![]() Masha sent me this in an email (and followed with an entry on Tumblr) sometime after the book was completed. This clip from Godard's Scénario du film Passion is not in the book. You do nothing." (p50)Ģ7:09 Kate Bush "Oh to Be in Love" (1978)* When you are in The Hanged Man space, you stay still rather than move – act. Masha Tupitsyn: "The Hanged Man is about suspension. Culture Club: "Time won’t give me time." (p79) everything was turning into music for us and you go upstairs and smash all the instruments." (p220)ħ:13 Excerpts from Pretty in Pink (1986), director: Howard Deutch*ħ:26 The Persians "Gee, What A Girl" (1968)ġ0:32 Excerpt from Stardust Memories (1980), director: Woody Allen*ġ1:32 Bobby Peterson "Irresistible You" (1960)ġ4:14 Excerpt from Sleepless in Seattle (1993), director: Nora Ephron*ġ4:47 Jean Wells "Have a Little Mercy" (1968)ġ7:17 George Jackson "How Can I Get Next To You" (1974)Ģ3:36 Mixed excerpt from JAWS (1975), director: Steven SpielbergĢ4:46 John Williams "End Theme" (Music from the motion picture JAWS, 1975)*Ģ4:46 Masha Tupitsyn reads "End Theme" from Love Dog The Music of Chance: "We had everything in harmony. Masha Tupitsyn: "I met someone, it rattled me to the core." (make/shift) Masha Tupitsyn: "In real life, people can see something happen between two people and say, 'It's nothing.' In a movie that 'nothing becomes an entire movie." (p152)Ġ:00 Masha Tupitsyn reads "Love Dog" from Love Dog ( Nov 22, 2013)Ģ:04 Peter Downsbrough "Taken Down" (1979)ģ:06 Director John Cassavetes on filmmaking*Ĥ:48 The Chromatics "Tick of The Clock" (2007)*ĥ:05 Tangerine Dream "Love on a Real Train" (Music from the motion picture Risky Business, 1983)*ĥ:42 Masha Tupitsyn reads "Saudade" from Love Dog Masha Tupitsyn: "What is coming sounds like this." (Love Dog, p146) Below, I've included a few liner notes: reflections, citations, and links. Seventeen of the tracks featured are taken directly from the book's playlist and are noted with an asterisk. The music, dialogue, and film used in it have a direct relationship to the ideas and themes of the book. This audio piece was mixed in September 2013 between a Fostex Multitracker X-12 four-track and Wavepad. We did this in part by releasing the book in conjunction with other accompaniments, including playlists. Our aim for a print adaptation of the work was to experiment with digital time and form(s) to see if a printed object could encapsulate and extend the immersive qualities of a multi-sensory, multi-media online work. In 2013, Love Dog was published as a book. ![]() Though written linearly, the result veers backward and forward through time, realizing its present and future through careful association, memory, and nostalgia. Tumblr allowed me to write the kind of interactive, associative, experimental, and discursive criticism that I have always wanted to write and that directly responds to the digital structure that now informs and organizes our lives. I met someone, it rattled me to the core, and I felt called upon to write about it in some roundabout, uncategorizable way that would still examine all the other social, political, and philosophical issues that I have always been concerned with. The project explores "love" and (the) "loss" (of): grief as it unfolds, narrated diaristically. In its online form, Love Dog married diaristic and critical writing while incorporating wide-ranging samples (music, recorded interviews, photographs, films, and texts) as expressions of authorial intent. Masha Tupitsyn's Love Dog, which we commissioned at Penny-Ante Editions, was originally published as a series of posts on Tumblr from November 2011 to December 2012. This post is part of Wavelength, a series of guest curated sound art and music mixes. Rebekah Weikel founded Penny-Ante Editions, a Los Angeles-based publisher of literary works by artists, writers, and musicians. A still from an online clip of Wong Kar-Wai's Days of Being Wild (1991) incorporated into Masha Tupitsyn's Love Dog (2013), a transmedia publishing project
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