Her writing is intimate and analytical, laced with radiant perceptions about movie stars, memory, and lost time.Ī.
Masha Tupitsyn's Picture Cycle rescues films of our generation from the memory hole to which everything but box office is now consigned. Masha Tupitsyn's Picture Cycle is not just a socio-political argument for formal complexity, it is also an artwork that pushes criticism, art, and philosophy towards the immaterial, spectral, and sublime while maintaining exemplary attention to formal detail. Pressing against our lossless digital surfaces, Tupitsyn uncovers cuts, dissolves, frames, gaps, and junctures that revive our capacity for making sense.įelix Bernstein, author of Burn Book, Notes on Post-Conceptual Poetry Laurie Sheck, author of A Monster's Notes These formally inventive essays bring to mind both Gertrude Stein and John Berger, as they illuminate with beauty and tenderness a world that “stopped being The World and became something else." In essays that reach back into pre-digital childhood and fast forward into an ever-spreading simulacrum, Masha Tupitsyn's gaze is always vibrant, curious, and compellingly alert to the telling detail and revealing contradiction. At once lyrical and incisively analytical, it investigates, with great acuity, intellectual range, and undercurrent of mourning, “the new emotional schematic,” where lives and screens become hauntingly inseparable. Picture Cycle is a brilliant work of cultural criticism. What is so envy-making about her writing is that she does this with such graciousness that she makes it look easy. Like all good criticism, takes the esoteric or ineffable elements in art and renders them obvious, instinctive. The result is a unique intellectual study of the uncanny formation of our life's biographies through images. Deftly covering a range of theoretical and cinematic frameworks, Tupitsyn traces here the quickly vanishing line between onscreen and offscreen, predigital and postdigital. Composed over a ten-year period, Picture Cycle is a pioneering collection whose sharp and knowing vignette-like essays form a critical autobiography of the daily images in our lives. Picture Cycle continues Tupitsyn's multigenre investigation of the personal and cultural annals of memory, identity, and spectatorship, both on and off the screen. With her debut collection Beauty Talk & Monsters (2007), Masha Tupitsyn established a new genre of hybrid writing that melded film criticism, philosophy, and autobiography. We see and we see and we see ad infinitum.
From the inside, secrecy appears eradicated, as though secrets or coded transparencies comprise the totality of injustice, rather than just one part.
In exchange for studying what each fraudulent cell looks like under a merciless commercial and commodified lens, viewers enable late-capitalism to run more smoothly by calling in with their votes, as is the case with Reality TV. If you can’t find the resource you need here, visit our contact page to get in touch.Įstablished in 1962, the MIT Press is one of the largest and most distinguished university presses in the world and a leading publisher of books and journals at the intersection of science, technology, art, social science, and design.Ī multigenre investigation of the personal and cultural annals of memory, identity, and spectatorship, both on and off the screen. The MIT Press has been a leader in open access book publishing for over two decades, beginning in 1995 with the publication of William Mitchell’s City of Bits, which appeared simultaneously in print and in a dynamic, open web edition.Ĭollaborating with authors, instructors, booksellers, librarians, and the media is at the heart of what we do as a scholarly publisher. Today we publish over 30 titles in the arts and humanities, social sciences, and science and technology. MIT Press began publishing journals in 1970 with the first volumes of Linguistic Inquiry and the Journal of Interdisciplinary History.
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