Translations:De beschrijving van muziekinstrumenten. De collectie van Stichting Logos als case/31/en

• The MIM catalogue is only directly accessible for the museum employees. Creating extra access for Logos employees from their own offices is not technically impossible, but it would require a financial commitment that cannot be guaranteed (related to providing extra licences, installing and maintaining the client at Logos, adapting catalogue access rights, etc.) It’s also important that the Logos Foundation can continue its day-to-day collection management activities independently from the MIM. For example, do employees rely on this federal institution’s IT department if there’s a problem with the connection to the catalogue? We would also need to make many further agreements about this continued support.
• Even though the public catalogue from the Koninklijke Musea voor Kunst en Geschiedenis (Art & History Museum), which is affiliated with the MIM, makes a relatively large amount of metadata public, Carmentis does not fully meet the needs of all the target groups that the Logos Foundation wants to reach with this project and the collection itself:
  • Carmentis can only make photograph files accessible, which is a problem for all the accompanying documentation in the form of design drawings, circuit diagrams, etc. that we want to provide. People who consult the collection from a technical music perspective (e.g. instrument makers) will therefore not find the information they want;
  • Carmentis is not very accessible. It is unclear, for example, how part-time teachers in art education could use this catalogue to prepare lessons. This is caused not just by the complexity of Carmentis, but also of the collection.