Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
12.3 The cabinet of curiosities: Ferrante Imperato’sFigurein Naples, 1599museumplay an important role in knowing—asObjectsthings that are known, the materials and toolsthewhich we come to know things, or asthroughof the application of knowledge. Human-resultsobjects are intertwined with the processes ofmadeand are therefore suitable to be includedknowing,the exhibition. Naturally occurring objectsinrelate to knowledge, such as celestial objects,thator rock formations can also be used.cloudsthat the exhibition asks for objects, it isGivenappropriate to include living beings. Specificnotof living beings may be used as longphotographsit is the photograph, and not the being, that isaspresented. We explore this nuance below.beingobjects may be too large to actually exhibit.Somemay be privately owned or otherwise hardOthersaccess. In these cases an image of the objecttobe presented instead. Digital objects, such ascantweet or an Instagram post, are also suitable foraexhibition. It should be clear whether you arethean image in place of the physical objectexhibitingas a photograph of La Sagrada Familia(suchBarcelona) or the image itself (such as theinphotograph of Sharbat Gula by journalist1984McCurry called Afghan Girl). Note: in theSteveexample, be clear that it is that particularlatterfeatured on the National Geographicphotograph,a photograph that is iconic and potentiallycover,not the person. In the case of La Sagradaandyour discussion should clearly focus onFamilia,basilica as the object in the exhibition, ratherthethe qualities and features of the image suchthanabout objects you have created? These mayWhatincluded as long as they are pre-existing; thatbethey have not been specifically created for theis,of this exhibition. Challenge yourself topurposemeaning in objects that already exist in thefindand be curious about the incredible thingsworldthe rest of the world’s humans have made,thatand used. With this orientation you canfoundobjects more interesting than any youdiscoverhave imagined. Margaret Mead describesmightand inclusion—why theseSelectionand not others?objectsmaking your selection of objects, beInabout the objects you include andcuriousTo practise, consider prompt 1exclude.counts as knowledge?”“WhatAs a class, brainstorm at least 10 objects1.would include in an exhibition onyouDiscuss as a class what your objects reveal2.your biases and gapsaboutWhat kinds of knowledge are(a)underrepresented?(b) Why did these not readily come to mind?Consider again the 10 objects your class3.selected. Working on your own, selecthasthat you would personally include.threeyour selection with that of aCompareDiscuss where and how they differ.partner.were your reasons for including thoseWhat12I.2.2 Selecting objectsWhat can I use and how do I choose?as the lighting or perspective in the photograph.this orientation as:the open-mindedness with which one must look andlisten, record in astonishment and wonder, that whichone would not have been able to guess.(Mead 1950)For ref lectionthis prompt.problematic, that is the object of the exhibition,specific objects and excluding the rest?361
I. THE EXHIBITIONthat objects do not speak forRecognizinghow you represent them is essentialthemselves,this task. Creating a successful TOK exhibitioninnot only describing each object in itsincludesusing generic objects or images thatAvoidin for entire categories of things.standyou are exploring prompt 9 “AreSupposetypes of knowledge less open tosomethan others?” and you wishinterpretationdiscuss the interpretation of religioustoYour exhibition will not benefit from atexts.image of bibles even if you have deepstockof biblical exegesis and can fullyknowledgethe magisterium of the Catholicexplainor the Reformation principle of SolaChurchRemember, the objects you presentScriptura.not obstacles to be overcome just so thatarecan move on to what you wanted toyouto choose and contextualize objects thatTryspecific functions in the world,performexplain how this is the case. Consider,andexample, the 2011 graphic novel Sita’sforcontext, but also connecting it to yourreal-worldTOK prompt and justifying its inclusionchosenthe exhibition. The better you contextualizeinobjects in a real-world setting, the moreyourwill be your argument for why theyconvincingbeen included and how they respond to thehavewhich retells the Hindu epic fromRamayana,perspective of the queen, repositioningthefemale character as the protagonist. Thistheinterpretation is itself inspired by amodernof the Ramayana by the Bengali 16thcenturyretellingpoetess Chandrabati. Sita’s Ramayanafurther entangled in questions aboutisthe Ramayana can be considered awhetherhistorical or religious text, and whatliterary,of these would mean about its opennesseach12I.2.3 Linking your objects to the promptRepresentationprompt.tointerpretation.write.Figure 12.4 The front cover of Sita’s Ramayana (2011)362
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- Page 387 and 388: J. 2017. “The Triage of Truth: Do
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12.3 The cabinet of curiosities: Ferrante Imperato’s
Figure
in Naples, 1599
museum
play an important role in knowing—as
Objects
things that are known, the materials and tools
the
which we come to know things, or as
through
of the application of knowledge. Human-
results
objects are intertwined with the processes of
made
and are therefore suitable to be included
knowing,
the exhibition. Naturally occurring objects
in
relate to knowledge, such as celestial objects,
that
or rock formations can also be used.
clouds
that the exhibition asks for objects, it is
Given
appropriate to include living beings. Specific
not
of living beings may be used as long
photographs
it is the photograph, and not the being, that is
as
presented. We explore this nuance below.
being
objects may be too large to actually exhibit.
Some
may be privately owned or otherwise hard
Others
access. In these cases an image of the object
to
be presented instead. Digital objects, such as
can
tweet or an Instagram post, are also suitable for
a
exhibition. It should be clear whether you are
the
an image in place of the physical object
exhibiting
as a photograph of La Sagrada Familia
(such
Barcelona) or the image itself (such as the
in
photograph of Sharbat Gula by journalist
1984
McCurry called Afghan Girl). Note: in the
Steve
example, be clear that it is that particular
latter
featured on the National Geographic
photograph,
a photograph that is iconic and potentially
cover,
not the person. In the case of La Sagrada
and
your discussion should clearly focus on
Familia,
basilica as the object in the exhibition, rather
the
the qualities and features of the image such
than
about objects you have created? These may
What
included as long as they are pre-existing; that
be
they have not been specifically created for the
is,
of this exhibition. Challenge yourself to
purpose
meaning in objects that already exist in the
find
and be curious about the incredible things
world
the rest of the world’s humans have made,
that
and used. With this orientation you can
found
objects more interesting than any you
discover
have imagined. Margaret Mead describes
might
and inclusion—why these
Selection
and not others?
objects
making your selection of objects, be
In
about the objects you include and
curious
To practise, consider prompt 1
exclude.
counts as knowledge?”
“What
As a class, brainstorm at least 10 objects
1.
would include in an exhibition on
you
Discuss as a class what your objects reveal
2.
your biases and gaps
about
What kinds of knowledge are
(a)
underrepresented?
(b) Why did these not readily come to mind?
Consider again the 10 objects your class
3.
selected. Working on your own, select
has
that you would personally include.
three
your selection with that of a
Compare
Discuss where and how they differ.
partner.
were your reasons for including those
What
12
I.2.2 Selecting objects
What can I use and how do I choose?
as the lighting or perspective in the photograph.
this orientation as:
the open-mindedness with which one must look and
listen, record in astonishment and wonder, that which
one would not have been able to guess.
(Mead 1950)
For ref lection
this prompt.
problematic, that is the object of the exhibition,
specific objects and excluding the rest?
361