Criticality and Creativity
To be critical but creative means to observe a conflict without the perception of time and visualize its outcome. The need for exploration and explanation is especially noticeable in a world where everything moves so fast. Making use of so much information that it cultivates a need for short-term futures. Undergoing this conflict undermines experience. As an analyst, I create a map of undergoing developments. Rethinking routines, directing you towards new ones. As an artist I challenge the imitation of this action. And create from an active sociological ”l” term, a visualization of its definition. Highlighting the fragile and parsable parts of ”I”.
Research can be done in many ways but is mainly expressed with difficult words. As a Visual Sociologist, my research is characterised by its visual representation. Meaning that the outcome becomes available for those who would normally not be able to engage with the scientific or philosophic written language. As well as representing the visual and auditive world. To go against that what is underrepresented in the academic sphere and opening up to an entirely new audience.
Critical thinking, research, intellectual rigor and creative problem solving are at the core of my visual work. Writing, in this case, takes an important part as it balances the process. My personal work is based on this mindset. This might be in the form of a academic or creative writing. Rather than to choose between the two, I’ve found a balance in using both techniques to clearly explain the outcome of my work.
I identify my research practice as Visual sociology. Visual sociology is an area of sociology concerned with the visual dimensions of social life. It is a subdiscipline within the research practice of Sociology. It tends to be concerned with photography and documentary filmmaking within a sociological context. However, visual sociology – theoretically at least – includes the study of all kinds of visual material and the visual social world, and uses all kinds of visual material in its methodologies.
I identify my design practise as one rooted in social design and strategic design.
Social design is defined as a design process that contributes to improving human well-being and livelihood. Strategic Design is the application of future-oriented design principles in order to increase an organization’s innovative and competitive qualities. In so social strategic design is a practice that is orientated on encapsulating a social economic future improvement of all stakeholders that are participating design process. I need to note that the stakeholders in this process do not need to actively participate. They can simply be present as autonomous elements within the designing and research process.
One of the three methods that mainly use fictioning. Fiction as method is an qualitative research developed from the larger genre of arts‐based research. It ranging from those scholars who take aesthetic license with their work; to scholars who fictionalize portions of a narrative ethnography ; to scholars who write fictional accounts which are rooted in the writer’s imagination in order to make a specific claim or point. For my practice approaching fiction as a method allows me to investigate from a sociological viewpoint myths, tricks, possibilities and futures as they manifest in a wide variety of forms. The aim is to explore the concept through direct and indirect means, ultimately considering how fictions proliferate, take on flesh and come to act in the world.
The other is the practice of care. The practice of care is a relatively recent research area that is rooted within Science and Technology Studies . It first arose in nursing theory and feminist theory, where it was mostly applied to caring for other human beings, but since then has moved on to dealing with any kind of object or subject such as the text you are reading, to the thing you last ate. The ontological approach of a care of things refrains from assuming the stability of its object of research, but rather addresses its fragility, or as Mol (2008: 11)has put it: ‘’the logic of care starts out from the fleshiness and the fragility of life’’. Care is about seeking improvement of the status quo of its subjects. Research on the practice of care emphasizes care’s fluid character and looks at all that is involved in the process of caring. Care has endless complexities as it is made up of different settings.
The last one is the practice of interface effects. Media such as radio, cinema, and television change our sense of space, time, and social relationships; they condition human experiences and perceptions. They operate within their own interface. Within this line of thought interfaces are not things, but rather processes that affect a result of whatever kind. They are an “ethic” and not, like the older form of cinema, an “ontology.” The method of applying an interface effect debates and manipulates interfaces as they are not simply objects or boundary points. They are autonomous zones of activity.