part to the class number envisaged by the Colon Classification - starting from the extraction of the necessary data from the Primo catalogue of the University of Udine and, by means of SPARQL queries, from the endpoint of data.bnf. fr. It is then shown how, through the use of the OpenRefine software, the data were organised and the notation of the publications examined was created. The research thus confirmed the possibility of automated or semi-automated creation of class numbers for works and demonstrated the feasibility of creating book numbers.

The PIM in LOD project aimed to publish the "Repertorio della Poesia Italiana in Musica, 1500-1700" (RePIM) as Linked Open Data (LOD) dataset. For the extent and detail of its contents, RePIM is a reference archive for research on Italian secular music from the 16th-17th centuries. In recent years, scholars have been able to access it through a public web-based application. Due to the obsolescence of its information technology platform, the RePIM repository was set to be taken offline. To preserve this precious source, the project migrated its contents into a knowledge base (KB) adopting semantic technologies and designed an up-to-date end-user application. The paper illustrates the challenges of managing information about madrigal tradition and the digital knowledge preservation of bibliographic and philological information in the field of Italian secular music and lyric poetry of the 16th-17th centuries.

Copyright of Bibliothecae.it is the property of University of Bologna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Annotated corpora, provided that they adopt international standards and expose data in open format, have many more chances to be easily exploited and reused for different objectives than traditional, analogue corpora. This paper aims at presenting the results of the early adhesion to best practices and principles afterward codified as Open Science and FAIR principles in the frame of projects concerned with digital textual corpora, in a niche area of research such as the pre-Islamic Arabian epigraphy. The case study analysed in this paper is the Digital Archive for the Study of pre-Islamic Arabian inscriptions – DASI, an online annotated corpus of the textual sources from Ancient Arabia, which also exposes its records in standard formats (oai_dc, EpiDoc, EDM) in an OAI-PMH repository. The initiatives of reuse of DASI open data in the frame of the recently ANR-funded project Maparabia (CNRS-CNR) are discussed in the paper, focusing on the exploitation of DASI’s onomastic and geographic data in a new reference tool, the Gazetteer of Ancient Arabia. After introducing DASI and Maparabia projects and highlighting the objectives of the Gazetteer, the paper describes the conceptual model of its database and the module importing data from DASI. The population of the Gazetteer, implying also a data entry and manipulation phase, is exemplified by the case-study of the Ancient South Arabian place ‘Barāqish/Yathill’. Based on the above experience, limitations and opportunities of data reuse and synchronisation issues between systems are discussed.

The RESTORE project (smaRt accESs TO digital heRitage and mEmory) started in June 2020 with a duration of 2 years. The project consortium, coordinated by the Istituto Opera del Vocabolario Italiano - CNR (National Research Council of Italy), includes the State Archives and the Museum of Palazzo Pretorio in Prato, the Archival and Bibliographic Superintendency of Tuscany as well as the SPACE SpA company. The project - co-financed by the Region of Tuscany - has as its main purpose the recovery, integration and accessibility of data and digital objects produced in the last twenty years by its partners, in order to build a knowledge base with information on the history of the city and of its institutions, on the development of its economic and entrepreneurial system, and on the role of women in the development of a welfare state and network. Starting from the figure of the merchant Francesco di Marco Datini, his family and his entourage, and broadening the focus from the local dimension it will be possible to reconstruct a significant part of the history of European and Mediterranean cities of the 14th century, including commercial and economical aspects. This paper presents a focused overview on the mapping of the archival and museum digital resources provided by the partners (encoded with different standards, such as: EAD, EAC-CPF, TEI, ICCD etc.) to the CIDOC Conceptual Reference Model, the ontology chosen within the RESTORE project as the “common language” for semantic data integration. The landscape for the scientific and infrastructural development of the project’s activities consists in the collaboration (via the CNR- OVI) with some key players in the EU RIs environment, such as DARIAH-ERIC (ESFRI Landmark for the Humanities and Social Sciences) and E-RIHS (ESFRI project for the Heritage Science), as well as other actors within the EOSC Framework.

Vespasiano da Bisticci was a bookseller in Florence in the 15th century. His work was important for the dissemination and preservation of classic poems and allowed the creation of the libraries of great Italian Renaissance rulers - from the library of Lorenzo dei Medici to the libraries of contemporary popes. Traces of his work can be found in a corpus of letters and in the Vite di Uomini Illustri del secolo xv. This article presents an edition of Vespasiano’s letters and the preliminary work on a semantic edition for the Comentario de la vita del signore Federigo duca di Urbino.

Identifiers are numeric or alphanumeric strings of characters permanently and uniquely associated with a resource to ensure stable access to it and its metadata. They play a fundamental role in the semantic web as they guarantee interoperability between different systems. Since their emergence, libraries and other institutions have been aware of their importance in data quality control processes, for the realization of authority control and universal bibliographic control, and have dedicated specific chapters for their registration within conceptual models, cataloguing standards and have provided specific fields in cataloguing formats. [ABSTRACT FROM AUTHOR]

The traditional approach to cataloguing has always been based on the investigation of the characteristics of the objects in collections that are most relevant to the construction of catalogues. The evolution of cataloguing theory has therefore led to the identification and analysis of entities with those characteristics and to the construction of a logical model capable of explaining bibliographic phenomena in an increasingly refined manner. That approach also led to the definition of RiCCM and CIDOC-CRM models. In addition to this valid point of view, a second perspective is proposed, which takes into account the entities identified in the logical models developed in the library, archive and museum models as part of the much larger, richer and more numerous ontologies of the semantic web, represented by the Linked Open Data Cloud. In this perspective, the logical models of libraries, archives, and museums can be seen as some of the possible infinite modelling of web entities, constructed in the light of the principles and tradition of each subject area. This new perspective helps to better clarify the role of data professionals, the concept of metadata, the characteristics of logical models and to take a unified view of the bibliographic, archival and museum universes. [ABSTRACT FROM AUTHOR]

The aim of this paper is to study the technological implementation of the emergent bibliographic models (IFLA LRM in particular) taking into account one of the most widespread platforms for the semantic web, namely Wikibase. Different initiatives of implementation of LRM have been taken into account, included: a) a prototype cataloging interface; b)the implementation of the new cataloging system for the Bibliothéque Nationale de France (Bnf); c) a test of use of one of the feature of the Wikibase data model - namely the "qualifier" - to find a sustainable solution for the LRM nomen entity. Wikibase and his data model cannot be considered the magical unicorn that solves all problems. More in-depth analysis and tests are needed, but - as an intermediate result - we can consider Wikibase a promising platform also in the bibliographic field with a low entry barrier. [ABSTRACT FROM AUTHOR]

Nell’ultimo decennio numerose realtà disciplinari e professionali hanno rivisitato i metodi e le pratiche con cui pubblicare i propri dati. Biblioteche, musei e archivi hanno visto nei Linked Open Data una possibilità di rinnovamento, di ritorno di visibilità e di coinvolgimento come soggetti attivi nelle dinamiche del Web. Sforzi notevoli sono stati fatti nella creazione di dataset a disposizione di una non meglio definita iper-specialistica audience di Digital Humanists, bibliotecari e archivisti, serviti a compendio dei tradizionali sistemi informativi. Ma i dati sono oggetti vivi, soggetti ad arricchimento, modifica e aggiornamento e, coerentemente con gli obiettivi appena menzionati, i Linked Open Data non possono risiedere in luoghi separati da quelli in cui tali cambiamenti avvengono. In risposta a tali problemi, numerosi progetti di creazione di sistemi collaborativi di catalogazione e descrizione archivistica nativi Linked Open Data stanno nascendo. In questo contributo si vuole vagliare lo stato dell’arte dei sistemi esistenti e fornire una visione d’insieme sulle problematiche che questi pongono.

Starting from a brief analysis of the OCLC Research report "Next generation metadata", the contribution proposes a reflection on the librarian metadata and the new centrality of its role in the LIS; among the various declinations that can assume such professional figure, one of the most interesting is the Wikidata librarian, of which a first definition is outlined. Following some international experiences of the use of Wikidata as a tool for new working methods, already consolidated in many library institutions, and as a particularly suitable environment for experimentation, thanks to its features of open, free, collaborative, easy to understand and use system. While information professionals and a large part of the academic and scientific environment have understood the potential of Wikidata, some weaknesses of this instrument have been highlighted, which must be corrected and recalibrated in the name of universally accessible and reusable knowledge, also taking into account the requirements contained in the Semantic Web Manifesto by the Cataloging and Indexing Study Group of the Italian Association of Libraries. [ABSTRACT FROM AUTHOR]

La storia del web può essere suddivisa, al momento, in tre fasi: il Web1, quello delle origini sino all’inizio del terzo millennio, fatto di e-mail e di siti immobili, solamente da vedere; il Web2, quello dei blog, dei social e degli smartphone, ossia un web di piattaforme che si rivelavano accoglienti nei confronti degli utenti, e li rendevano attori consapevoli della comunicazione; il Web3, quello attuale, caratterizzato dal ‘metaverso’ e dalla blockchain. La riflessione dell’autore si incentra sulla fisionomia di quest’ultima fase e sul ruolo cruciale che le biblioteche possono ricoprire nell’educazione della società.

L’articolo riporta l’intervento tenuto dall’autore nell’ambito del seminario “Luci e ombre del semantic web” (21 gennaio 2022), durante il quale è stato presentato il Manifesto sul web semantico a cura del Gruppo di studio Catalogazione, indicizzazione, linked open data e web semantico dell’AIB. Interconnessione, interoperabilità, accesso, qualità del dato sono i pilastri su cui deve poggiare il web semantico, senza temere di mettere in discussione principi e riferimenti ritenuti oramai stabili e consolidati.

The formal representation of cultural metadata has always been a challenge, considering the heterogeneity of cultural objects and especially when dealing with experts' interpretation over them. This paper presents an overview of the mythLOD dataset production as the Mythologiae digital collection revalorisation into linked open data format. The research aims then to explore Mythologiae data leveraging semantic web potentialities, focusing over the formal representation of experts' analysis when associating visual artworks (and their interpretations) to literary sources. The workflow of the project consisted of data model definition, data cleaning and entity linking, conversion (from tabular data to graph) and testing activity (domain experts review over competency questions and two designed on-purpose data visualizations). The result is the mythLOD platform, which present the dataset and the detailed documentation of the research. Additionally, the platform hosts the two data visualization spaces which have been implemented -- the online catalogue and the storytelling experiment over Aeneid -- as a user-friendly testing unit for the dataset and an additional tool for documenting the project and exploring the collection. [ABSTRACT FROM AUTHOR]

This paper describes the semantic mapping methodology we applied to define an integration model for describing the stages of an outdoor and indoor route within the historic center of Naples, dating back to between the 17th and 18th Centuries. We detailed the side concerning the selection and connection of cultural contents, as well as that concerning the transformation of data into an interoperable format. From both perspectives, the working methodologies are illustrated, and issues and opportunities are highlighted. The semantic model can be applied to any project that needs to integrate heterogeneous data for the fruition of cultural heritage in a well-defined sequence of stages.

The Carlyle Letters Online (CLO) and The Jane Addams Digital Edition (JADE) represent digital scholarly edition projects comparable in their scale (7 – 8,000 documents), their relationships with print editions projects, and their self-definition as a database. They differ remarkably in their methods of document curation, the organization of their contents, in their search functionality, in their publishing frameworks, and in their relationship to the semantic web. Comparing and contrasting CLO and JADE serves to highlight issues of design, navigation, and planning for large-scale digital scholarly editions designed to complement print editions. While JADE follows a metadata based, semantic web approach and depends heavily on Omeka, CLO chose a more classical TEI approach, which has very different consequences both for end users and long-term sustainability.

In the last years cultural heritage institutions have radically changed the way they publish their data. Publishing Linked Open Data (LOD) offers many advantages, in terms of innovation, visibility, and engagement with patrons. New data are served along with legacy services and data, via dedicated interfaces that allow developers and Digital Humanists to access specialised information. However, Linked data are living entities that change over time and require expensive curatorial activities, and should not be misaligned with respect to original data. To cope with this problem, several LOD-native cataloguing systems have been created. In this article an overview of current projects for LOD-native cataloguing is provided. Projects and systems are analysed with respect to related problems and benefits.

In this paper are presented problems, resources, and research lines related to the application Semantic Web technologies in art historical photo archives. In detail, (1) benefits of the usage Linked Open Data for art historians are illustrated, (2) a research line shared between cataloguers and art historians is proposed, namely the definition and retrieval of authoritative artwork attributions in art historical photo archives, (3) a methodology for formalising such a problem is described, and (4) limits and future work related to the valorisation of photo archives catalogues are discussed.

The digital world is increasingly pervasive, both in historical research and in daily life. Consulting a Wikipedia entry, updating your Facebook profile, or accessing an archive on the internet are gestures that have become part of the routine of actions of every day life. They involve, however, a redefinition of our ways of getting information, selecting our memories and doing research. Establishing to what extent the historical narrative will come out changed by these actions, is one of the challenges historians will have to face in the coming decades. [ABSTRACT FROM AUTHOR]

This paper presents the results of the first phase of an academic research project focusing on the creation of an embedded system of repertoires on Tuscany photographic history, from its origins to 1947. The applied methodology is based on the redefinition of information’s value and the photographic concepts of agent, event, and culture. The system is devised for the semantic web and is compatible with linked open data ontologies. [ABSTRACT FROM AUTHOR]

Digital cataloguing practices carried out by libraries, particularly public libraries, present a number of critical issues, that the Covid-19 contingency has greatly emphasised. Criteria adopted to identify and to describe digital reproductions of analogue publications, as well as native digital editions, appear to be inconsistent and misleading. So far cataloguers have acted on the assumption that digital reproductions have the same features of xeroxes, microfilms or microfiches. New software tools, combined with the greater flexibility of digital files, imply that differences existing between the two media should require a different treatment in terms of cataloguing. Characteristics specific to digital objects deserve to be described with the same care as those of analogue publications in the first place because they have an impact on the way readers can make use of them, and secondly because they could be used as search keys, especially as query facets. Another area of concern is the development of descriptive standards aimed at bringing into the catalogue resources of a different nature from bibliographic items. The reason for doing so is the idea of turning the catalogue into part of the semantic infrastructure of the web. Having given insufficient consideration to cataloguing principles and to catalogue functions, in favour of a more pragmatic approach, is threatening to strip the catalogue of its substance, encouraging at the same time the replacement of library services with those offered by subjects not sharing the same cultural and social goals. [ABSTRACT FROM AUTHOR]

Starting from the observation of the reaffirmed centrality that Wikipedia and its sister projects assumed during the Coronavirus pandemic and the lockdown, the article presents the Wikiproject Covid-19, in its dual articulation in Wikipedia and Wikidata. In particular, it analyzes the key role of librarians participating in the project, that they assume thanks to their knowledge in the LIS field and in the standardized description of resources through metadata. After a short international review, the paper reports the specific case of the University Library Center of the University of Salerno, where some librarians have actively contributed to the Wikidata Wikiproject Covid-19. Starting from the technical background acquired with participation in initiatives such as Wikicite or international campaigns such as "#1lib1ref" and from previous experiments, through the combined use of various tools and the creation of a rigorous workflow, the librarians have come to process and integrate thousands of data from Wikidata into quality biomedical databases in a relatively short time. The workflow focused mainly on three activities: the insertion of external unique identifiers for authors and scientific journals, the qualification of the items through the addition of bibliographic references and the subject cataloguing of the scientific articles relating to SARSCoV-2 and the related world pandemic. Lastly the essay highlights the limits and the critical issues of the semantic web, of the open collaborative projects and of the specific method used, with some considerations on the librarian's new centrality in the context of open data and on the need to participate in these projects in the in the area of Digital Humanities. [ABSTRACT FROM AUTHOR]

The article deals with the topic of the semantic web and the publication in linked open data of information relating to cultural heritage. In particular, the article analyzes the ontology registers, i.e. those tools that formally describe the ontological models available on the web and facilitate their retrieval and evaluation, encouraging their reuse and facilitating semantic alignment and interoperability processes. The ontology registers respond effectively to the absence of reference and orientation tools in the conceptual modeling processes of information and have been successfully tested in different domains, but are still unpublished in the cultural sphere. The examination of the initiatives carried out in the last decade in the field of cultural heritage has clearly highlighted the lack of a consolidated epistemological structure in the conceptual modeling of information resources, despite the numerous ontologies created according to the multiple linked open data publication projects. Consequently, it is often difficult to fully understand all the ontologies available in relation to your area of interest and to obtain in a smooth and systematic way a reliable assessment of their representative capacity and their degree of semantic interoperability. The analysis of the main registers of ontologies so far created outside the domain of cultural heritage has made it possible to identify and define the requirements of a register of ontologies for cultural heritage, and to elaborate the relative ontology. The clarification of the requirements also took into account a peculiar function that the registers could play in the cultural domain, as tools to support some features of a digital library of cultural heritage. [ABSTRACT FROM AUTHOR]

The paper explores the strategies and methods for preserving Linked Open Data (LOD). To this aim it first presents an overview of the main scientific initiatives that have dealt with this topic. Then it describes some digital technologies that may result useful for preserving LOD, providing some insights on their application to LOD. It also provides a concrete example of implementation of the Semantic Web technologies for preserving Linked Data. Finally, it suggests some specific themes and directions that should be further investigated in order to elaborate a comprehensive solution to this problem: the preservation of Linked Open Data cannot be demanded to a single tool or method, it is rather the result of technical, organizational and procedural choices that altogether make up a consistent framework for LOD preservation. [ABSTRACT FROM AUTHOR]

In this paper the author presented the Semantic Web as a new generation in the evolution of the Web. In contrast to previous generations based on work with people, the third generation of the Web, presented in the paper, is focused on mechanical processing of stored information. Information are being processed at a higher level because Semantic Web is based on giving meaning to information on the Web and it is therefore defined as a plan to achieve related data applications on the Web in a form that creates a consistent logical data network. In the paper the author presented the process of constructing the Semantic Web through the establishment of a new level of interoperability. Due to the importance of the syntactic form of a document and the syntactic content, the languages of the Semantic Web are presented. Due to the importance of Web content categorization, the paper presents dictionaries that cover different areas. Different ontologies have been developed separately and the Semantic Web has brought the need for interoperability. For that reason, this paper is also focused on the languages of the ontologies. In terms of use of the Semantic Web, the author specifically focused on knowledge managing and presented tools for maintaining a poorly structured sources of information.

In library catalogs as much as on the web, metadata acts as a transparent language through which concrete objects are looked for, found and obtained. Past decades have seen web browsing evolving so as to, by reducing query time to a slight amount, make web surfers forget that they are looking for things online: through this, online querying has become as trivial and invisible as would be the use of a currency as a medium of exchange. In fact, metadata sets and currencies share in the contemporary world a common nature, or at least universal principles: both are measuring the value of things in regard to people’s need (of which search engine queries can be seen as a manifestation), and both can be viewed as temporary substitutes to those needed things before their obtention. The following article will thus examine both the transparency and materiality of bibliographical data firstly by demonstrating its monetary aspect, secondly by showing its materiality, and thirdly by explaining how the adoption of Linked Open Data standards contributes to the reification of data itself. Its argumentation is for its bigger part drawn from the data.bnf.fr experiment, which has been launched in 2011. This website is a project of the National Library of France, aiming at disseminating data from the BnF various catalogs and applications while constituting a single point of access for users from the web to collections descriptions scattered across many search tools. As this website principles are based on both online visibility and linked open data dissemination, this article will try to demonstrate how those two principles are going hand in hand.

In this contribution, we developed a Linked Open Dataset, more specifically an OWL ontology, about the history of the renovation of the Catania’s Benedictines Monastery by the architect Giancarlo De Carlo. We considered a wide subset of public and private documents collected from 1977 to 2006 during the process of restoration and adaptation of the monastery to a campus for the University of Catania. The task of modelling and population of the ontology have been carried out from the analysis of documents stored in the “Archivio del Museo della Fabbrica”, in the new archive of professor Giuseppe Giarrizzo, in the private collection of Antonino Leonardi, and from the conceptual map of the locations of the monastery.

The paper compares the current methodologies for search and discovery of information and information resources: terminological search and term-based language, own of information retrieval (IR); semantic search and information discovery, being developed mainly through the language of linked data; semiotic search and content-based language, experienced by multimedia information retrieval (MIR).MIR semiotic methodology is, then, detailed.

This paper describes the ongoing development of a TEI-conformant model for the encoding of hybrid primary sources containing text and graphical components on a similar level of semantic meaning. The subsequent considerations are part of the digital scholarly edition project representing the notebooks of the Austrian conceptual artist Hartmut Skerbisch (1945–2009), a handwritten corpus created over a period of almost 40 years. Besides text, drawings were an important visual means of expression for the artist. In the context of digitally representing the numerous graphics embedded in the notes with equivalent depth to the text, a three-step model is proposed. This model takes into account the (1) graphical components characterizing the composition, (2) textual functions describing and directing the execution of artworks, and (3) interpretation of the graphics and their contextualization with connected material and information. The paper discusses the existing methods of representing graphics in TEI, presents the combination of these methods in the actual scholarly edition project, and introduces the semantic enrichment of the TEI sources through formal descriptions in RDF/XML taxonomies using linked open data. Thus, the genealogy of artistic concepts and artworks documented in the notebooks will become traceable.

The article highlights the relations between Italian medieval studies and digital humanities, starting from researches conducted on Vatican documents and other ecclesiastical sources since the 1980s; then it goes on to discuss some more recent projects, based on various types of sources. A multi-faceted debate emerges, in which the experiences of historians and editors of medieval sources are intertwined with those ones gained in the world of archives and libraries, to face the incessant transformation of Information Technology, from the first “Read-Only” Web to the Web 2.0, from the Semantic Web to the recent challenges posed to historians by research data and Linked Open Data technologies.

In this paper are presented problems, resources, and research lines related to the application Semantic Web technologies in art historical photo archives. In detail, (1) benefits of the usage Linked Open Data for art historians are illustrated, (2) a research line shared between cataloguers and art historians is proposed, namely the definition and retrieval of authoritative artwork attributions in art historical photo archives, (3) a methodology for formalising such a problem is described, and (4) limits and future work related to the valorisation of photo archives catalogues are discussed.

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study is based on the hypothesis that higher education in the 21st century must be developed in the context of the semantic web and knowledge, for this reason the educational model must define precisely what knowledge is and what knowledge is needed, it must define what are the skills to generate knowledge and innovation, it must identify which are the way to developing the skills required by a rapidly evolving of Web to finally determine the best possible educational environment. The aim of the research is to present a proposal for an educational program in information literacy, but with a solid visual (visual literacy) and communicative dimension, consistent with the value that the image, in its different contexts, has acquired in knowledge on the web, such as demonstrates the success of data visualization. The aim of the research, furthermore, is to present the didactic planning of a training course, based on a selection of visual literacy rules of ACRL (2011), the appropriate educational methods, the objectives and the teaching program. From a methodological point of view, the study uses a method based on the analysis of best practices to offer the development of a teaching unit for conceptual training, skills (illustrations) through the development of appropriate exercises, skills (practices) through the proposal of activities designed for classroom processing, a forum for the development of communication skills. The course also offers the development of a self-assessment system based on the type of skills to be assessed, a set of indicators and questions that measure the degree of achievement of the skills through a questionnaire. The result is the presentation of a course of education that can be carried out, as a model, by specialists and professionals. [ABSTRACT FROM AUTHOR]

In this paper are presented problems, resources, and research lines related to the application Semantic Web technologies in art historical photo archives. In detail, (1) benefits of the usage Linked Open Data for art historians are illustrated, (2) a research line shared between cataloguers and art historians is proposed, namely the definition and retrieval of authoritative artwork attributions in art historical photo archives, (3) a methodology for formalising such a problem is described, and (4) limits and future work related to the valorisation of photo archives catalogues are discussed. [ABSTRACT FROM AUTHOR]

The article aims at presenting the formal ontology CIDOC-Conceptual Reference Model, used for allowing information and documentation exchange and integration into the diverse sources of cultural heritage, and which is the leading ontology in the field since years. The ontology logical foundations are examined, entering into the details of the Description Logics, and also the theoretical configuration underlying the schema modelling. The relation (properties) structure - which is the ontology core - is presented along with the mechanisms proposed for the integration of cultural heritage information. In the end, this essays offers a brief and non-exhaustive overview of the information systems actually adopting the CIDOC-CRM ontology, from CLAROS to CulturaItalia.

The adoption of new conceptual models for bibliographic and authority data, the latest normative structures of the catalogue, the language of data encoding and their communication in semantic Web, are some of the factors that are transforming library catalogues, cataloguing and management both of bibliographic and authority data. Moreover, these changes are related to the development of new environments of discovery, visualization and dissemination of bibliographic information. The essay proposes an analysis of the elements that underlie such changes carried out also through examining the themes developed by the scientific literature in the same area of interest.

The aim of this short contribution is that of presenting the conference Subject Cataloguing – Quo vadis? organised by the Deutsche Nationalbibliothek, Schweizerische Nationalbibliothek and the Österreichische Nationalbibliothek as IFLA Satellite Meeting at the annual meeting of the RDA Steering Committee. The conference, held in Frankfurt on Nov. 4th 2016, dealt with the subject cataloguing under different perspectives and presented concrete initiatives by many European institutions. The committee in charge of the revision of RDA took the chance to re-open a working platform on a theme, that of subject cataloguing, often left apart in the discussion on Library and Information Science.