Back in 2011 I facilitated a workshop at the University of Chicago on “actually scary critique.” The workshop didn’t really work out because it never really reached its object; it just ended up getting swallowed up by its own conceptual preliminaries.
Anyway, I just rediscovered a self-critical postscript that I had started writing afterwards about why that workshop didn’t really work out. Here it is, in the spirit of the thought that dwelling on our unsuccessful projects is a good idea.
The original workshop announcement:
This workshop aims to develop a mostly nonexistent genre that we could call the genre of the actually scary institutional critique. The premise: that many people have nestled away somewhere in their brains something about their institution (or department, discipline, campus, job, world, whatever) that to them is utterly intolerable, inexplicable, unjustifiable, ludicrous, unlivable, some little huddled kernel of lingering rage that can almost never be expressed, or at least that remains unresolved, because the genres in which we express institutional critique are generally either nonexistent, routinized by collegial etiquette, trivialized by being expressed only in private to friends, or else dismissed as activist hysteria or some other form of irrational excess feeling. The further premise: that it would be worth trying to develop a genre that would be equal to these non-normative moments of intense critical feelings. A genre that would break with the conventions of courtesy that make critique into an academic mode of social reproduction, that would exceed the routinized forms of mild annoyance that are normative for everyday differences of professional opinion.
Not that everyone does or ought to go around in a state of fury or other intense feeling, not at all. But it remains troubling that there are people who are really upset by various aspects of the academic world (I’m assuming we can all think of examples of this) who have no available genre with which to make their experience into something public that would actually threaten and change the people around them. Who have no genre equal to moments of real antagonism. Of course, universities have systems of unequal authority, mass complacency, self-interest, disinterest, etc, that make the inefficacy of critique far more than a question of genre. But the problem of making a critical genre that can actually scare (or touch, move, change) people in spite of all the defense mechanisms is one that seems to deserve our time.
Format: We’ll start with a discussion about critique and emotional intensity, and then move to a series of writing exercises in this possible genre.