Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
with Cambridge Analytica and leftassociationUniversity for Stanford in 2014.Cambridgeplays a significant role inTechnologyour senses and making more of theaugmentingknowable. It can bring very small or veryworldobjects into visibility, make very fast orlargeslow processes perceptible, reveal invisibleveryand render complex phenomenarelationsIn extending our cognitive abilities,intelligible.enlarges what we can know andtechnologydoes it mean to be at the frontier ofWhatWe have drills that bore 100 floorsknowledge?into polar ice to extract ice cores thatdownclimate data from a time long beforecontainthis, in the 2013 study, Kosinski’s teamBeforeissued the following warning.hadof the ocean, and yet less is knownbottomthe Earth’s seabed than about the surfaceaboutMars. Computers are generating proofs ofofunsolved problems of mathematics,complexof which are beyond our human capacitysomeverify. Digital and multimedia art opentoavenues of expression, with unclearnewand implications. We have modelslimitationscomplex systems, fed by big data andofby AI algorithms, producing outcomesenginedpredictions that influence decisions withandhumanconsequences.pushes the frontier of our knowledgeTechnologythe same time as it expands the set of knownatAt the beginning of this chapter weunknowns.you to consider whether knowledgeinvitedcan be produced without the use oftodayIf so, what new questions abouttechnology.terms: BoumanSearchof black holepicturedo you take an image of an objectHowappears to us on Earth as small as anthatIII. Methods and toolsIII. Methods and toolsPredictability of individual attributes from digital records of behavior may have considerable negativeimplications, because it can easily be applied to large numbers of people without obtaining their individualconsent and without them noticing. Commercial companies, governmental institutions, or even one’s Facebookfriends could use software to infer attributes such as intelligence, sexual orientation, or political views thatan individual may not have intended to share. One can imagine situations in which such predictions, even ifincorrect, could pose a threat to an individual’s well-being, freedom, or even life.(Matz et al 2017)Making connectionsTechnopoliticsChapter 2, section IV, considers the political implicationsof this research.III.3 Technology at the frontier ofknowledgeverification, validity and reliability arise?transforms how we can know it.For discussionMaking connectionsTechnological toolkitsHow to take a picture of a black holeConsider the dierent areas of knowledge. Howwith Katie Boumanis technology changing the methods and toolsavailable for the production of knowledge?TEDTalkorange on the surface of the moon? Whathumans. We have powerful sonar to map the75
that object is a black hole, from whichifparticle can escape, not even the lightnoto take an image of it? This was thenecessarychallenge confronting scientiststechnologicalgave us the first image of a black hole,who2019. How did they overcome it? Just overinyears before their breakthrough, Katietwospoke at a TEDx event. Watch theBoumanto find out how Bouman and team builtvideoimpossibly large telescope to photographanelusive and never-before-seen object. Thenanthese questions.considerHow did the team protect against their1.bias?potentialWhat gave them confidence that their2.were reliable?resultsChapter 7 we discuss the phenomenon ofInregress, which deals with theexperimenter’sof providing experimental evidencechallengephenomena that have only been theorizedfornever observed. How can we know that thebutone gets from technological tools andresultsreect a real phenomenon, if we haveinstrumentsobserved that phenomenon before and haveneverhas kept company with death ever sincePhotographywere invented, in 1839. Because an imagecameraswith a camera is, literally, a trace of somethingproducedbefore the lens, photographs had an advantagebroughtany painting as a memento of the vanished pastoverthe dear departed. To seize death in the making wasandmatter: the camera’s reach remained limited asanotheras it had to be lugged about, set down, steadied.longonce the camera was emancipated from the tripod,But,portable, and equipped with a range nder and atrulyof lenses that permitted unprecedented featsvarietyclose observation from a distant vantage point,ofacquired an immediacy and authoritypicture-takingthan any verbal account in conveying the horrorgreatermass-produced death. If there was one year whenofpower of photographs to dene, not merely record,thecamera is an example of how a newThechanged the way that knowledge istechnologyin varied fields, from science, to art toproducedIn “Looking at War” Susan Sontagjournalism.about how photography achieves both awritesof objectivity as well as perspective, and asenseand immediacy that far exceeds anylegitimacyaccounts of war.previousterms: Sontag LookingSearchWar New Yorkeratare some continuities, but also veryTheredifferences, between the visual languagemanySontag’s time and the visual language ofofConsider, for example, the claim thattoday.relationship between image-making andthehas shifted away from representing realitytruthmost abominable realities trumped all the complexthesurely it was 1945, with the pictures taken innarratives,and early May in Bergen-Belsen, Buchenwald, andAprilin the rst days after the camps were liberated,Dachau,those taken by Japanese witnesses such as Yosukeandin the days following the incineration of theYamahatahad the advantage of uniting twoPhotographsfeatures. Their credentials of objectivitycontradictoryinbuilt, yet they always had, necessarily, a point ofwereThey were a record of the real—incontrovertible, asview.verbal account, however impartial, could be (assumingnothey showed what they purported to show)—since athatwas doing the recording. And they bore witnessmachinethe real, since a person had been there to take them.to3III. Methods and toolsFigure 3.10 Varroa destructor (mite) on the back of Apis mellifera(honeybee)Making connectionsTechnology and the experimenter’s regressnothing to compare with?towards altering and creating different realities.Looking at Warpopulations of Hiroshima and Nagasaki, in early August.(Sontag 2002)76
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that object is a black hole, from which
if
particle can escape, not even the light
no
to take an image of it? This was the
necessary
challenge confronting scientists
technological
gave us the first image of a black hole,
who
2019. How did they overcome it? Just over
in
years before their breakthrough, Katie
two
spoke at a TEDx event. Watch the
Bouman
to find out how Bouman and team built
video
impossibly large telescope to photograph
an
elusive and never-before-seen object. Then
an
these questions.
consider
How did the team protect against their
1.
bias?
potential
What gave them confidence that their
2.
were reliable?
results
Chapter 7 we discuss the phenomenon of
In
regress, which deals with the
experimenter’s
of providing experimental evidence
challenge
phenomena that have only been theorized
for
never observed. How can we know that the
but
one gets from technological tools and
results
reect a real phenomenon, if we have
instruments
observed that phenomenon before and have
never
has kept company with death ever since
Photography
were invented, in 1839. Because an image
cameras
with a camera is, literally, a trace of something
produced
before the lens, photographs had an advantage
brought
any painting as a memento of the vanished past
over
the dear departed. To seize death in the making was
and
matter: the camera’s reach remained limited as
another
as it had to be lugged about, set down, steadied.
long
once the camera was emancipated from the tripod,
But,
portable, and equipped with a range nder and a
truly
of lenses that permitted unprecedented feats
variety
close observation from a distant vantage point,
of
acquired an immediacy and authority
picture-taking
than any verbal account in conveying the horror
greater
mass-produced death. If there was one year when
of
power of photographs to dene, not merely record,
the
camera is an example of how a new
The
changed the way that knowledge is
technology
in varied fields, from science, to art to
produced
In “Looking at War” Susan Sontag
journalism.
about how photography achieves both a
writes
of objectivity as well as perspective, and a
sense
and immediacy that far exceeds any
legitimacy
accounts of war.
previous
terms: Sontag Looking
Search
War New Yorker
at
are some continuities, but also very
There
differences, between the visual language
many
Sontag’s time and the visual language of
of
Consider, for example, the claim that
today.
relationship between image-making and
the
has shifted away from representing reality
truth
most abominable realities trumped all the complex
the
surely it was 1945, with the pictures taken in
narratives,
and early May in Bergen-Belsen, Buchenwald, and
April
in the rst days after the camps were liberated,
Dachau,
those taken by Japanese witnesses such as Yosuke
and
in the days following the incineration of the
Yamahata
had the advantage of uniting two
Photographs
features. Their credentials of objectivity
contradictory
inbuilt, yet they always had, necessarily, a point of
were
They were a record of the real—incontrovertible, as
view.
verbal account, however impartial, could be (assuming
no
they showed what they purported to show)—since a
that
was doing the recording. And they bore witness
machine
the real, since a person had been there to take them.
to
3III. Methods and tools
Figure 3.10 Varroa destructor (mite) on the back of Apis mellifera
(honeybee)
Making connections
Technology and the experimenter’s regress
nothing to compare with?
towards altering and creating different realities.
Looking at War
populations of Hiroshima and Nagasaki, in early August.
(Sontag 2002)
76