Notes from critique

What's behind the wall?
Sound in walls and sound in books and sound bleeding through
Did you make that thrum? Or is that the building?

Tearing down the evidenced box is heady.
Tearing down the ugly map.
Adam liked it, but I don't. I don't at all. Geographical location is not something I need here.

There is mystery, and it's been lost a little. Don't represent. Don't catalogue. Don't 'science' it.
You're a poet more than a scientist, a dreamer more than a technologist. I know you don't really care about how things work, you love not knowing. You use interpretation and language and nuance, not numbers and systems.

There is magic, and it hasn't been found yet. Keep some things back. Be secretive. Be discerning on your audience's behalf. They don't need everything. They don't need to know everything. Do what you do with students' essays - edit. Do what you've done with Chris's film - edit.
Be ruthless, in a kind way. 

You don't need to tell a story. There is narrative, without you doing that.
Though you can still choose to. 
Marcy said 'we're beyond narrative' -  well, I'm not. I want dreams and stories and mysteries and secrets and ghosts and wonder and mechanisms. I want theatre. I want revelation, or concealment, or both. I want intrigue and haunting and shadows.

Further reading:
Rudd, A. (2009). In Defence of Narrative