Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang

as unspoken and unspeakable truths
art
295–7
artisanry and women creatives
artwork,
282–3
repatriation and redistribution of
patrimony,
297–304
art
as a response to transgression
censorship
315–16
all culture belong to all humankind?
does
303–4
knowledge, indigenizing the
decolonizing
118–19
curriculum
education for tolerance and mutual
religious
162
understanding
arguments and supporting them
articulating
examples 372–3
with
conclusions that are of consequence
drawing
374–5
with a diversity of perspectives and
engaging
differences 373–4
evaluating
in the human sciences
experimentation
235–7
the frontier of conventional historiography
at
269–73
markers of signicance and
changing
omissions 256–7
correcting
and its “others” coexisting in time
history
249–50
unpacking the PT 370–2
censorship of the past 316
A
ethics 18
academic freedom 50–2
certainty 15
accuracy 220–2
arts 312–20
climate justice 242–3
colonization 99–100
can AI be unethical? 82–6
AIDS 178–80
coming to know 120–1
Ainu 113–14
history 273–4
appropriation of artworks 301–2
complexity 199–200
human sciences 240–3
mathematics 347–8
concepts 15–16
Easter Island and the British Museum 302–3
representing Indigenous Peoples 133–5
role of museums 303–4
conservation 121
articial intelligence (AI) 82–6
science 202–4
battle of religious conservationists 159
credibility 20–1
secular alternatives to religious ethics 163–4
arts 278–81
art and access 292–5
cultural property 300–1
technology 77–8
ethnographic methods 229–30
evidence 15
artists and artisans 281–3
culture 16
experimentation 194–5
D
artworld and the art market 294–5
deaf culture 100–1
replicability and reproducibility 237–9
censorship 315–16
expert knowledge 28–9, 292–2
decolonization 118–19
ethics 312
Democracy Club 45–6
explanation 16
ethics of aesthetics 316–20
dialects 94–5
expertise and aesthetic judgment 291–2
F
digital subcultures 46–50
Han van Meegeren 287–91
digital technology 72–5
facts 12–13
it is what it is, but is it art? 284–5
faith 23
Dinesh, Nandita 307–9
method and art education 304–6
discovery 248–51
false balance 35–7
method and art production 306–9
falsicationism 168
diversity 20–1
diversity and histories 253–4
feminist critiques 190–2
diversity and many mathematics 334–6
eldwork 229–30
pigment feuds 310–11
lter bubbles 39–43
power of art to inuence ethics 312–15
linguistics and epistemic diversity 93–6
role of the audience 315
tools and instruments in art 309–11
E
G
echo chambers 39–43
genetics 186–7
truth and knowledge in art 284–6
Gettysburg, Battle of 269–70
atoms 175–6
education 116–17
governance 28–9
Australian Aboriginals 115–16
authority 9
Ladakh, India 117–18
H
land-based education 119–20
habits 13–15
B
herbalism 130–2
barter 220–1
electrons 176
beliefs 10–12
historiography 252, 269–73
history 246–7, 261
category of problematic beliefs 19
emergence 201
emotion 108–9
Benin Bronzes 298–9
Boke, Charis 130–2
English as global lingua franca 96–9
Battle of Gettysburg 269–70
epistemic injustice 20–1
Boyle, Robert 23
can history know itself? 275–6
Buddhism 141–2, 165–6
essay (PT) 369–70
diversity and histories 253–4
C
assessment for the essay 376
campus politics 50–2
does the past speak for itself? 264
ethics 273–4
censorship 315
376