第五組 組員 497100091 程莉淳 497100467 林鶴 497100508 蘇珩 496100733 王紫沛

1. 第五組 組員 497100091 程莉淳 497100467 林鶴 497100508 蘇珩 496100733 王紫沛

2. Image and text :a review of the literature concerning the information needs and research behaviors of art historians / Joan Beaudoin圖像和文字： 有關藝術史學家的資訊需求和研究 行為的文獻回顧

3. Introduction程莉淳 This article seeks to present a coherent corpus of materials useful to information professionals interested in the research needs of art historians. 本文試圖提出一個連貫的文集，關於資訊 學者研究資料對於藝術史學家，他們在研 究時之需求有什麼幫助。

4. The information needs and information- seeking behaviors of art historians are addressed through a discussion of this user group’s research methodologies, the types of materials they consult, the impact of technology on their scholarship, and the discipline’s continuing development and redefinition. 對藝術史學家的資訊需求和資訊尋求行為， 通過討論這個使用者群的研究，討論法方包 括：他們協商出來的資料種類、技術對他們 學術成果的影響，和學科的持續發展和重新 界定。

5. Characterization of the User Group A broad and deep knowledge base within the discipline of art history would be considered typical of this user group, as well as advanced language skills, including at least reading facility with a minimum of two foreign languages. 在藝術史學科中廣泛而深刻的知識基礎和 先進的語言技能(最少閱讀2門外語)被視為 典型的使用者群。

6. it is presupposed that the art historian user group is comfortable with and adept at seeking information within archetypal library systems. 假定藝術史學家的使用者群是舒適和善於尋 求典型的圖書館系統。 As libraries have provided increasing access to online resources, often at the expense of printed matter such as indexes, art historians have had to learn new skills to perform their research. 圖書館提供了越來越多的線上資源，但往往 犧牲印刷品，如索引。所以藝術史學家必須 學習新技能以進行他們的研究。

7. The scholars working within the discipline currently have a vastly different set of tools with which to access information than they did even a decade ago, so the digital divide among established and emerging scholars must be acknowledged. 與十年前比較，目前學者在學科工作內有 廣大的工具以取得資料。因此建立且出現 學者之中的數位分歧一定要被承認。

8. The information needs of these latter users differed only slightly from those of their academic colleagues, the clearest difference being their limited use of visual materials when compared to their academic colleagues. 從他們的學術同事來看，現今使用者的資 訊需求僅有少許不同，最清楚的區別是當 與他們的學術同事比較時他們所使用有限 的視覺材料。

9. Materials Consulted 查閱資料蘇珩 Several types of materials are of primary importance to the art historian user group. These include monographs (and their bibliographies), general reference materials, bibliographic databases and indexes, and images (slides, digital images, photographs, and photographic reproductions). 以下這幾種類型的資料是人文藝術史學家最 重要的來源。其中包括專著(和他們的書目)、 一般參考資料、書目數據庫、指標和圖片(幻 燈片、數字圖像、照片、和照片的複製品)。

10. Richard Brilliant “How an Art Historian Connects Art Objects and Information.” At the center of the art historian’s research is the object (or the group of objects), and from here he attempts to establish a frame of visual reference and a historical context. 如何使藝術史學家連接藝術品和其相關資 訊。 在以研究美術史為中心的研究對象(或群體 對象)裡，他試圖建立一個具有規範的框架 (範圍)和歷史背景。

11. Placing objects within a visual framework is done through recalling and discovering objects which are similar or complementary in appearance. This information need is met by objects which reside in his memory, as well as by searches undertaken of existing collections and illustrated publications. 而其規範則是透過回顧和發現其物體有類 似或互補的外觀。這一資訊必須滿足的需 求是住在他的記憶體，以及展開搜索現有 的館藏和說明出版物。

12. Stam’s article entitled “How Art Historians Look for Information” She believes that “the process of information seeking appears to be a contemplative undertaking involving objects of art, reproductions of those objects and related objects, and written descriptions and observations about works of art.” “如何尋找藝術史學家的訊息。 她認為“資訊尋求的過程中似乎是一個思考 的事業，涉及藝術品，複製這些物體和有關 的物體，並以書面方式說明其藝術作品的觀 察資料。 ”

13. She delves further into the information gathering process of this user group and states that the typical art historian seeks to find authoritative writing on an object or a subject, then attempts to discover additional relevant information, and finally develops an original interpretation of the object within its many varied contexts (i.e., historical, iconographic, formal, etc.). 她更深入並進一步研究其資料蒐集過程，並指出 ，典型的藝術史學家試圖找到權威的書面一個對 象或一個主題，然後試圖發現更多有關資料，最 後解釋範圍內的對象所出現不同的情況（即，歷史、肖像權、正式的作品，等等） 。

14. As an interesting historical note, Stam found almost no computerized database experience .They expressed a unanimous willingness to learn how to use these systems. 作一個有趣的歷史說明，Stam發現她的藝 術史學家研究幾乎沒有計算化的數據庫經 驗，而他們一致表示願意學習如何使用這 些系統。

15. This apparent transformation in the art historians’ use of technology in the information-seeking process is the next theme to be addressed. 這種明顯的轉變，則讓藝術史學家在使用 資訊尋求技術的過程中能更快速的加以解 決接下來所要發生的問題。

16. Technology and Art History Scholarship 科技與藝術史學科 The phenomenon of computer-mediated research among art historians was examined by Rose in her 2002 article entitled “Technology’s Impact on the Information-Seeking Behavior of Art Historians.” Art historians were found to use computers extensively throughout the research process, especially in the seeking, gathering and writing phases of their research. Rose於2002年提出名為“科技對於藝術史學家資訊尋 求行為的影響＂的文章，文章中再度審視了在藝術史 學家間，以電腦作為間接搜尋的現象。它發現了藝術 史學家在整個搜尋計畫中廣泛地使用電腦，特別是在 搜尋、蒐集和撰寫他們的研究這方面。

17. Over half the participants in Rose’s study continued to use forms of paper-based means of organizing their information, additional reasons for the continued use of paper-based systems are user comfort factors and concerns about learning another new technology which may not justify the time spent in the process. 在Rose的研究中，超過一半的參與者仍繼續 使用以紙本為基礎的物品來組織他們的資訊， 因為它們的功能在於能輕易地顯示、整理和 重整，其餘仍持續使用以紙本為基礎系統的 理由是使用者的安逸因素和關於學習其他新 科技可能不能為在計畫中所花費的時間做正 當理由。

18. Art historians have been slow in their adoption of technology, a reason for this slow adoption is the feeling among art historians that technology merely supplants what was done manually, rather than changing and expanding their research in unique ways. 藝術史學家對於科技的接納很緩慢，一個 緩慢接納的理由是在藝術史學家間的感覺 是這只不過代替了那些用手工所能完成的 事，而非以特殊的方式來改變和擴大他們 的研究。

19. Rose found that art historians continue to perceive the Internet as lacking in scholarly merit, with the searches they perform there having little value. Rose發現藝術史學家繼續用缺乏好學的精 神理解網際網路，因為他們在那所做的搜 尋只有一點幫助。

20. They appreciate the access that online resources afford them, but that they want more intellectual content (including images) with more sophisticated search capabilities 他們感激線上資源所提供的管道，但是他 們透過較有經驗的搜尋能力想要更多需要 智力的內容（包括影像）。

21. Redefinition of Discipline王紫沛 再給予學科定義 The discipline is continually being defined and redefined. This creates a situation in which such changes need to be accommodated in the systems providing access to art historical materials. 學科正在不斷地被解釋和重新定義。創造 出需要向系統提供管道給藝術史資料諸如 此類的改變。

22. These fundamental changes to the discipline have a direct impact on what type of information is sought by art historians and how they go about accessing these materials. 這些基本原則是在改變藉由藝術史學家尋 找哪一類擁有直接影響力的資訊之學科， 以及他們如何去取得這些資料。

23. Summary總結 Art historians possess well honed library skills due to the dependence of their scholarship on library systems. 由於藝術史學家在學術研究上很依賴圖書 館系統，因此他們有很多機會可以磨練圖 書館的技能。

24. Their heavy reliance on objects, or images of these objects, is a critical difference between their research methods and that of their colleagues in other humanities-based disciplines. 關鍵的區別就在於他們的研究方法以及他 們在其他以人文學科為基礎的學科上的同 事，都過分依賴這些物件，或是這些物件 的圖像。

25. Therefore, a broad and deep collection of visual materials with adequate indexing is needed to support their research. 因此，廣泛而深入的視聽資料館藏需要足 夠的索引，這將會協助他們的研究需求。

26. While art historians were found to perform much of their work in an online environment, technology seemed to have a limited impact on their research processes beyond the initial phases of information-seeking and basic writing tasks. 然而藝術史學家被發現在線上環境表現出 他們的大部分作品，技術似乎在他們的研 究過程上影響有限，超出初始階段的資訊 尋求和基礎寫作工作。