Masha Tupitsyn Quotes

Love is an active construction, and choice, not just an encounter that happens by chance.

I am as much what I am because of what I still don't have as I am because of what I have had and what I might still have one day.

Not only is true love rare and true rebellion rare, real love is itself a radical form of rebellion - engagement, thinking, and being - and therefore happens in the context of a larger project of justice, liberation, and critical thinking.

I still have faith in people. But that is getting increasingly harder to maintain. I just don't see many people today choosing love. I see people passing it up a lot. Foreclosing on it, deferring it, sabotaging, letting go.

Both cinematic culture and the culture at large have changed profoundly. We're now in post-cinematic digital culture, and the internet has obviously usurped movies, which are no longer central to our lives, at least not as a collective spectator experience.

Quotes are like prompts. A way of searching, connecting the dots.

Quotes are a way of acting out not just a text, and not just thinking, but the making of a text. The construction of thinking.

Thinking through quotes, which to say scouring a range of texts for insight, is one way to outline the process of thinking/feeling through a subject.

The digital age is for me in many ways about temporal wounding. It's really messed up our ontological clocks.

One of the liberating things about having a blog is the total vision it allows.

I was never really satisfied with writing only text or with the way my texts looked when they were published. Most online journals have a pretty lame sense of typography - bad font, counter-intuitive margins and line spacing - that it makes me sour on my writing.

For me, the eye and the word go together. Even when I was working in word documents, I was always obsessed with fonts, size, margins - the look of words on a page. The way something looks or sounds is also what it means.

Love has been the ontological pattern for me. And also the withholding pattern.

True lovers are as rare as true rebels.

Having a love ethic, as opposed to simply being in love, or having a lover, means love is the way you actively choose to engage with the world - whether you're in a relationship or not. It's not about disappearing into existing structures, norms, and privileges. It's precisely about breaking with the existing structures, values, and norms that prohibit real love in our culture.

Love has been the ontological pattern for me. And also the withholding pattern. I am still on hold with regards to love. And the longer one is on hold, in suspense, on a search, the harder, paradoxically, it is to continue with a search.

At any moment I could give up, but I haven't because love for me is an indispensable structure for being.

I'm a discursive thinker, so quotation has played an active role in the structure and content of my books from the beginning.

In the digital economy, everything is archived, catalogued, readily available, and yet nothing really endures.

The digital artwork is characterized not by the technology which delivers it, but by the "passage" itself.

Quotes are like prompts. A way of searching, connecting the dots. Other people's thinking has always - both positively and negatively - jumpstarted my thinking. Quotes are also a way of acting out not just a text, and not just thinking, but the making of a text. The construction of thinking. The quotes are part of those constructions and reflections. Thinking through quotes, which to say scouring a range of texts for insight, is one way to outline the process of thinking/feeling through a subject.

The digital age is for me in many ways about temporal wounding. It's really messed up our ontological clocks. In the digital economy, everything is archived, catalogued, readily available, and yet nothing really endures. The links are digital encryptions that can and won't be located. That will have to be reassembled over time. It won't be exactly what it was. There will be some slightly altered version. So the book is both an immaterial and material artifact.

The way something looks or sounds is also what it means. Words as visual and aural phenomena, which mainly poets, not critics and prose writers, tend to be obsessed with. I think maybe I'm more of a curator than I am a writer in the strict sense because I am interested in how everything on the page, in a space, works together.

You have to have an eye and a feeling for where things go. Writing visually, writing textually, writing sonically. Text is visual for me and images are textual. There is power in the way ideas are arranged, not just developed rhetorically. Form is everything.

We don't experience things collectively or cathartically anymore. Viewing has become an intensely private, fetishistic, compulsive process that happens separately from others, and that reflects not only our relation to cinema as a space of possibility, belief, and imagination. But more generally, of what could be, of readiness, which is what the movies have historically been about - the ability to act on things and change.