You, me, I, or we

11 Part II explores various aspects related to critique as a situated creative practice. It draws on Jane Rendell’s idea of situated knowledge as a critical tool for examining specific environments and contexts, which she calls ‘site-writing.’ ¹ This site-writing approach utilizes parallel narratives or personified positions that embody and communicate contrasting viewpoints and knowledge, such as personal point of view, place, and time. As complementary discourses, these voices act collectively as a means to form a nuanced critique of the functioning structures of criticality. ² From theatre, urban activism, art practice, curation, and ethics, critical discourse occurs, not explicitly through traditional argumentative structures, but between the situated practices and voices that are generated through site-writing. At the core of this approach is a targeted social critique that is essential to reflect productively on the cultural and moral challenges we face today, made manifest through the interrogation of contrasting forms of creative expression and production. Rather than reinforce traditional disciplinary assumptions, this is an approach that sheds light into all the nooks and crannies—thus, rhetoric is laid bare.