Referring to a past that never was, dij vu shares a structure not only with fiction, but also with the ever more sophisticated effects of media technology. Tracing the term from the end of the nineteenth century, when it was first popularized in the pages of the Revue philosophique, Peter Krapp examines the genealogy and history of the singular and unrepeatable experience of dij vu. This provocative book offers a refreshing counterpoint to the clichid celebrations of cultural memory and forces us do a double take on the sanctimonious warnings against forgetting so common in our...
Referring to a past that never was, dij vu shares a structure not only with fiction, but also with the ever more sophisticated effects of media techno...
Referring to a past that never was, dij vu shares a structure not only with fiction, but also with the ever more sophisticated effects of media technology. Tracing the term from the end of the nineteenth century, when it was first popularized in the pages of the Revue philosophique, Peter Krapp examines the genealogy and history of the singular and unrepeatable experience of dij vu. This provocative book offers a refreshing counterpoint to the clichid celebrations of cultural memory and forces us do a double take on the sanctimonious warnings against forgetting so common in our...
Referring to a past that never was, dij vu shares a structure not only with fiction, but also with the ever more sophisticated effects of media techno...
The fact that the mass media constitute such a ubiquitous presence in contemporary life often leads to the assumption that medium or media emerged as a specific issue only with the advent of mass media. The question of medium is today almost totally subsumed within discussions of the mass media. In this context, it is always regarded as plural. Yet the issue of the medium became a central concern of modernist art almost a century and a half ago. This collection of essays seeks to reopen this long history of exploration and engagement and to scrutinize the role of the medium in areas as...
The fact that the mass media constitute such a ubiquitous presence in contemporary life often leads to the assumption that medium or media emerged as ...
To err is human; to err in digital culture is design. In the glitches, inefficiencies, and errors that ergonomics and usability engineering strive to surmount, Peter Krapp identifies creative reservoirs of computer-mediated interaction. Throughout new media cultures, he traces a resistance to the heritage of motion studies, ergonomics, and efficiency; in doing so, he shows how creativity is stirred within the networks of digital culture.
Noise Channels offers a fresh look at hypertext and tactical media, tunes into laptop music, and situates the emergent forms of computer...
To err is human; to err in digital culture is design. In the glitches, inefficiencies, and errors that ergonomics and usability engineering strive ...
To err is human; to err in digital culture is design. In the glitches, inefficiencies, and errors that ergonomics and usability engineering strive to surmount, Peter Krapp identifies creative reservoirs of computer-mediated interaction. Throughout new media cultures, he traces a resistance to the heritage of motion studies, ergonomics, and efficiency; in doing so, he shows how creativity is stirred within the networks of digital culture.
Noise Channels offers a fresh look at hypertext and tactical media, tunes into laptop music, and situates the emergent forms of computer...
To err is human; to err in digital culture is design. In the glitches, inefficiencies, and errors that ergonomics and usability engineering strive ...
