This reminds me of MusicBrainz, whose database stores "release groups", e.g. the album Nevermind by Nirvana is one, which can have hundreds of "releases", as different media (tape, CD, LP, promo, ...), different countries, later re-issues, etc. [0]
Sometimes these have different catalogue numbers or barcodes to distinguish them, sometimes they don't but they're still different. I've seen releases where the only difference is the label in the centre of the LP, or the back of the CD case has a two-column tracklisting vs a one-column tracklisting. Music publisher uses the same code and says it's identical and yet it's clearly not.
Then there's the "recordings" on an album, which even if they're never re-recorded can still end up chopped up, bleeped or remastered. They're not the same sound. MusicBrainz likes to track when they are exactly the same recording (e.g. the LP recording of a song appearing on a compilation album verbatim) and when they're not (e.g. radio edits of the LP recording). And if we're going beyond recordings by one artist of "their" song, i.e. cover versions, or just plain standards, those are "works", with composers, lyricists, and can be recorded thousands of times by different artists...
I greatly appreciate the pedantry and flexibility for noting down when creative works are the same versus where they differ, in relational database form.
This also fails to take into account that ISBNs also contain the publisher ID in them. So identical copies of a book could have different ISBNs depending on which markets they are sold in.
I'm not sure this is the case, I got my ISBN range through my government national library service, I could be wrong but when you let them know what the book is you are publishing they ask for the Publisher name, though I am guessing as the service is free and it only applies to New Zealand books and publications.
I don't know that work, but I agree with you in general because of forewords etc. Or even appendices. And translations by different translators.
I "grew up with" a specific translation of Lord of the Rings into Norwegian, for example. There are two. They are very different. But the editions also differ in whether they include the appendices, whose illustrations are used, and more.
If the author sees this comment, https://news.ycombinator.com/item?id=43168838 might be relevant as it relates to catalogue completeness. OpenLibrary is very good, but Anna's Archive is potentially more complete.
tl;dr; - The ISBN is intended to be a physical Part Number, within the book business. Where "hardcover, or paperback, or trade paperback, or large print, or revised edition, or ..." very much matters.
WASM is increasingly becoming the 'standard escape hatch' for web performance. It’s fascinating to see it move from niche graphics applications to everyday utility tools where zero-latency is the primary goal.
This reminds me of MusicBrainz, whose database stores "release groups", e.g. the album Nevermind by Nirvana is one, which can have hundreds of "releases", as different media (tape, CD, LP, promo, ...), different countries, later re-issues, etc. [0]
Sometimes these have different catalogue numbers or barcodes to distinguish them, sometimes they don't but they're still different. I've seen releases where the only difference is the label in the centre of the LP, or the back of the CD case has a two-column tracklisting vs a one-column tracklisting. Music publisher uses the same code and says it's identical and yet it's clearly not.
Then there's the "recordings" on an album, which even if they're never re-recorded can still end up chopped up, bleeped or remastered. They're not the same sound. MusicBrainz likes to track when they are exactly the same recording (e.g. the LP recording of a song appearing on a compilation album verbatim) and when they're not (e.g. radio edits of the LP recording). And if we're going beyond recordings by one artist of "their" song, i.e. cover versions, or just plain standards, those are "works", with composers, lyricists, and can be recorded thousands of times by different artists...
I greatly appreciate the pedantry and flexibility for noting down when creative works are the same versus where they differ, in relational database form.
[0] https://musicbrainz.org/release-group/1b022e01-4da6-387b-865...
This also fails to take into account that ISBNs also contain the publisher ID in them. So identical copies of a book could have different ISBNs depending on which markets they are sold in.
I'm not sure this is the case, I got my ISBN range through my government national library service, I could be wrong but when you let them know what the book is you are publishing they ask for the Publisher name, though I am guessing as the service is free and it only applies to New Zealand books and publications.
I'm not sure we always want 'works'. Sometimes different 'expressions' of the same work are different enough that they don't have the same value.
For example, compare the most recent edition of 'Straight and crooked thinking' with the one published in 1930.
I don't know that work, but I agree with you in general because of forewords etc. Or even appendices. And translations by different translators.
I "grew up with" a specific translation of Lord of the Rings into Norwegian, for example. There are two. They are very different. But the editions also differ in whether they include the appendices, whose illustrations are used, and more.
If the author sees this comment, https://news.ycombinator.com/item?id=43168838 might be relevant as it relates to catalogue completeness. OpenLibrary is very good, but Anna's Archive is potentially more complete.
The first few para's of https://en.wikipedia.org/wiki/ISBN are a better summary of the issue.
tl;dr; - The ISBN is intended to be a physical Part Number, within the book business. Where "hardcover, or paperback, or trade paperback, or large print, or revised edition, or ..." very much matters.
I read that it's much worse than that, and there are ISBNs that were reused for completely different books.
WASM is increasingly becoming the 'standard escape hatch' for web performance. It’s fascinating to see it move from niche graphics applications to everyday utility tools where zero-latency is the primary goal.