This resource collection provides an introduction to critical inquiry for creative media students.
“The critical and creative functions of the mind are so interwoven that neither can be separated from the other without an essential loss to both”. — Anonymous
There is no royal path to good writing; and such paths as do exist do not lead through neat critical gardens, various as they are, but through the jungles of self, the world, and of craft.
Who is the producer/storyteller of the message?
What is their purpose/motive/agenda? (to inform, to persuade, to educate, to call to action, to entertain, to shock)
Who is the intended (primary) target audience? How do you know? Is there another (secondary) audience?
What does the message say? How does it say it?
How do you know what the message means?
What format/medium does the producer use?
What are the advantages of the format/medium?
What methods/techniques does the producer use to make the message attractive/believable?
What lifestyle is portrayed in the message? What clues tell you?
Who makes money or benefits from the message?
Who/what is left out of the message?
Whose interests are served by telling/showing the message in a particular way?
Do you agree with the message?
How might different people interpret the message differently?
What do you know; what do you NOT know; What would you like to know?
Where can you go to verify the information or get more reliable information?
What can you do with the information you have obtained from the message?
Source: © Chris Worsnop, 1999. Adapted by the author from Screening Images: Ideas for Media Education. Wright Communications, 1994. Original post at: http://www.media-awareness.ca/english/resources/educational/teaching_backgrounders/media_literacy/conceptual_framework_worsnop.cfm?RenderForPrint=1
"“Critical in post-positivist design is a problem focus, the stimulation of imagination in the making of bold conjectures, attunement to the significance of provisional hypothesis formation in pushing an investigation forward, the correlative role of guided experimentation, and the capacity to discern which data in which contexts is relevant to the problem at hand. Also needed is searing and, as relevant, comparative analysis of any given theory or study, acceptance of falsification as a core criteria…a probing into alternative scenarios suggested by the data or a given hypothesis, a drive for problem resolution, and the search for truth, however provisional, as a regulative ideal.” Post-positivist Scientific Philosop
Writing at the University of Toronto provides advice files answering student questions about academic writing, news about writing courses and writing centres at U of T, and teaching resources for faculty and TAs.
From the start of modernity art began to manifest a certain dependence on theory. At that time—and even much later—art’s “need of explanation” (Kommentarbeduerftigkeit), as Arnold Gehlen characterized this hunger for theory was, in its turn, explained by the fact that modern art is “difficult”—inaccessible for the greater public. According to this view, theory plays a role of propaganda—or, rather, advertising: the theorist comes after the artwork is produced, and explains this artwork to a surprised and skeptical audience. As we know, many artists have mixed feelings about the theoretical mobilization of their own art. They are grateful to the theorist for promoting and legitimizing their work, but irritated by the fact that their art is presented to the public with a certain theoretical perspective that, as a rule, seems to the artists to be too narrow, dogmatic, even intimidating ... However, theory was never so central for art as it is now. So the question arises: Why is this the case? I would suggest that today artists need a theory to explain what they are doing—not to others, but to themselves. In this respect they are not alone. Every contemporary subject constantly asks these two questions: What has to be done? And even more importantly: How can I explain to myself what I am already doing?
What is sociology? In broad terms, sociology is the study of society. However, this answer is often unclear or unsatisfying to an incoming class of Sociology 101 students. This clip illustrates Steven Johnson's theory of where good ideas come from, and can help explicate to students what makes the sociological perspective so unique. Instructors can begin by saying that, while most anything can be studied from a sociological perspective, some sociologists have strategically selected sites of inquiry that, at first glance, appear thoroughly individualistic in nature. This strategy is an effort to illuminate how social forces shape even the most seemingly personal of phenomena. Here, instructors can point to Émile Durkheim's study of suicide as a particularly famous disciplinary example of this (which will likely be covered later in the semester). Using a similar strategy, instructors can use the example of creativity and "good ideas" to show how social forces have a profound impact on innovation, a phenomenon that, like suicide, is often characterized as a quintessentially individual act, largely informed by psychological forces. Although some people approach creativity from a psychological viewpoint (e.g., see here), the sociological perspective can be brought into focus for students by comparing such individualistic accounts to Johnson's concept of liquid networks and his use of historical evidence to show the importance of social connectivity and collaboration for innovation. Johnson stresses the need for interconnected social spaces, organizations, and systems for the cultivation of good ideas. Johnson presents a slightly elaborated version of this argument in his TEDTalk. For other clips on The Sociological Cinema that use illustration techniques to convey theoretical arguments, click here and here. (Click the heading to be taken to the original article with active links).
The Art Assignment youtube channel considered the conventions of art critique and explore the possibility of the internet as an arena for constructive critique. Can we do it?!
LITERALLY OUR MOST AMAZING EPISODE EVER!!! | Idea Channel | PBS Digital Studios
"This is literally the best episode of Idea Channel EVER." Is it? Or are we just continuing the cultural trend of hyperbole? (side note: the episode is pretty gosh darn enjoyable) It's like EVERY SINGLE THING people describe is AWESOME and AMAZING and THE BEST. We're all seemingly competing to have the ultimate meaningful experiences, so how are we supposed to articulate genuine sentiment? I mean it's THE WORST… I cannot even. Literally, I can't even find words to accurately describe the limits to our vocabulary and our ability to express true enthusiasm. So where does our vernacular develop from here? Watch the episode and find out!
How To Create Responsible Social Criticism | Idea Channel | PBS Digital Studios
The recent matter of Sam Pepper's "social experiment" videos has inspired a lot of discussion and debate. Here at Idea Channel, we thought we'd take this opportunity to talk in this video not specifically about Sam Pepper, but about media in general, and it's ability to comment on serious social issues. If Sam Pepper's video successfully critiqued assault, then why all the uproar? If media can be potentially hurtful, then how can we best comment on social issues? Watch the episode and tell us what you think!
For more than thirty-five years, Critical Inquiry has been at the forefront of critical thought in the Humanities. Associated with no single school of thought, tied to no single discipline, it has provided a forum for cutting-edge work in the humanities, arts and social sciences—recognized as “One of the best known and most influential journals in the world” (Chicago Tribune), and “Academe’s most prestigious theory journal” (New York Times). This is the blog of Critical Inquiry where you will find exclusive web content and exemplary scholarship in the field.