By Masha Tupitsyn
If the sound chew is the recent order, then how will we make each be aware count number? In today's surplus global of verbal exchange overload and cultural litter, author and cultural critic Masha Tupitsyn turns to the media matrix of Twitter to discover the altering ways in which we build and eat narrative. Loosely utilizing the discerning aphorism--a compressed style in itself--to a twenty first century context, LACONIA: 1,200 TWEETS ON movie bargains meditations on movie and pop culture that resonant with laconic that means and private perception whereas attending to the guts of the problem. encouraged via Chris Marker's free-associative movie impressions in los angeles Jetee and Sans Soleil, LACONIA is a component movie diary, half cultural stock, and half mashup. Pulling from an array of movie, pop culture, books, and mainstream information, it bargains penetrating severe statement on an more and more muddled digital global. LACONIA comprises brick by means of brick prose, as Tupitsyn thinks in sentences and features that culminate in an structure of considering.
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Example text
92 Including a vertical harmonic unity, these techniques are fundamental in a dialectical approach to form. There was another way in which the form of a fugue would be useful in the sound film. Eisenstein mentions that one of J. S. Bach’s main points in his own teaching of fugue was the equal role of parts in the texture of the counterpoint – these were like voices of living people. 93 This approach provides an aspect of fugue which relates it to drama, thereby appealing to the humanistic and socially-conscious aspects of Eisenstein’s work in cinema.
He found that the music of J. S. Bach was a great help in this respect. 25 In the attempt to find some sort of equilibrium in the forms he used in his drawings, Richter’s passion for music led him to the idea of meeting with the Italian German composer Ferruccio Busoni. Also living in Zürich, Busoni was famous as a piano virtuoso, conductor, composer, and specialist in the music of J. S. Bach. In the evenings he would hold court by a fountain outside Zürich railway station. Richter sought his advice about how he could obtain a sense of equilibrium and counter-equilibrium between the black ink marks and the white paper in his drawings, a difficulty he believed was analogous to a musical problem.
He used techniques derived from music to control what he called ‘the heap of fragments inherited from the Cubists’. ’ He found that the music of J. S. Bach was a great help in this respect. 25 In the attempt to find some sort of equilibrium in the forms he used in his drawings, Richter’s passion for music led him to the idea of meeting with the Italian German composer Ferruccio Busoni. Also living in Zürich, Busoni was famous as a piano virtuoso, conductor, composer, and specialist in the music of J.