Peter Krapp – författare

The pitfalls of cultural memory and forgetting, understood through the genealogy of the phenomenon called dÉjÀ vuReferring to a past that never was, dÉjÀ 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 dÉjÀ vu. This provocative book offers a refreshing counterpoint to the clichÉd celebrations of cultural memory and forces us do a double take on the sanctimonious warnings against forgetting so common in our time.Disturbances of cultural memory-screen memories, false recognitions, premonitions-disrupt the comfort zone of memorial culture: strictly speaking, dÉjÀ vu is neither a failure of memory nor a form of forgetting. Krapp’s analysis of such disturbances in literature, art, and mass media introduces, historicizes, and theorizes what it means to speak of an economy of attention or distraction. Reaching from the early psychoanalytic texts of Sigmund Freud to the plays of Heiner MÜller, this exploration of the effects of dÉjÀ vu pivots around the work of Walter Benjamin and includes readings of kitsch and aura in Andy Warhol’s work, of cinematic violence and certain exaggerated claims about shooting and cutting, of the memorial character of architecture, and of the high expectations raised by the Internet.

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 gaming and machinima in media history. Krapp analyzes text, image, sound, virtual spaces, and gestures in noisy channels of computer-mediated communication that seek to embrace-rather than overcome-the limitations and misfires of computing. Equally at home with online literature, the visual tactics of hacktivism, the recuperation of glitches in sound art, electronica, and videogames, or machinima as an emerging media practice, he explores distinctions between noise and information, and how games pivot on errors at the human–computer interface. Grounding the digital humanities in the conditions of possibility of computing culture, Krapp puts forth his insight on the critical role of information in the creative process.

This book analyses museums of computing in several pivotal dimensions. As institutions of cultural memory, they continue to play major roles in how we understand our mediated situation; there are many “missing narratives” in media history, and museums have been part of the response to those challenges. Yet media technology advances quickly, and a lot of the discourse about media is hype about present and future perspectives – it can seem as if rapid changes are the only constant, especially in computing. As museums became institutions that associate objects with learning to help us understand the world, they responded to the needs of the cultures that create them - but digital media pose a range of difficult questions in this nexus. Museums help constitute our collective understanding of the history of computing, and by the same token networked computing has come to complicate the role of museums. Examining the impressive expansion of the museum model also requires analysis of the extent to which the legacy of the museum is challenged by assumptions about obsolescence, forgetting, erasure in digital culture.

Das Ziel des Handbuchs ist es, die ''kulturwissenschaftliche Lücke'' in der Sprachwissenschaft historisch und systematisch zu reflektieren sowie einen Beitrag zu ihrer Schließung zu leisten. Die Klärung der Frage: "Wie ist Sprachwissenschaft als Kulturwissenschaft möglich?" soll sowohl aus der disziplinären Innenperspektive vorliegender Ansätze der Sprachwissenschaft, als auch aus der Außenperspektive benachbarter Disziplinen fokussiert werden.