Video Tutorial and Written Feedback 6
In this video tutorial, my Tutor and I reviewed the Critical Review draft.
I currently have a document size problem: the topic is very broad, I have collected a lot of material from many authors, and I have difficulty condensing everything I would like into 2500 words without eliminating references to some authors.
My Tutor advised me, first of all, to clarify whether, from the point of view of the structure of the Critical Review, it is necessary or not to insert an abstract and an introduction: removing these two chapters would eliminate extra words.
Secondly, I could focus more on visual case studies (possibly three), and establish an informed connection with my practice.
I will then be forced to select a small group among many interesting and innovative authors (e.g. Jon Rafman).
Then I will display the work not selected for the Critical Review in the Learning Log.
My Tutor also proposed whether it is appropriate to move from a Critical Review, which is essentially centred on the analysis of texts, to a Dissertation, which would be centred on visual work, framed in the critical analysis of the text. Honestly, I'd rather stay on the Critical Review, because I'm convinced I can better frame the visual work of some modern authors in light of what was originally conceptualized by authors like Baudelaire and Edgar Allan Poe. I would therefore like to keep them in the content of my work, to highlight the interdisciplinary bond that modern authors have, consciously or not, with authors of the past.
We agreed that the collected and written material is sufficient for the writing of the Critical Review and that it is a matter of deciding what to really focus on and select.
I agree with the advice to be bolder and more essential in the exposition. I have to assume that the reader knows the subject and then focus on specific themes.
A further cue to focus on the theme and tie the authors together concerns the awareness of being a flaneur. It is a question of "thinking or just being", which we find in many modern authors.
Therefore, whether the figure of the modern flaneur is produced by human nature, by social and cultural factors. These questions may constitute the link with the origins and conclusion of my analysis.