Dir. Masha Tupitsyn, 2014
USA, 247 min.
TUESDAY, NOVEMBER 4 – 7:30 PM (PART 1)
WEDNESDAY, NOVEMBER 5 – 7:30 PM (PART 2)
“Auditory landscapes can also be interpolations between space and time, space and reality, the psycho-social and the geographic, and temporality and memory. The act of listening involves a transitional state between attention and imagination, between sensual experience and understanding or seeking a possible meaning.”
-Jean-Luc Nancy, Listening
Cinema remains the last medium for speaking and performing love culturally. While much emphasis has been placed on the visual iconography of love, with the exception of music very little attention has been given to love as an aural phenomenon since the tradition and practice of amour courtois. Partly inspired by Christian Marclay’s ontology of time in cinema, THE CLOCK, and René Magritte’s word paintings, which textualized the visual tropes of painting with “written” images, LOVE SOUNDS, a 24-hour sound poem and montage, dematerializes cinema’s visual legacy and reconstitutes it as an all-tonal history of critical listening.
At Spectacle, LOVE SOUNDS will be presented in four hours over two evenings. Tuesday, November 4th we will screen Part 1 (sections include Desire-Sex, Sexual Politics, Trust-Betrayal and Break-Ups). The following night, Wednesday, November 5th, we will conclude with Part 2 (sections include Heartbreak, Violence-Death, Fate-Time-Memory and Love).
LOVE SOUNDS, an audio history of love in cinema, concludes Tupitsyn’s immaterial trilogy, and will be presented outside of the cinema as a 24-hour sound installation, accompanied by a catalogue published by Penny-Ante.
In 2011, Masha Tupitsyn commenced her immaterial series with LACONIA: 1,200 Tweets on Film, the first book of film criticism written entirely on Twitter. LACONIA experimented with new modes of writing and criticism, updating traditional literary forms and practices like the aphorism and the fragment. Re-imagining the wound-and-quest story, the love narrative, and the female subject in love in the digital age, Love Dog, published in 2013, was the second installment in Masha Tupitsyn’s trilogy of immaterial writing. Written as a multi-media blog and inspired by Roland Barthes’ A Lover’s Discourse and Mourning Diary—a couple in Tupitsyn’s mind—Love Dog is an art book that is part love manifesto, part philosophical notebook, part digital liturgy.
MASHA TUPITSYN is a writer, critic, and multi-media artist. She is the author of the books Like Someone in Love: An Addendum to Love Dog (Penny-Ante Editions, 2013), Love Dog (Penny-Ante Editions, 2013), a multi-media art book, LACONIA: 1,200 Tweets on Film (ZerO Books, 2011), Beauty Talk & Monsters, a collection of film-based stories (Semiotext(e) Press, 2007), and co-editor of the anthology Life As We Show It: Writing on Film (City Lights, 2009). Her fiction and criticism have appeared or is forthcoming in the numerous anthologies and journals. She is a Senior editor at Berfrois and a contributing writer for Entropy. Her blog is: http://mashatupitsyn.tumblr.com
Text courtesy of Masha Tupitsyn.