The term “critical making” was coined by Matt Ratto, an Associate Professor in the Faculty of Information at the University of Toronto. In essence, critical making is the ‘combination of critical thinking and hands-on making’ [1]. Ratto intended for it to be the middle-ground between the two fields, with the former being more conceptual, and the latter more material. His main aim was to help deepen linguistic academics’ analysis of information systems through ‘introducing hands-on practice’ [1] to them.
While critical making was originally crafted as a pedagogy approach, Hertz observes in his essay that it can be a counter-approach to conventional design systems, which he argues ‘lack cultural richness, emotion, and human-oriented values’ [1]. I believe these systems are, to some extent, necessarily structured in such a way because the main objective is to produce purely functional objects. But Hertz believes that this should not be the sole function of such systems, and that is where critical making comes into play. By incorporating critical thinking as an integral aspect of the making process, designers do not merely produce for practical purposes, but rather reflect upon the human experience and society through design. I believe that design can become more pertinent to the masses in this way as well.
By extension, critical making can also be applied to art-making. Critical making allows artists to create functional objects that convey social commentary through their very materiality, by imbuing it with meaning. For Hertz, this approach will specifically enable creators to ‘build provocative objects that encourage a re-evaluation of technology in culture’ [1]. While Hertz is very much interested in how critical making can encourage discussion about technology and culture, I believe that critical making is also useful in making art more accessible to the masses. Through incorporating critical thinking into conventionally practical design processes, artists can manipulate objects already familiar to audiences, thereby encouraging deeper readings of artworks, while providing an easy point of access.
The Transparency Grenade
These ideas are exemplified through the artwork, The Transparency Grenade by Julian Oliver. The work is a translucent resin model of a Soviet F1 Hand Grenade. Encased within is a tiny computer, microphone and wireless antenna, which captures network traffic and audio [2] where it is placed. When the pin of the grenade is pulled, the information is streamed to a dedicated server [2] where it is mined. The server uploads the data onto a public site with a map that shows the location of its ‘detonation’. The work, made up of specific, technical electronics and parts assembled together, has a very material quality. But, it is meant to be a reaction against the lack of transparency Oliver feels is prevalent amongst powerful conglomerates and governments, by presenting a tool that allows one to leak information that would otherwise stay behind closed doors. Through the presentation of a highly mechanical object, Oliver presents a sociopolitical commentary, which illustrates the key idea of critical making – integrating thinking and making.
Components of The Transparency Grenade
Map showing location of detonation
Furthermore, Oliver challenges the role of conventional design systems and objects by creating one that reflects upon a sociopolitical issue through its functionality. The work embodies a system of retrieving and publishing – through the action of pulling the pin, the mechanics within the work is triggered to retrieve private information and make it public. Oliver utilises critical making by fusing his narrative of ground-up rebellion against secrecy with a mechanical data mining system, presenting the idea that ‘if we as citizens are able to spy back on antagonistic corporate and political establishments, the balance can be restored’ [3]. Also, the form of the work recontextualises the grenade, usually associated with weaponry and warfare, into one that empowers the masses to fight against bigger organisations. His work shows that through critical making, functional systems and objects can make poignant statements, and even have the potential to be tools for social change.
To conclude, critical making, while first developed as an educational approach, can be extremely applicable to making art and design. It allows one to consider the materiality of the object as a way to convey messages and narratives, which challenges the conventional notions of functional objects and systems, and serves to make works more accessible to the public.
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I think the irony the transparency grenade presents is really interesting and though provoking.