Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
related pitfall to avoid is using objects toAideas symbolically. In exploring, forrepresentprompt 6 “How does the way thatexample,organize or classify knowledge affect whatweknow?” you might offer an image of awemirror to symbolize the fragmentationbrokenknowledge into separate disciplines. Thisofbe a mistake.wouldis tempting to engage with objectsItbecause we can attributesymbolicallyto any object and gain approval.meaningexhibition is intended to engage withThein their own right—with their originobjectsuniqueness, purpose and meaningsstories,those you personally give them.beyondprompt 6 still in mind, consider FigureWithan image of The Siku Quanshu, the 18thcentury12.5,encyclopedia of Chinese knowledge.79,000 chapters and 800 million words,AtSiku Quanshu is a compendium of a bodyTheknowledge so large in volume that it hasofbeen surpassed by Wikipedia, and thatonlysummary, the objects in your exhibitionInmeet these criteria.shouldThey should be pre-existing, not created for•purposes of your exhibition.theThey need to represent themselves, not•ideas.abstractonly happened recently. It is organizedhasto traditional classification intoaccordingBranches ( 部 ): (a) the Classics ( 經 ), (b) the“4( 史 ), (c) the Masters ( 子 ), and (d)HistoriesAnthologies ( 集 )”. This complex systemtheover the course of 15 centuriesdevelopeddoes not neatly map onto the domainsandknowledge in Western thought. IncludingofSiku Quanshu in your exhibition allowsTheto engage with its specific historical andyoumeanings and make compellingculturalto both the prompt and the world.connectionscan explore how applying categoriesYouas “literature” and “philosophy” tosuchthought prior to the 18th centuryChineseor distorts our understanding of them.limitsyou can consider limitations andIndeed,that occur when we apply one waydistortionsorganizing knowledge to an intellectualofthat organizes knowledge differently.traditionThe Siku Quanshu, the 18th-century encyclopediaorder to make your objects relevant to theInyou need a good understanding ofprompt,specific origins and histories. It is helpfultheirdraw on objects you are already familiartoor committed to finding out morewith,in order to avoid misrepresentations,about,and generalizations.oversimplificationsin this exhibition with objectsWorkingin the real world keeps youcontextualizedfor the claims you make aboutaccountableI. THE EXHIBITION12Figure 12.5of Chinese knowledge consisting of 79,000 chapters• They should be specific, not generic.363
I. THE EXHIBITIONyou describe them, what you claimthem—howhow they fit in the world and how youaboutwhen referring to objects comingEspeciallymaterial cultures you are not familiarfromyou should be respectful of thewith,traditions they are embeddedknowledgeand the limitations of your owninOne of the prompts (14) evenunderstanding.“Does some knowledge belong only toaskscommunities of knowers?” Whenparticularobjects, consider what is your roleselectingintention in having this object represented.andthe story of the Ma-taatua Wharenui, aLetMaori meeting house (figure 12.6),carvedas a lesson. In the 1870s, it wasserveand packed onto a steamshipdisassembledfrom what is now known as Newtravellingto the British Empire Exhibition inZealandtrains across multiple destinationsandthe Empire, and was even trimmed toininside museum buildings. It would befit100years before this meeting houseanotherreturned home. On its first stopultimatelySydney, the Ma-taatua was reassembledinthe intricate carvings facing the outside,withfull view of the visitors, but also in fullinof Maori protocol. By way of thisdisregardthe Mataatua went from beingtransformation,culturally significant gathering site to beingaethnological curiosity for strange people“anlook at the wrong way and in the wrongto(Te Runanga o Ngati Awa 1990). Don’tplace”like the British Empire. In the exhibition thebeto represent objects is inseparableopportunitythe responsibility to do it well andfromaccurately.terms: Mataatua VisitorSearchHistoryCentre12explain their relationship to the prompt.Sydney. The Ma-taatua was hauled on shipsMataatua Wharenui in Sydney 1879. Notice how the entire structure has been reassembled so that the interior carvings are nowFigure 12.6on the exterior.364
- Page 319 and 320: IV. Ethicsmay notice that many know
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I. THE EXHIBITION
you describe them, what you claim
them—how
how they fit in the world and how you
about
when referring to objects coming
Especially
material cultures you are not familiar
from
you should be respectful of the
with,
traditions they are embedded
knowledge
and the limitations of your own
in
One of the prompts (14) even
understanding.
“Does some knowledge belong only to
asks
communities of knowers?” When
particular
objects, consider what is your role
selecting
intention in having this object represented.
and
the story of the Ma-taatua Wharenui, a
Let
Maori meeting house (figure 12.6),
carved
as a lesson. In the 1870s, it was
serve
and packed onto a steamship
disassembled
from what is now known as New
travelling
to the British Empire Exhibition in
Zealand
trains across multiple destinations
and
the Empire, and was even trimmed to
in
inside museum buildings. It would be
fit
100years before this meeting house
another
returned home. On its first stop
ultimately
Sydney, the Ma-taatua was reassembled
in
the intricate carvings facing the outside,
with
full view of the visitors, but also in full
in
of Maori protocol. By way of this
disregard
the Mataatua went from being
transformation,
culturally significant gathering site to being
a
ethnological curiosity for strange people
“an
look at the wrong way and in the wrong
to
(Te Runanga o Ngati Awa 1990). Don’t
place”
like the British Empire. In the exhibition the
be
to represent objects is inseparable
opportunity
the responsibility to do it well and
from
accurately.
terms: Mataatua Visitor
Search
History
Centre
12
explain their relationship to the prompt.
Sydney. The Ma-taatua was hauled on ships
Mataatua Wharenui in Sydney 1879. Notice how the entire structure has been reassembled so that the interior carvings are now
Figure 12.6
on the exterior.
364