cataloguing in Thylstrup 2019


y knowledge, few systematic studies exist about whether mass digitization
projects such as Europeana and Google Books hamper or foster creative and
original research in empirical terms. How one would go about such a study is
also an open question. The dichotomy between digital and analog does seem a
bit contrived, however. As Dan Cohen notes in a blogpost for DPLA, “bookstores
and libraries have their own forms of ‘serendipity engineering,’ from
storefront staff picks to behind-the-scenes cataloguing and shelving methods
that make for happy accidents.”86 Yet there is no doubt that the discourse of
serendipity has been infused with new life that sometimes veers toward a
“spectacle of serendipity.”87

Over the past decade, the digital infrastructures that organize our cultural
memory have become increasingly integrated in a digital economy that valuates
“experience” as a cultural currency that can be exchanged to profit, and our
affective meanderings as a form of industrial productio

 

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