1. ARTstor, a nonprofit organization, was founded by the Andrew W. Mellon Foundation, with a mission to use digital technology to enhance scholarship, teaching and learning in the arts and associated fields. As of September 2010, ARTstor provides software, services and 1.2 million images from over 190 source collections to over 1300 subscribing institutions, and is developing (in partnership with colleges, universities and scholarly societies) a networked cataloging and image management system (called ‘Shared Shelf).Google Scholar

2. Each record includes this statement: ‘Descriptive data, especially artist attribution(s), may have changed since the descriptive data was collected by the Gernsheim Corpus. For more current scholarly opinion, ARTstor users are encouraged to consult the scholarly literature and especially the owning repository’s publications and website.’Google Scholar

3. We would also seek to make these links and comments compliant with a new emerging standard being developed by the ‘Open annotation’ project. This effort seeks ‘to facilitate the emergence of a Web and Resource-centric interoperable annotation environment that allows leveraging annotations across the boundaries of annotation clients, annotation servers, and content collections’. By having user-added links and comments managed in a standards-driven way, we would have greater comfort that the investments made by individual contributors will live on as the content migrates (both within ARTstor and, potentially, outside ARTstor eventually as well).Google Scholar

4. Currently only six institutions have complete sets of the Gernsheim photographs, drastically limiting the possible discussion of the drawings within the scholarly community. With our release of the collection and bibliography/discussion tools within the ARTstor digital library, our 1300 subscribing institutions would have immediate access to both the full corpus of images and the scholarly discussion (an increase of more than 200 times or 20700 per cent of the number of institutions that have access today). At the same time, the contributing Gernsheim repositories would get access to the digital Gernsheim collection and the discussion that ensued around the works.Google Scholar

5. Center for Backyard Astrophysics, ‘A history of the CBA,’ http://cbastro.org/background/history/.Google Scholar

6. As the final report of an Andrew Mellon Foundation-sponsored project that sought to link records from numerous visual resources collections (the Union Catalogue of Art Images or UCAI) noted, Unique object identifiers would significantly improve processing and retrieval. . . For artworks and architectural structures, there is no equivalent to an ISBN or ISSN. . . . Architectural structures and sites have no such identifying system. An international and coordinated object identifier registry, perhaps modeled after the ISBN/ISSN, could provide an efficient method of identifying objects (and presumably, works). Brian E.C. Schottlaender, Linda Barnhart and the UCAI Project Team, ‘Final report to the Andrew W. Mellon Foundation,’ 7-8, http://gort.ucsd.edu/ucai/doc/ucai2_final_report.pdf. Google Scholar

7. ‘On the record: report of the Library of Congress Working Group on the Future of Bibliographic Control,’ 2008, 21, http://www.loc.gov/bibliographic-future/news/lcwg-ontherecord-jan08-final.pdf.Google Scholar

8. Murtha Baca, Head, Digital Art History Access, Getty Research Institute; Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, The Museum of Modern Art; Tom Bilson, Head of Digital Media, The Courtauld Institute of Art; Sheila S. Blair and Jonathan M. Bloom, Norma Jean Calderwood University Professors of Islamic and Asian Art, Boston College; Dr. Kakugyo S. Chiku, Director, Kanazawa Institute of Technology Library Center; Aaron Straup Cope, Design Technologist, Stamen Design and former developer at Flickr; Monika Hagedorn-Saupe, Deputy Director, Institute for Museum Research, Berlin; Dianne Harris, Associate Professor of Landscape Architecture, Architecture, Art History, and History, University of Illinois, Urbana-Champaign, President, Society of Architectural Historians; Irena Murray, Sir Banister Fletcher Director, British Architectural Library, Royal Institute of British Architects; Sam Quigley, Vice President for Collections Management, Imaging & Information Technology, Art Institute of Chicago; James Quo-Ping Lin, Research Director, Chief of Exhibition Service Division, National Palace Museum, Taipei, Taiwan; Dr. Jan Simane, Leiter der Bibliothek, Kunsthistorisches Institut in Florenz; Dr. Vandana Sinha, American Institute of Indian Studies; John Stubbs, Vice President, Field Work, World Monuments Fund; Ann Whiteside, Director of the Frances Loeb Library and Assistant Dean for Information Services, Harvard University Graduate School of Design.Google Scholar

9. Leadbeater, Charles, We-think; mass innovation, not mass production (London: Profile Books, 2008), 90.Google Scholar

10. In a similar way, many people often mistake the numbers in a spreadsheet for ‘facts’, and fail to question the source or the validity of the data reported or even whether the formula masked beneath a ‘total’ has added a column correctly.Google Scholar