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and patterns, for instance for printing textiles like
bed linen and curtains. Sometimes even the furniture
in our collection. For example, a chair from the
famous Scottish designer Rennie Macintosh has
been used for designing a new chair. A DAMS would
help enormously in producing the right rendering
for our users. At the same time it would help us in
managing our rights.'
Although there seem to be a lot of advantages,
museums are still hesitant when it comes down to
procuring a DAMS. Partly because the director or
senior curator is difficult to convince, says Stevenson.
`He or she is often not aware of the possibilities and
tends to view a DAMS as yet another collection
management system, as I mentioned before.' Apart
DigiCULT 15
from lack of awareness there is also the problem of
finance. Stevenson: `A lot of museums have difficul-
ties in making ends meet. Extra income from spon-
sors, for instance, is often linked to a certain collec-
tion or exhibition; you cannot use it for infrastruc-
ture.The budget itself often does not have room for
this type of investment as it is in most museums
determined on a yearly basis.'
Still, Stevenson thinks it is important to develop a
management system for digital assets. `It does not
have to be a fully-fledged, all-in-one system, but we
have to get started. It is too important to let it get
stuck in between a rock and a hard place, i.e. the
need for further development and the lack of