Masha Tupitsyn: Editing as the Practice of Criticism
Editing as the Practice of Criticism
(S. 213 – 224)

Masha Tupitsyn

Editing as the Practice of Criticism

PDF, 12 Seiten

  • Kritik
  • Philosophie
  • Ästhetik

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Deutsch, Englisch, Französisch

Masha Tupitsyn

is a writer, critic, and multi-media artist. She is the author of several books, the latest, Picture Cycle, forthcoming with Semiotext(e) in 2019. In 2015, she completed the 24-hour film, Love Sounds, an audio-essay and history of love in English-speaking cinema, which concluded an immaterial trilogy. The film was accompanied by a catalogue, published in 2015 by Penny-Ante Editions, and has been exhibited and screened in the United States, Canada, Europe, and Australia. In 2017, she completed the first installment, the 1970s, of her ongoing essay-film, DECADES. The second installment, the 1980s, was completed in 2018. DECADES composes a history of cinematic sound and score for each twentieth century decade. Her writing has appeared in numerous journals and anthologies. She teaches film, literature, and gender studies at The New School in New York.
Sami Khatib (Hg.), Holger Kuhn (Hg.), ...: Critique: The Stakes of Form

Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to “build on the structure through demolition” (Benjamin) testify to the dependence of all articulation on the forms of (re)presentation [“Darstellung”]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene—whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice.