Collections management system

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A Collections Management System (CMS), sometimes called a Collections Information System, is software used by the collections staff of a collecting institution or by individual private collectors and collecting hobbyists or enthusiasts. Collecting institutions are primarily museums and archives and cover a very broad range from huge, international institutions, to very small or niche-specialty institutions such as local historical museums and preservation societies. Secondarily, libraries and galleries are also collecting institutions. Collections Management Systems (CMSs) allow individuals or collecting institutions to organize, control, and manage their collections' objects by “tracking all information related to and about” those objects. [1] In larger institutions, the CMS may be used by collections staff such as registrars, collections managers, and curators to record information such as object locations, provenance, curatorial information, conservation reports, professional appraisals, and exhibition histories. All of this recorded information is then also accessed and used by other institutional departments such as “education, membership, accounting, and administration." [2]

Contents

Though early Collections Management Systems were cataloging databases, essentially digital versions of card catalogs, more recent and advanced systems are being used to improve communication between museum staff and to automate and manage collections-based tasks and workflows. [3] Collections Management Systems are also used to provide access to information about an institution's collections and objects to academic researchers, institutional volunteers, and the public, increasingly through online methods. [4]

Development and history of collections management systems

Ever since machine-readable standards were developed for libraries in the 1960s, museums have had an interest in utilizing computers to record information about their collections. However, museums have very different needs from libraries; while bibliographic information about a library collection object is usually static, museum records are ever-changing because of the continuous need for new information about museum objects to be added to the records. [5] As early as 1967, the Museum Computer Network (MCN), an informal group of New York museums, attempted to create a collections management database called GRIPHOS, and at a Metropolitan Museum of Art and IBM conference in 1968, speakers discussed current and proposed projects to automate collections management. [6] In an effort to coordinate research into developing these systems, professional associations such as the Museum Data Bank Coordinating Committee (MDBCC), formed in 1972, were created to disseminate information about computers and databases to museums interested implementing computerized collections systems. [7] During the 1980s, Collections Management Systems became more advanced with the rise of relational databases that “[relate] each piece of data to every other piece," [8] and during this time some of today's popular systems were originally developed for specific institutions “based on generic relational databases” — such as Gallery Systems' The Museum System for the Metropolitan Museum of Art and Re:discovery Software's Proficio for the Thomas Jefferson Foundation's Monticello — before being released as commercial products. [9] During the 1990s, with computers becoming faster and cheaper and with the rise of the Internet, collections management software became much more sophisticated, able to “present images, sort information in any one of a myriad of configurations, record exhibition information, track locations, and interface with a museum Website." [10]

Though the goal during the 1960s was to use computers for collections record-keeping for purposes of accountability, MCN Executive Director Everett Ellin warned that museum professionals should include public access as a goal because it would “not be worth the effort if museums only create a glorified record-keeping system." [11] Collections Management Systems have become crucial tools in increasing public access to collections information, expanding the types of information that are recorded. What was once “a simple tool for collections care and inventory” has become “a robust and powerful instrument for saving all information about museum objects," including interpretive material, digital objects, and digital surrogates. Since some Collections Management Systems now incorporate Digital Asset Management and content information storage, many museum professionals have started to use the acronym CMS to stand for “Content Management System." [12]

Information managed in collections management systems

In 1997, art historian and museum information studies consultant Robert A. Baron outlined the requirements for Collections Management Systems, not as a list of the kinds of collections object information that should be recorded, but rather as a list of collections activities such as administration, loan, exhibition, preservation, and retrieval, [13] tasks that museums had been responsible for long before the invention of computers, and many modern Collections Management Systems go beyond cataloging by aiding in the management of these processes and workflows. [14] The Canadian Heritage Information Network (CHIN) Collections Management Software Criteria Checklist (CMSCC), which aims to be a comprehensive list of the kinds of information that a museum may want to record in a CMS, organizes that list by processes and actions rather than type of information. The checklist “outlines a number of features commonly included in a commercial CMS, which can assist a museum in determining which features have priority.” [15]

Object entry

Managing and documenting information and tasks related to objects entering the museum, including acquisition or loan records, receipts, record of the reason for the deposit of the object, and record of the object's return to its owner.

Acquisition

The management and documentation of objects added to the institution's collection, including accession numbers, catalog numbers, object name or title, acquisition date, acquisition method, and transfer of title. There are many different accession numbering systems, and a CMS should allow an institution to use its existing numbering system. [16]

Inventory control

Identification of objects for which the institution has a legal responsibility, including loaned objects and objects that have not been accessioned. Information recorded includes object location and status.

Location and movement control

Records of an object's current and past locations within the institution's premises so that it can be located, including dates of movement and authorizations for movement.

Catalog description

Information that describes and identifies objects, including creator/maker/artist, date(s) of creation, place of creation, provenance, object history, research on the object, and connections to other objects.

Conservation management

The management of information about an object's conservation “from a curatorial and collections management perspective," including conservation requests, examination records, condition reports, records of preventative actions, and treatment histories. [17]

Risk management

Management of information about potential threats to collections objects, including documentation of specific threats, records of preventative measures, disaster plans and procedures, and emergency contacts.

Insurance management and valuation control

Documentation of insurance needs for objects for which the institution is responsible (included loaned objects) as well as the monetary value of objects for insurance purposes. This may include the names and contact information of appraisers as well as appraisal history.

Exhibition management

Management of an object's exhibition or display, including exhibition history and documentation of research done on an object for an exhibition. More advanced Collections Management Systems may have the ability to present information from the system on a museum's website or in an online exhibit.

Dispatch/shipping/transport

Management of objects leaving the institution's premises and being transferred to a different location, including location information, packing notes, crate dimensions, authorizations, customs information and documenting the means of transportation (including courier information). [18]

Loaning and borrowing

Managing the temporary transfer of responsibility of an object from the museum to another institution or vice versa, including loan agreements, loan history, records of costs and payments, packing lists, venue information, facilities reports, and records of overdue loans.

Deaccessioning and disposal

Management and documentation of objects being deaccessioned and leaving the institution's collection, either by transfer, sale, exchange, or destruction/loss, including transfer of title, records of approval, and reason for disposal. [19]

Features of collections management systems

Functionality

A Collections Management System should be able to store data, edit data, delete data, access data through queries, sort data, and output data in the form of reports. [20] Data is stored in the form of tables and is entered into the system (and sometimes edited) using forms. Queries are searches that help retrieve specific data from the system, and reports “are the means by which the results of a query are displayed or printed." [21]

Flexibility

An efficient CMS, like a good relational database, should not have duplicate records and should not require that the same information be recorded in more than one place in the system. At the same time, the system should be flexible enough to accommodate more data as the collections expand. [22] The user must also understand that not all information must be entered into a Collections Management System; for example, complex information such as complicated dimensions and measurements. Some institutions may not want to record confidential information such as private donor information in a CMS and instead keep it in a manual file or a separate, secure digital file, with pointers to the file's location recorded in the CMS. [23] However, others argue that such confidential information should be recorded in the CMS to protect the information in the event of a disaster where manual files may be destroyed.

Backup and redundancy

A CMS should have "a built in backup and recovery process" to protect data against not only equipment failure and disaster but also human error, which may result in loss or corruption of data. Redundant copies of the information should be stored in multiple locations, and the backup process may be automated. [24]

Data standards

Because a computerized system “demands a much greater degree of precision in the use of language for cataloging and data retrieval than does a manual system,” data and metadata standards should be applied in a Collections Management System. [25] Data standards provide rules for how information is entered into the system, and data that has been entered into the system in a consistent manner allows for more accurate and precise information retrieval and for easier exchange of data between different systems. [26]

The three types of data standards are structure, content, and value:

While most of these data standards apply to the cataloging and description of cultural objects, efforts are also being made to create data standards for natural history collections. Based on Dublin Core, the Darwin Core (DwC) standard is a data structure standard for biodiversity information whose “glossary of terms” are the “fields” and “elements” needed to catalog biological and natural history specimens and samples. [31]

Recognizing the importance of data standards to many users, some developers advertise that their Collections Management Systems are compliant with certain standards. For example, the Adlib Museum CMS is “certified as SPECTRUM compliant by the Collections Trust” and “also incorporates other international standards such as the ‘CIDOC’ guidelines and Getty ‘Object ID.’” [32]

Security and access

A Collections Management System should have security measures that “ensure that only authorized persons are able to enter, edit, or view” information contained in the system. [33] However, there is a growing demand for public access to some of the collections and object information contained in the CMS, which “helps fulfill a museum's mission to educate the public and prove that the objects held in public trust are used to public benefit” while also encouraging collections staff to “support basic collection stewardship” by ensuring that information about the object is accurate before being made publicly accessible. [34] The system should allow the public to be able to make and refine searches of publicly accessible information in the system. [35]

Rights and reproductions

A CMS should also allow collections staff to manage information on reproduction rights of the objects for which the institution is responsible, including type of copyright scheme being applied (for example, U.S. copyright or Creative Commons license), copyright ownership, and digital watermarks. [36]

Considerations when selecting a system

Since every museum has different needs, a museum should make a needs assessment before selecting a Collections Management System. The museum should determine what collections processes it needs the system to manage. [37] The museum should also identify who will be using the system and consider such factors as collection size (both present and future), staff technology skills, and budget/pricing. [38] Another recommendation is to map out both the short- and long-term goals for the new CMS and then determine how the system can help increase the museum's efficiencies. [39]

Local and remote access to CMS software and data

Local CMS software installation on a stand-alone computer may allow the quickest access to data but has the most limited access as well as a high maintenance responsibility and data backup protocol falls on the museum. A CMS installed on a local network may allow for wider access within the museum. [40]

A CMS as software as a service (SaaS) platform is software installed online and accessible through the web to an internet capable computer. Maintenance responsibility falls on the company and backups are usually ensured by the company. Data access can be slow, dependent on connection however. [40] [41]

Open source and closed source software

Open source software

Software whose license allows its source code to be published and made available to the public, enabling anyone to copy, modify and redistribute the source code without paying royalties or fees. Users and developers have access to the core designing functionalities. This enables them to modify or add features to the source code and redistribute it. [42] [40]

Closed source software

Software that involves the use of constraints on what can be done with the software and the restriction of access to the original source code. The end-user purchases the right to use the software. To this end, the source code to closed-source software is considered a trade secret by its manufacturers. [43]

Conservation information management systems

Collections Management Systems have their origins in cataloging and registration, and consequently, most systems manage information and records “from a curatorial and collections management perspective." [44] Conservation information in these systems is often limited to condition reporting and documentation of treatment history. While some advanced systems allow registrars to manage workflow tasks such as approvals and receipts, most systems are unable to manage conservation workflows. Many conservators also need a system that can not only store and manage conservation documentation but also easily share that information with other conservators and institutions.

Related Research Articles

<span class="mw-page-title-main">Database</span> Organized collection of data in computing

In computing, a database is an organized collection of data or a type of data store based on the use of a database management system (DBMS), the software that interacts with end users, applications, and the database itself to capture and analyze the data. The DBMS additionally encompasses the core facilities provided to administer the database. The sum total of the database, the DBMS and the associated applications can be referred to as a database system. Often the term "database" is also used loosely to refer to any of the DBMS, the database system or an application associated with the database.

In library and archival science, digital preservation is a formal endeavor to ensure that digital information of continuing value remains accessible and usable. It involves planning, resource allocation, and application of preservation methods and technologies, and it combines policies, strategies and actions to ensure access to reformatted and "born-digital" content, regardless of the challenges of media failure and technological change. The goal of digital preservation is the accurate rendering of authenticated content over time. The Association for Library Collections and Technical Services Preservation and Reformatting Section of the American Library Association, defined digital preservation as combination of "policies, strategies and actions that ensure access to digital content over time." According to the Harrod's Librarian Glossary, digital preservation is the method of keeping digital material alive so that they remain usable as technological advances render original hardware and software specification obsolete.

<span class="mw-page-title-main">Canadian Heritage Information Network</span>

The Canadian Heritage Information Network is a special operating agency within the federal Department of Canadian Heritage that provides a networked interface to Canada's heritage institutions. It is based in Gatineau, Quebec, and is administratively merged with the Canadian Conservation Institute (CCI), another special operating agency of Canadian Heritage.

An inventory is an itemized list of objects that a museum has accessioned or received via loan(s) and must be physically located by an examiner. A complete, one-hundred percent inventory, or a random inventory of the collection should be carried out periodically to ensure the museum is operating under best practices and for security purposes. The museum is legally responsible and ethically obligated for the maintenance of up-to-date information detailing the location of all objects within the collection, including loaned items and objects that have yet to be accessioned; this is stipulated by many museum associations, including the American Association of Museums.

<span class="mw-page-title-main">Metadata</span> Data about data

Metadata is "data that provides information about other data", but not the content of the data itself, such as the text of a message or the image itself. There are many distinct types of metadata, including:

<span class="mw-page-title-main">Museum informatics</span>

Museum informatics is an interdisciplinary field of study that refers to the theory and application of informatics by museums. It represents a convergence of culture, digital technology, and information science. In the context of the digital age facilitating growing commonalities across museums, libraries and archives, its place in academe has grown substantially and also has connections with digital humanities.

<span class="mw-page-title-main">Collections maintenance</span> Daily care of cultural heritage

Collection maintenance is an area of collections management that consists of the day-to-day hands on care of collections and cultural heritage. The primary goal of collections maintenance or preventive conservation is to prevent further decay of cultural heritage by ensuring proper storage and upkeep including performing regular housekeeping of the spaces and objects and monitoring and controlling storage and gallery environments. Collections maintenance is part of the risk management field of collections management. The professionals most involved with collections maintenance include collection managers, registrars, and archivists, depending on the size and scope of the institution. Collections maintenance takes place in two primary areas of the museum: storage areas and display areas.

<span class="mw-page-title-main">Collection manager</span>

A collection manager ensures the proper care and preservation of objects within cultural institutions such as museums, libraries, and archives. Collection managers, along with registrars, curators, and conservators, play an important role in collections care. Collection Managers and Registrars are two distinct collection roles that are often combined into one within small to mid-size cultural institutions. Collection Managers can be found in large museums and those with a history and natural history focus whose diverse collections require experienced assessment to properly sort, catalog, and store artifacts. A collection manager may oversee the registrar, archivist, curator, photographer, or other collection professionals, and may assume the responsibilities of these roles in their absence within an organization.

<span class="mw-page-title-main">Mount maker</span>

A mount maker is responsible for the creation of structures called object mounts used to provide unobtrusive physical support, stability, and security of objects while on display, in storage, or being transported to museums, art galleries, libraries, archives, botanical gardens or other cultural institutions. Protection and long-term conservation of the object is a key goal of mount makers. This is accomplished through careful design, selection of materials and manufacturing process that will not inadvertently harm the object, and a cautious installation process of the object into its place in an exhibit. Professionals in this field can be employed directly by an institution, be independent contractors, or work as part of larger cultural institution exhibit design firms.

<span class="mw-page-title-main">Collections management</span> Process of overseeing a collection, including acquisition, curation, and deaccessioning

Collections management involves the development, storage, and preservation of cultural property, as well as objects of contemporary culture in museums, libraries, archives and private collections. The primary goal of collections management is to meet the needs of the individual collector or collecting institution's mission statement, while also ensuring the long-term safety and sustainability of the cultural objects within the collector's care. Collections management, which consists primarily of the administrative responsibilities associated with collection development, is closely related to collections care, which is the physical preservation of cultural heritage. The professionals most influenced by collections management include collection managers, registrars, and archivists.

<span class="mw-page-title-main">Registrar (cultural property)</span>

A museum/library/archival registrar is responsible for implementing policies and procedures that relate to caring for collections of cultural institutions like archives, libraries, and museums. These policies are found in the museum's collections policy, the guiding tenet of the museum explaining why the institution is in operation, dictating the museum's professional standards regarding the objects left in its care. Registrars focus on sections that include acquisitions, loans, exhibitions, deaccessions, storage, packing and shipping, security of objects in transit, insurance policies, and risk management.

<span class="mw-page-title-main">Disaster preparedness (cultural property)</span> Preserving and protecting cultural artifact collections

Disaster preparedness in museums, galleries, libraries, archives and private collections, involves any actions taken to plan for, prevent, respond or recover from natural disasters and other events that can cause damage or loss to cultural property. 'Disasters' in this context may include large-scale natural events such as earthquakes, flooding or bushfire, as well as human-caused events such as theft and vandalism. Increasingly, anthropogenic climate change is a factor in cultural heritage disaster planning, due to rising sea levels, changes in rainfall patterns, warming average temperatures, and more frequent extreme weather events.

"Found in collection" (FIC) is a term used by a museum to refer to "undocumented objects that remain without status after all attempts to reconcile them to existing records of permanent collection and loan objects are completed". Despite the best efforts of museum staff, museums often have FIC items. This term was developed so that collections with incomplete provenance would be handled ethically and with transparency. Depending on the paperwork and information accompanying the material, the museum has several choices in how to proceed.

<span class="mw-page-title-main">Cultural property documentation</span> Aspect of collections care

The documentation of cultural property is a critical aspect of collections care. As stewards of cultural property, museums collect and preserve not only objects but the research and documentation connected to those objects, in order to more effectively care for them. Documenting cultural heritage is a collaborative effort. Essentially, registrars, collection managers, conservators, and curators all contribute to the task of recording and preserving information regarding collections. There are two main types of documentation museums are responsible for: records generated in the registration process—accessions, loans, inventories, etc. and information regarding research on objects and their historical significance. Properly maintaining both types of documentation is vital to preserving cultural heritage.

<span class="mw-page-title-main">Conservation and restoration of wooden furniture</span> Preservation of heritage collections

The conservation and restoration of wooden furniture is an activity dedicated to the preservation and protection of wooden furniture objects of historical and personal value. When applied to cultural heritage this activity is generally undertaken by a conservator-restorer. Furniture conservation and restoration can be divided into two general areas: structure and finish. Structure generally relates to wood and can be divided into solid, joined, and veneered wood. The finish of furniture can be painted or transparent.

<span class="mw-page-title-main">Cultural property storage</span>

The cultural property storage typically falls to the responsibility of cultural heritage institutions, or individuals. The proper storage of these objects can help to ensure a longer lifespan for the object with minimal damage or degradation. With so many different types of artifacts, materials, and combinations of materials, keepers of these artifacts often have considerable knowledge of the best practices in storing these objects to preserve their original state.

<span class="mw-page-title-main">Conservation and restoration of human remains</span>

The conservation and restoration of human remains involves the long-term preservation and care of human remains in various forms which exist within museum collections. This category can include bones and soft tissues as well as ashes, hair, and teeth. Given the organic nature of the human body, special steps must be taken to halt the deterioration process and maintain the integrity of the remains in their current state. These types of museum artifacts have great merit as tools for education and scientific research, yet also have unique challenges from a cultural and ethical standpoint. Conservation of human remains within museum collections is most often undertaken by a conservator-restorer or archaeologist. Other specialists related to this area of conservation include osteologists and taxidermists.

<span class="mw-page-title-main">Deaccessioning</span> Permanent removal of an object from a museums collection

Deaccessioning is the process by which a work of art or other object is permanently removed from a museum's collection to sell it or otherwise dispose of it.

<span class="mw-page-title-main">Cultural property exhibition</span>

The exhibition of cultural property is a practice used by organizations where collected objects are put on display to the public. The objects are carefully chosen and placed together to offer educational value, and often to tell a story.

<span class="mw-page-title-main">Agents of deterioration</span> Major causes of damage to cultural heritage

The 'ten agents of deterioration' are a conceptual framework developed by the Canadian Conservation Institute (CCI) used to categorise the major causes of change, loss or damage to cultural heritage objects. Also referred to as the 'agents of change', the framework was first developed in the late 1980s and early 1990s. The defined agents reflect and systematise the main chemical and physical deterioration pathways to which most physical material is subject. They are a major influence on the applied practice of conservation, restoration, and collection management, finding particular use in risk management for cultural heritage collections.

References

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