## 2 Theoretical Background
In the world of the Web, the data architecture of digital museum databases is quite diverse and calls for advanced mapping and vocabulary integration. This does not come as a surprise as libraries, museums and galleries have always had extended and heterogeneous databases in the physical world as well. Several efforts have been conducted in recent years to digitize cultural heritage assets using Semantic Technologies such as RDF and OWL. There are numerous digital collections and applications available today that provide immediate access to cultural heritage content [13]. Additionally, cultural heritage is moving into new media of linear and non-linear storytelling, using audiovisual hypermedia assets and efforts are being made to provide enhanced semantic interaction, in order to transition such content into the Semantic Web [14]. Since the Web is a space full of available information, it goes without saying that someone can find available many sources related to art and culture that do not belong to their organizations but to websites, blogs or platforms focusing on arts and culture. In fact, art or cultural journalism is a distinctive field of journalism. [PERSON] [15] in his study about coverage of the arts in Dutch newspapers between 1965-1990, divided it in three levels: The first level regards the general newspapers' general portrayal of art, for example, the amount of space devoted to the arts in comparison to other topics. The second level examines disparities in the amount of focus provided to various creative forms or genres by contrasting, for example, classical and rock music coverage. The third level deals with the coverage that artifacts belonging to a certain artistic genre or subfield receive, for instance, the critical response to freshly released films. There was also a classification between cultural artifacts. The first level concerns the standing of the arts in respect to other (cultural) domains; the second level concerns the hierarchical relationships between art forms or genres; and the third level concerns the ranking of works and producers within a particular artistic domain. Towards realizing their vision for the Semantic Web, the Semantic Web initiative of the World Wide Web Consortium (W3C) has developed a set of standards and tools to support this. Their early work resulted in two significant proposals: the Resource Description Framework Model and Syntax Specification and the Resource Description Framework Schema Specification. The W3C consisted of two primary working groups, the RDF Core Working Group and the Web Ontology Working Group, both of which issued significant sets of recommendations [16]. Since its inception, the Semantic Web has been evolving a layered architecture. Although there have been many variations since, its various components are:  
* Unicode and URIs: Unicode as the computer character representation standard, and URIs, as the standard for identifying and locating resources (such as Web pages), offer a foundation for representing characters used in the majority of the world's languages and identifying resources. * XML: XML and its relevant standards, such as and Schemas and Namespaces, are widely used for data organization on the Web, but they do not transmit the meaning of the data. * Resource Description Framework: RDF is a basic information (metadata) representation framework that utilizes URIs to identify Web-based resources and a graph model to describe resource relationships. RDF lays the foundation for publishing and linking data. There are a number of syntactic representations available, including a standard XML format. * RDF Schema: a simple type modelling language for describing classes of resources and properties between them in the basic RDF model. It provides a simple reasoning framework for inferring types of resources. * Ontologies: a richer language capable of expressing more complicated constraints on the types and attributes of resources.