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---
layout: default
title: Crit Space
---
<div class="card-title center-align"><h2 class="thin blue-text">Direct Response</h2></div>
<div class="divider"></div>
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<li class="disabled"><a href="#!"><i class="material-icons left">chevron_left</i>Previous</a></li>
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<div class="card-content">
<span class="card-title activator grey-text text-darken-4">My Artwork<i class="material-icons right">description</i></span>
</div>
<div class="card-reveal">
<span class="card-title grey-text text-darken-4">My Artwork<i class="material-icons right">close</i></span>
<p>My work explores the relationship between Critical theory and counter-terrorism. With influences as diverse as Kafka and Miles Davis, new insights are crafted from both opaque and transparent meanings. Ever since I was a pre-adolescent I have been fascinated by the theoretical limits of relationships. What starts out as hope soon becomes corrupted into a dialectic of lust, leaving only a sense of what could have been and the dawn of a new order. As shimmering forms become reconfigured through frantic and repetitive practice, the viewer is left with a tribute to the limits of our existence.</p>
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<div class="col s12 m6">
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<ul class="tabs">
<li class="tab col s6"><a class="active" href="#myfeedback">My Feedback</a></li>
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<ul class="collapsible z-depth-0" data-collapsible="accordion">
<li>
<div class="collapsible-header"><i class="material-icons">info_outline</i>Directions</div>
<div class="collapsible-body">
<ol>
<li>Step 1. Describe</li>
<li>Step 2. Analyze</li>
<li>Step 3. Interpret</li>
<li>Step 4. Judge</li>
</ol>
</div>
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<img src="https://unsplash.it/50?image=230" alt="" class="circle">
<span class="title">Robert Roberson</span>
<p><span class="date">Date: 11/11/2011</span><br>It should be added that the reductive quality of the purity of line visually and conceptually activates the remarkable handling of ljght.</p>
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<span class="title">Robert Roberson</span>
<p><span class="date">Date: 11/11/2011</span><br>Although I am not a painter, I think that the reductive quality of the Egyptian motifs contextualize a participation in the critical dialogue of the 90s.</p>
<a href="#!" class="secondary-content"><i class="material-icons grey-text">thumb_up</i></a>
</li>
<li class="collection-item avatar">
<img src="https://unsplash.it/50?image=500" alt="" class="circle">
<span class="title">Robert Roberson</span>
<p><span class="date">Date: 11/11/2011</span><br>I'm troubled by how the metaphorical resonance of the purity of line notates the essentially transitional quality.</p>
<a href="#!" class="secondary-content"><i class="material-icons grey-text">thumb_up</i></a>
</li>
<li class="collection-item avatar">
<img src="https://unsplash.it/50?image=100" alt="" class="circle">
<span class="title">Robert Roberson</span>
<p><span class="date">Date: 11/11/2011</span><br>Although I am not a painter, I think that the iconicity of the purity of line visually and conceptually activates the distinctive formal juxtapositions.</p>
<a href="#!" class="secondary-content"><i class="material-icons grey-text">thumb_up</i></a>
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<div class="card-title center-align"><h2 class="thin blue-text">Discussion Thread</h2></div>
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<div class="card">
<div class="card-image">
<img class="materialboxed" src="https://unsplash.it/400/400/?random">
</div>
<div class="card-content">
<span class="card-title activator grey-text text-darken-4">My Artwork<i class="material-icons right">description</i></span>
</div>
<div class="card-reveal">
<span class="card-title grey-text text-darken-4">My Artwork<i class="material-icons right">close</i></span>
<p>My work explores the relationship between Critical theory and counter-terrorism. With influences as diverse as Kafka and Miles Davis, new insights are crafted from both opaque and transparent meanings. Ever since I was a pre-adolescent I have been fascinated by the theoretical limits of relationships. What starts out as hope soon becomes corrupted into a dialectic of lust, leaving only a sense of what could have been and the dawn of a new order. As shimmering forms become reconfigured through frantic and repetitive practice, the viewer is left with a tribute to the limits of our existence.</p>
</div>
</div>
</div>
<div class="col s12 m7">
<div class="row">
<div id="" class="col s12">
<ul class="collapsible z-depth-0" data-collapsible="accordion">
<li>
<div class="collapsible-header active"><i class="material-icons">info_outline</i>Directions</div>
<div class="collapsible-body">
<ol>
<li>Step 1. Describe</li>
<li>Step 2. Analyze</li>
<li>Step 3. Interpret</li>
<li>Step 4. Judge</li>
</ol>
</div>
</li>
</ul>
</div>
<div class="col s12">
<h5 class="uppercase center" href="#">Discussion Thread</h6>
<ul class="collapsible z-depth-0" data-collapsible="accordion">
<li>
<div class="collapsible-header active"><i class="material-icons">comment</i>Feedback</div>
<div class="collapsible-body">
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<i class="material-icons prefix">mode_edit</i>
<textarea id="icon_prefix2" class="materialize-textarea"></textarea>
<label for="icon_prefix2">Write</label>
</div>
<a class="waves-effect btn-large btn-flat black white-text"><i class="right material-icons">send</i>Submit</a>
</div>
</li>
</ul>
<ul class="collection">
<li class="collection-item avatar">
<img src="https://unsplash.it/50?image=230" alt="" class="circle">
<span class="title">Robert Roberson</span>
<p><span class="date">Date: 11/11/2011</span><br>It should be added that the reductive quality of the purity of line visually and conceptually activates the remarkable handling of ljght.</p>
<p class="reply"><button class="btn waves-effect waves-light btn-flat right" type="submit" name="action">Relpy<i class="material-icons right"><i class="material-icons">trending_flat</i></i></button></p>
<a href="#!" class="secondary-content"><i class="material-icons blue-text">thumb_up</i></a>
</li>
<li class="indent collection-item avatar">
<img src="https://unsplash.it/50?image=400" alt="" class="circle">
<span class="title">Robert Roberson</span>
<p><span class="date">Date: 11/11/2011</span><br>Although I am not a painter, I think that the reductive quality of the Egyptian motifs contextualize a participation in the critical dialogue of the 90s.</p>
<p class="reply"><button class="btn waves-effect waves-light btn-flat right" type="submit" name="action">Relpy<i class="material-icons right"><i class="material-icons">trending_flat</i></i></button></p>
<a href="#!" class="secondary-content"><i class="material-icons grey-text">thumb_up</i></a>
</li>
<li class="indent-indent collection-item avatar">
<img src="https://unsplash.it/50?image=500" alt="" class="circle">
<span class="title">Robert Roberson</span>
<p><span class="date">Date: 11/11/2011</span><br>I'm troubled by how the metaphorical resonance of the purity of line notates the essentially transitional quality.</p>
<p class="reply"><button class="btn waves-effect waves-light btn-flat right" type="submit" name="action">Relpy<i class="material-icons right"><i class="material-icons">trending_flat</i></i></button></p>
<a href="#!" class="secondary-content"><i class="material-icons grey-text">thumb_up</i></a>
</li>
<li class="collection-item avatar">
<img src="https://unsplash.it/50?image=100" alt="" class="circle">
<span class="title">Robert Roberson</span>
<p><span class="date">Date: 11/11/2011</span><br>Although I am not a painter, I think that the iconicity of the purity of line visually and conceptually activates the distinctive formal juxtapositions.</p>
<p class="reply"><button class="btn waves-effect waves-light btn-flat right" type="submit" name="action">Relpy<i class="material-icons right"><i class="material-icons">trending_flat</i></i></button></p>
<a href="#!" class="secondary-content"><i class="material-icons grey-text">thumb_up</i></a>
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