Difference between revisions of "Filmographic information in the ocean of data"
From filmstandards.org
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What makes a differerence, however, is the '''long-term potential''' of organising knowledge publicly by expressing typed (i.e. semantic) relationships between myriads of statements. | What makes a differerence, however, is the '''long-term potential''' of organising knowledge publicly by expressing typed (i.e. semantic) relationships between myriads of statements. | ||
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| + | Routes for exploration | ||
| + | * [http://dbpedia.org/About dbpedia: A hub for exploring linked open data] | ||
| + | * [http://labs.mondeca.com/sparqlEndpointsStatus/ A list of public SPARQL endpoints] | ||
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| + | Some LOD exercises in filmography | ||
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| + | * [http://data.linkedmdb.org/ LinkedMDB: A compilation of film-related data without a data model] | ||
| + | * [http://rdf.freebase.com/rdf/en.2nd_academy_awards An event node, scraped together from Wikipedia] | ||
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Latest revision as of 21:55, 11 April 2011
From the TC 372 Workshop Compendium
Drowning, getting diluted, or taking on the challenge?
Metadata from film archives may appear as little more than a drop in the ocean of factual data that already exists on the net. Is it worthwhile to join the game of linked open data?
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This is a scaled-down rendering of Richard Cyganiak's famous visualisation of the linked open data cloud, as of September, 2010. Updates of this are published on http://lod-cloud.net/ . The quality of these datasets ranges from wretched to wonderful, and some of the services seem to be defunct most of the time while others do an admirable job. In this respect, linked open data is still little different from the rest of the Internet. What makes a differerence, however, is the long-term potential of organising knowledge publicly by expressing typed (i.e. semantic) relationships between myriads of statements. |
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Routes for exploration Some LOD exercises in filmography |