1. The Centrality of "The Work" as Component for Knowledge Sharing  Richard P. Smiraglia, Professor, Palmer School of Library and Information Science, Long Island University, Brookville NY USA  ©2003. Richard P. Smiraglia. All rights reserved.

2. Contexts - Sources  Knowledge organization, bibliographic control  Documentation, information retrieval  Extending the model to information objects generically speaking  A work is essentially one potential property of an informing object The Nature of ‘A Work’: Implications for the Organization of Knowledge. (Lanham, Md.: Scarecrw, 2001) Works as Entities for Information Retrieval. (Binghamtom, NY: Haworth Information Press, 2002) “Works as signs, symbols, and canons: The epistemology of the work.” Knowledge organization 28 (2002): 192-202.

3. Framing the Discussion  Text, Document, Work – Document, Documentary Entity, Document Content  Signs and Symbols  Treatment of Works in Retrieval  The Evidence: Derivative Relationships  Toward a Theory of the Work  Toward a Meta-theory of Document Content

4. The Documentary Entity  Document: A unique instance of recorded knowledge.  Content always conveyed by “text.”  Deliberate text may constitute a “work.”  Regardless, the intellectual content is distinct from the physical instantiation

5. Text, Document, and Work  A text is the set of words that constitute a writing.  A document is the physical container (an "item") on which a text is recorded.  A work is the set of ideas created, set into a document using text, with the intention of being communicated to a receiver.  A work is represented by semantic and ideational content.  A given physical instantiation is essentially a realization at a specific point in time of the semantic and ideational content.

6. Instantiation Taxonomy (earlier: Derivative Bibliographic Relationships)  Simultaneous derivations  Successive derivations  Translations  Amplifications  Extractions  Adaptations  Performances

7. An Operational Definition Of A Work Work is the intellectual content of a bibliographic entity; any work has two properties: a) the propositions expressed, which form ideational content; and b) the expression of those propositions (usually a particular set of linguistic (musical, etc.) strings), which form semantic content.

8. Characteristics of Works  "Work" is an abstract concept (immaterial, conceptual)  A work is a new synthesis of knowledge that consists of ideational content and semantic content  Once expressed a work may take a variety of physical instantiations  The expression of a work may change freely in either ideational or semantic content or both  Relationships among works are complex  A work's essential role is as a vehicle of communication between its creator and its consumers

9. Volatility Is an Essential Trait of Works  Change in the expression of the semantic and ideational content  Variation in the perception of semantic and ideational content  Evolution in ownership

10. Saussure’s System of Sign, Signfied, Signifier  A sign "unites a concept and a sound image" (1959, 66).  The signified is the concept under conveyance  The signifier is the sound-image used to convey the concept (1959, 67).  Signifiers are fixed in the linguistic communities that use them, and therefore have the property of immutability (1959, 71).  But over time signifiers (and ultimately signs) change--mutate--and therefore linguistic signs are mutable. Saussure, Ferdinand de. 1959 (repr. 1966) Course in General Linguistics. Ed. by Charles Bally and Albert Sechehaye; in collaboration with Albert Riedlinger; trans., with an introd. and notes by Wade Baskin. New York: McGraw-Hill.

11. Peirce’s Triad of Types of Signs  Firstly, there are likenesses, or icons; which serve to convey ideas of the things they represent simply by imitating them  Secondly, there are indications, or indices; which show something about things, on account of their being physically connected with them  Thirdly, there are symbols, or general signs, which have become associated with their meanings by usage. Such are most words, and phrases, and speeches, and books, and libraries. Peirce, Charles Sanders. 1998. The essential Peirce: Selected Philosophical Writings. Vol. 2 (1893-1913), ed. by the Peirce Edition Project, Nathan Houser [et al.], p. 4-10, "What is a Sign?" Bloomington: Indiana Univ. Pr.

12. Peirce’s Symbol  Representamen  Object  Interpretant Interpretant RepresentamenObject Representation of dynamic conceptual instantiation

13. Poster's Concept of "Mode of Information" Cultural history is demarcated by variations in the structure of symbolic exchange (1990, 5). Every society makes elemental use of symbolic exchange... Works are required to facilitate the preservation and propagation of the culture through formal symbolic exchange (1990, 7). Poster, Mark. 1990. The Mode of Information: Poststructuralism and Social Context. Univ. of Chicago Pr.

14. Eggert's Concept of the Work As a Collaborative Entity Changed over time by those who embrace it--the more embraced the more changed--that is, the more popular the works the more likely we will observe derivation over time. Eggert, Paul. 1994. "Editing Paintings/Conserving Literature: The Nature of the 'Work.'" In Studies in Bibliography v.47 ed. by David L. Vander Meulen, pp. 65-78. Charlottesville, Pub. for The Bibliographical Society of the University of Virginia by The University Press of Virginia.

15. A Work is A Cultural Artifact  A new work clearly is unique at the point of its creation  Its ownership is clear for that single moment when the work is fixed for the first time in tangible form.  At this point the work has the quality of the linguistic signifier--immutable and clearly definable both in its ideational and semantic content and in its social role for the culture in which it is created.  Once the work is released to the public it becomes inherently mutable in a variety of ways.  Works are volatile; changeable in the expression of their content, variable in their perception among those who receive them, and constantly evolving in ownership as they progress through their collaborative social roles.  Works change over time, they take on new meanings as they are assimilated in cultures, they reflect their perceptions, and they evolve in content and tangibility.

16. Works are Analogous to Signs  Works can be seen as analogous to signs that are inescapably mutable over time. The texts of works are signifiers that are clearly immutable when first fixed, but which have other properties that are mutable. Gérard Genette (1997) posited a theory of "paratexts"--essentially preliminaries--which themselves mutate over time as a function of the reception history of the particular work to which they attend.

17. Empirical Evidence from the Bibliographic Universe The size of a bibliographic family seems to be related to its popularity, or... its canonicity. Most bibliographic families are formed and reach full size soon after publication of the progenitor. On the other hand, older progenitors are the locus for larger bibliographic families.--Smiraglia and Leazer (1999)

18. Proportion of Works Demonstrating Derivative Bibliographic Relationships SiteProportionConfidence interval Confidence level Georgetown49.9%±4%.095 WorldCat30.2%±4%.095 Burke Theology 52.9%±10%.090 Bobst Theology 57.9%±6%.095 Bestsellers98%±2%.095

19. Age of the Progenitor SiteRegression Coefficient Constant Georgetown.123.84 WorldCat.002.239 Burke Theology.012.2 Bobst Theology.0062.3 Bestsellers.002.039

20. Extent of Instantiation Networks Mean Georgetown8.4 WorldCat3.5 Bobst Theology4.2 Burke Theology5.8 Bestsellers28.17

21. Distribution of Derivation *categories of musical derivation only Smiraglia (1992) Georgetown Smiraglia and Leazer (1999) OCLC Worldcat Smiraglia (2000) NYU Smiraglia (2000) UTS Vellucci (1994) Sibley Simultaneous23.4%7.1%34%18% Successive82.4%55.5%76%80%51.7% Predecessor13.1%14.2%4% Translation30.2%6.8%26% 12.2% Amplification7.3%2.2%6%2%47.1% Extraction2.4%1.6%4%2% Performance4.3%1.6%.9%56.8% Adaptation2.7%2%35.9% Arrangement*35.6% Musical presentation* 33.7% Notational transcription* 2.4%

22. Studhorse Man by Robert Kroetsch

23. A Thousand Miles up the Nile by Amelia B. Edwards 1877Edinburgh1891London 1877London1891New York 1877New York[1891]New York 1888Boston1897aBoston 1888Chicago1897bBoston 1888London1899London 1888New York1900Philadelphia 1888Philadelphia1978Leipzig 1889London1982London 1889New York1983Boston 1890London1989Boston 1890aNew York1991Connecticut 1890bNew York1993London [1891]Boston1891Boston

24. “Works” Language  FRBR – Work, Expression, Manifestation, Item  Carlyle, Svenonius, Yee – Works and Superworks  Leazer and Furner – Textual Identity Networks  Smiraglia – Instantiation, Derivation, Mutation

25. Toward a Theory of The Work  A work is the intellectual content of a bibliographic entity.  A work functions in society in the same manner that a sign functions in language.  A work has the characteristics of a Peircean symbol—general signs associated with their meanings by usage over time.  A work is potentially a collaborative phenomenon over time.  Works that are assumed into the canon of their cultures are likely to generate families of derivations.  Certain bibliographic characteristics of literatures--predominantly age of the progenitor--can be used to predict which works in the bibliographical universe at large have entered the canon, by virtue of the extent of their bibliographical families.

26. Epistemological Ramifications: 1  Hjørland (1998) asserts a basic epistemological approach to fundamental problems of information retrieval, particularly to the analysis of the contents of documentary entities … Hjørland lists four basic epistemological stances: Empiricism: derived from observation and experience; Rationalism: derived from the employment of reason; Historicism: derived from cultural hermeneutics; and, Pragmatism: derived from the consideration of goals and their consequences.

27. Epistemological Ramifications 2  The nominal anchor for a work (its citation) is a historical construct.  Empiricism demonstrates the multiplicity of instantiations, and the characteristics of arbitrariness and linearity in their evolution over time.  Rationalism allows us to perceive the cultural roles of works as communicative vehicles (I.e., not only informative documents).  Pragmatism leads to the development of normative constructs for retrieval of works—cf. IFLA’s FRBR model.

28. Semiotic Representation of IFLA’s FRBR Model FRBR Work Expression Manifestation Item Representamen 1 conception Object 1 Work Interpretant 1 /Representamen 2 Expression Object 2 Manifestation Interpretant 2 Item

29. Charles Dickens Oliver Twist  1139 English instantiations in OCLC  Continued reception from 1838 to present  Total adaptation not distinguished (viz. Lionel Bart’s musical) Dickens, Charles, Oliver Twist; or, The parish J. Duncombe & 1838 Dickens, Charles, Oliver Twist; or, The parish J. Turney, Jr. 1838 Dickens, Charles, Oliver Twist, or the parish b 1838... Dickens, Charles, Oliver Twist Chapman and Ha 1850 Dickens, Charles, Oliver Twist / Getz, Buck, 1853 Dickens, Charles, Oliver Twist / T.B. Peterson, 1854... Dickens, Charles, Oliver Twist. Hearst's Inter 1868 Dickens, Charles, Oliver Twist The Mershon Co 1868 Dickens, Charles, Oliver Twist / Hurd and Hough 1869 Dickens, Charles, Oliver Twist. Chapman & Hall 1870... Dickens, Charles, Oliver Twist a serio-comic bu Samuel French, 1864 Dickens, Charles, Oliver Twist : a serio-comic John Dicks, 1879... Dickens, Charles, Oliver Twist / Oxford Univers 2000 U Dickens, Charles, Oliver Twist / Longman, 2000 U Dickens, Charles, Oliver Twist / Dorling Kinder 2000 D Dickens, Charles, Oliver Twist / Modern Library 2001 D... Dickens, Charles, Oliver! Columbia Pictu 1968 Dickens, Charles, Oliver! RCA/Columbia P 1985 Dickens, Charles, Oliver! Columbia Trist 1987 Dickens, Charles, Oliver and the artful Dodger Worldvision Ho 1985 Dickens, Charles, Oliver and the artful Dodger Hanna-Barbera 1989... Dickens, Charles, Oliver Twist Decca, 1960 Dickens, Charles, Oliver Twist. Columbia, 1960 Dickens, Charles, Oliver Twist Golden Records 1962 D Dickens, Charles, Oliver Twist Books on Tape, 1977 Dickens, Charles, Oliver Twist Listen For Ple 1977... Dickens, Charles, Oliver! / Hollis Music, 196 Dickens, Charles, Oliver! / Lakeview Music 1960

30. Oliver Twist in the Catalog  Dickens, Charles, 1812-1870.  [Oliver Twist]  [Oliver Twist. Chinese]  [Oliver Twist. Dutch]  [Oliver Twist. French]  [Oliver Twist. German]  [Oliver Twist. Hebrew]  [Oliver Twist. Japanese]  [Oliver Twist. Spanish]  [Oliver Twist. Ukrainian] ...  Bart, Lionel.  [Oliver! Selections]

31. Works as Entities for Information Retrieval Partial Concept Map  Works Information retrieval entities Record clustering Bibliographic record as text and paratext Networked electronic environment Typologies Cartographic works Collected works as genus Digitized works Collected works as species Composite multimedia Performed works—Action as signification Scientific works—Genres Scientific models—Metadata representation Theological works—Genres Scripture and Revelation Video works and non-works--Taxonomy  Knowledge organization Ontology Epistemology Action vs. text Text and paratext  Taxonomy  Representation Entity-relationship  Semiotics Semiotic of Scientific Meaning Levels of signification— Phenomenology, Description, Explanation

32. From Document to Object  Instantiation understood as content geneology  As yet undescribed categories of mutation and derivation  Re-presentation of object (fine art, natural science) clearly precedes instantiation  The epistemology of the documentary work can be extended as a pragmatic tool for the development of metadata and other documentation practices for knowledge-sharing about works across domains.  Just as some documents contain non-works, so do many real world information objects  Non-works have distinct ideational and expressive content apart from their carriers

33. An Architecture of Content Geneology Representamen 1 Object 1 Interpretant 1 /Representamen 2 Object 2 Interpretant 2 Nominal Anchor (the Name of the Work) -Instantiation of the Original -Re-presentation of the Instantiation -Mutation, Derivation, Etc. of the Re- presentation

34. Outline of a meta-theory  Theory of “works”  Theory of the interaction of signification and reception  The evolution, derivation, and mutation of ideational and expressive content across: Time Culture Linguistic boundaries Canonicity Etc.  Lacunae: empirical evidence of the geneology of re-presentation