ABSTRACT
149In Part III, the critical arguments that are embedded in creative artifacts themselves are discussed and analyzed. It examines whether these arguments are active or passive and what cultural role they play as well as their benefit to criticality. Part III challenges the assumption that a creative artifact must be deliberately designed and identified as critical by its author for it to have a critical voice and be understood as critically productive. It discusses what is at stake when projects that are held by their creators as voicing an explicit critical agenda are compared to those that are un-critical or post-critical in their intent. Finally, Part III considers how work with no critical intent by the maker, that transcends any conscious act of criticality, and is intended to be nothing more than an outcome of commercial pressures or for financial gains, can be critiqued.
