cataloguing in Weinmayr 2019
transformation is subtle, and it is this subtlety that makes
the book subversive in an institutional library context. How do students deal
with their expectations that they will access authoritative and validated
knowledge on library shelves and instead encounter a book that was printed and
assembled by hand?[97](ch11.xhtml#footnote-429) Such publications circumvent
the chain of institutional validation: from the author, to the publisher, the
book trade, and lastly the librarian purchasing and cataloguing the book
according to the standard bibliographic
practices.[98](ch11.xhtml#footnote-428) A similar challenge to the stability
of the printed book and the related hierarchy of knowledge occurred when
students at Byam Shaw sought a copy of Jacques Ranciere’s Ignorant
Schoolmaster and found three copied and modified versions. In accordance with,
or as a response to, Ranciere’s pedagogical proposal, one copy featured
deleted passages that left blank spaces for the reader to fill and to
construct
ramed and categorised ‘as different’ from the main stack of the collections.
[98](ch11.xhtml#footnote-428-backlink) When The Piracy Project was invited to
create a reading room at the New York Art Book Fair in 2012, a librarian from
the Pratt Institute dropped by every single day, because she was so fixed on
the questions, the pirate books and their complex strategies of queering the
category of authorship posed to standardised bibliographic practices. Based on
this question we organised a cataloguing workshop ‘Putting the Piracy
Collection on the shelf’ at Grand Union in Birmingham, where we developed a
new cataloguing vocabulary for cases in the collection. See
See also Karen Di Franco’s reflection on the cataloguing workshop ‘The Library
Medium’ in Francke and Weinmayr, Borrowing, Poaching, Plagiarising.
[99](ch11.xhtml#footnote-427-backlink) See Piracy Project catalogue: Camille
Bondon, Jacques Rancière: le mâitre ignorant,
Rancière’s pedagogical proposal suggests that ‘the most important quality of a
schoolmaster is the virtue of ignorance’. (Rancière, 2010, p. 1). In his book
The Ignorant Schoolmaster: Five Lessons i
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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