Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
back to the three objects you chose inThinkprevious exercise, to represent prompt 1thecounts as knowledge?” Reflecting“Whatyour selection, consider the following.onDo your objects contain any of the pitfalls1.poor choices we discuss in thisandAre you confident in your ability to offer2.accurate and responsible description ofanWhy would you say that you have chosen3.objects?interestingyou work to establish the relationshipAseach of your objects and yourbetweenkeep in mind how the exhibition isprompt,up as a whole. You add value notshapingby identifying, describing and linkingonlyindividual objects to the prompt,threealso by selecting them such that theybutpresent a nuanced understandingcollectivelyexample, in creating an exhibition aroundFor4 “On what grounds might we doubt apromptit would be a good idea to select objectsclaim?”highlight different causes for doubt.thatone of the objects is Figure 12.7, aSupposemedieval miniature painting of Muslimfakeat work. These paintings are ascientistsphenomenon and they are done tocuriousdegrees of sophistication. Manyvariouspaintings are for sale in Istanbul’ssimilarSecond Hand Book Market (Sahaflarhistoricwhile many more circulate on theÇarşısı),A keen eye is often not enough tointernet.them as modern forgeries, and at leastrevealbackground knowledge in the history ofsomeand technology or the history of art issciencecan reveal the difference between fakesfieldsthe real thing. For example, there may beandin the timelines of the spreadinconsistenciestechnologies, use of pigments that wouldofhave been available at the time, or culturalnotsuch as garments that would notinaccuraciesbeen worn in the way depicted. So, thehaveminiatures show us that inconsistencies,fakeby someone with experience anddetectableknowledge, are good reasons to castspecializedmight this object relate to your other twoHowsay a screenshot of a deepfake video toobjects,I. THE EXHIBITION12For ref lectionBeing accountable for descriptionssection?each of the objects?I.2.4 Creating meaningof the prompt.Fake painting of Muslim scientists at workFigure 12.7doubt on a claim about a painting’s authenticity.necessary. Experience and expertise in theseillustrate the role and limitations of intuition365
I. THE EXHIBITIONdoubt, and a tweet by a politician includedinshow doubt as distrust towards the claims-toCan you make our understanding ofmaker?more refined by substituting one or bothdoubtthinking about your exhibition as a whole,Inhow tensions between the objects andconsiderdifferent ways they relate to the prompt cantheto a more thorough understandingcontributethe concepts in the prompt. How can you,ofan intentional selection of objects, offerthroughcompelling exploration of doubt, to follow theawe started out with?exampleif you have gone through the processEvenbeen intentional about your choicediligently,objects and have a good sense about theirofto the prompt, it is important thatrelationshiparticulate those decisions and intentions.youhave 950 words to do this. The wordYouis generous enough for you to presentallocationdetail, and also difficult to fill if there is notsomemight be wondering how to approach andYouthis written component. How muchstructureshould you give to individual objectspaceversus discussing the prompt or thedescriptionsas a whole? The IB does not require aexhibitionstructure, and this gives you freedom inspecificyou write about and present your work. Thehowguidance may help you.followingOpen with an exhibition rationale. Why is•exhibition on this prompt significant?thewill the exploration of this promptHowyour selected objects help us betterthroughthe concepts in the prompt? Youunderstandto be convinced of the rationale beforeneedcan write it convincingly. Include theyouonly if it adds value and allowsrationaleto open strongly. It does not have to beyouthan a sentence or two. Keep in mindlongerthis sets the tone for your exhibition andthatit should not be trivial.soIf you are placing your exhibition in the•of a theme, make this clear. Explaincontextit might be particularly interesting,whyexample, to look at prompt 9 “Arefortypes of knowledge less open tosomethan others?” through the lensinterpretationWrite significant descriptions of the•Focus on what is of significance—objects.details about their origin, historywhichownership and use, past and currentofare relevant? Which are essentiallocationcontextualizing each object in its placetothe world? Your objects should beingrounded in a real-worldsimultaneouslyand linked to your chosen prompt.contextof the objects’ description and theThinkfor including them into thejustificationas two sides of the same coin.exhibitionAddress “the big picture” of your•Once you have described andexhibition.each of your objects to the prompt,linkedout and consider the picture thatzoomTo fail to do so would be a missedemerges.to extract meaning from theopportunityIdeally, each of your objects willexhibition.a unique relationship to the prompt. Byhavethese three specific objects together,puttingshould be able to say something uniqueyouthe prompt. What do your chosenaboutseen together, allow you to say about,objects,example, what counts as knowledge, orforwhat grounds we might doubt a claim?onmay be tensions and contradictionsThereyour objects; this is not somethingbetweenneed to hide or necessarily aim toyouIndeed, you may have evenresolve.selected your objects to createintentionallytensions. Highlighting them in relationthesethe prompt demonstrates that you havetounderstanding that knowledge manifestsanthe world in complex and messy ways. Ifinwell, this can add depth and nuance todonethe purpose of the written accountUltimately,to make your thinking visible to anyone whoisvisiting your exhibition, even virtually, andismay not know you and your motivations.who12of these objects for a different one?of knowledge and religion.I.2.5 Writing it all upMaking your intentions visiblemuch substance to your exhibition.your exhibition.366
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- Page 383 and 384: as unspoken and unspeakable truthsa
- Page 385 and 386: otherwise by measuring differentlyk
- Page 387 and 388: J. 2017. “The Triage of Truth: Do
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I. THE EXHIBITION
doubt, and a tweet by a politician included
in
show doubt as distrust towards the claims-
to
Can you make our understanding of
maker?
more refined by substituting one or both
doubt
thinking about your exhibition as a whole,
In
how tensions between the objects and
consider
different ways they relate to the prompt can
the
to a more thorough understanding
contribute
the concepts in the prompt. How can you,
of
an intentional selection of objects, offer
through
compelling exploration of doubt, to follow the
a
we started out with?
example
if you have gone through the process
Even
been intentional about your choice
diligently,
objects and have a good sense about their
of
to the prompt, it is important that
relationship
articulate those decisions and intentions.
you
have 950 words to do this. The word
You
is generous enough for you to present
allocation
detail, and also difficult to fill if there is not
some
might be wondering how to approach and
You
this written component. How much
structure
should you give to individual object
space
versus discussing the prompt or the
descriptions
as a whole? The IB does not require a
exhibition
structure, and this gives you freedom in
specific
you write about and present your work. The
how
guidance may help you.
following
Open with an exhibition rationale. Why is
•
exhibition on this prompt significant?
the
will the exploration of this prompt
How
your selected objects help us better
through
the concepts in the prompt? You
understand
to be convinced of the rationale before
need
can write it convincingly. Include the
you
only if it adds value and allows
rationale
to open strongly. It does not have to be
you
than a sentence or two. Keep in mind
longer
this sets the tone for your exhibition and
that
it should not be trivial.
so
If you are placing your exhibition in the
•
of a theme, make this clear. Explain
context
it might be particularly interesting,
why
example, to look at prompt 9 “Are
for
types of knowledge less open to
some
than others?” through the lens
interpretation
Write significant descriptions of the
•
Focus on what is of significance—
objects.
details about their origin, history
which
ownership and use, past and current
of
are relevant? Which are essential
location
contextualizing each object in its place
to
the world? Your objects should be
in
grounded in a real-world
simultaneously
and linked to your chosen prompt.
context
of the objects’ description and the
Think
for including them into the
justification
as two sides of the same coin.
exhibition
Address “the big picture” of your
•
Once you have described and
exhibition.
each of your objects to the prompt,
linked
out and consider the picture that
zoom
To fail to do so would be a missed
emerges.
to extract meaning from the
opportunity
Ideally, each of your objects will
exhibition.
a unique relationship to the prompt. By
have
these three specific objects together,
putting
should be able to say something unique
you
the prompt. What do your chosen
about
seen together, allow you to say about,
objects,
example, what counts as knowledge, or
for
what grounds we might doubt a claim?
on
may be tensions and contradictions
There
your objects; this is not something
between
need to hide or necessarily aim to
you
Indeed, you may have even
resolve.
selected your objects to create
intentionally
tensions. Highlighting them in relation
these
the prompt demonstrates that you have
to
understanding that knowledge manifests
an
the world in complex and messy ways. If
in
well, this can add depth and nuance to
done
the purpose of the written account
Ultimately,
to make your thinking visible to anyone who
is
visiting your exhibition, even virtually, and
is
may not know you and your motivations.
who
12
of these objects for a different one?
of knowledge and religion.
I.2.5 Writing it all up
Making your intentions visible
much substance to your exhibition.
your exhibition.
366