Criticality Continued

“I find it interesting that you have not discussed the [subject] of the critique. You argue that criticality is a tool; however, the tool is useless if that which it endeavors to act upon will not render itself to improvements. If not willing or desirous of improvement, pointing out flaws has the potential to harm rather than help.”
- Alex

You have anticipated the essential, sequential argument that I too had planned to address, although you summarized it more eloquently than I had been able to on my own. Truly you are correct in asserting the uselessness of a tool that is used without effect. Consider the basic example of a penknife being used to cut down a tree. Although the blade pierces the bark, it is hardly effective, and will break before it has had any noticeable effect.

One must then consider whether or not a critique may be grouped into categories based on intent. Surely there are those who engage in constructive criticism such as teachers, artists, and the like – these take advantage of criticism, applying it in order to be useful or creative. In contrast there are those who seek to tear down or destroy with their critique. These individuals are usually baser in intellect, and frequently do not possess the abilities that they so often find themselves criticizing. Still, our discussion of intent addresses only half of the issue.

As you have pointed out, we must paint into this picture the other half of the mask, that faceless void of reception. Understand that I feel that this is a murky place, lacking absolutes and ultimately lying in the realm of the indefinable. Nevertheless, the way one’s criticism is received is more important than the critique itself, at least in the context of so-called ‘usefulness.’ If the chisel cannot chip away at the rock, then the sculptor labors in vain.

What then are we to do? May we engage in criticism without bothering to test the waters first? Should we wholeheartedly jump in, or refrain entirely? Perhaps a well-intentioned preface or a warm smile may cause our subject to become more pliable - perhaps not. We can only control our actions; thus, we face a dilemma of epic proportions, one which must be determined according to context, one which lacks absolute definition, one that it is critical that we address lest we stub our toes in the dark.

If one is to be truly effective, knowledge of the subject and context is key. Blind painters are rare, as are deaf musicians – we can only know what we sense. If we do not open ourselves to learning, we may never teach others, and we will never know if our canvas is ready for paint to be applied. Therefore, train yourself to feel what others feel, to think what others think, to resonate with every human being you meet. If you do this thing with love and passion no-one will be able to ignore your impact.