Theory of Knowledge
Maree Marinelis
Candidate Session Number: D 000980031
Title: Question No. 5 “No knowledge can be produced by a single way of knowing.” Discuss.
Word Count: 1574
Knowledge is gained through a myriad of personal experiences through a variety of ways that shapes a person’s understanding. The knowledge we obtain is the culmination of our experiences as we learn what our brain interprets from our senses. Knowledge is the transmission of information that shapes a person’s understanding on a particular topic using a way of knowing. The language used by others to formulate our own ideas and thoughts produce knowledge. The knowledge obtained can either be objective and subjective. The two areas of knowledge, history and arts, are both typically at fault for being inaccurate or bias. The role of history is to study, interpret and analyse the events of the past and relay these findings through language. Language communicates thoughts and ideas through a verbal or written broadcast, thus allowing knowledge to be conveyed. The arts are a broad area of knowledge that communicate knowledge through the manipulation of our sense perceptions that allow us to experience sensations through any of our five senses. The inaccuracies and biases of these areas of knowledge and ways of knowing is due to the pre-set beliefs and values that affect how an artist or a historian chooses to express a particular message to others. Each historian belongs to a school of historiography that holds the belief that an event was due to a specific set of factors and the language used supports this claim. Similarly, artists utilize our sense perceptions to convey a message through a painting. Arts are a broad area of knowledge to i...
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...e constraints with using language or sense perceptions as a single way of knowing. As more than one method is used to produce knowledge, inaccuracies or biases would be reduced. Ultimately, our own ‘cultural imprint’ further affects the way we interpret different types of art and how the language used by a historian alters our awareness of a historical event, as it is not possible to ask or investigate knowledge without having a preconceived notion of what you want to find.
Conversely, upon investigating the artwork’s factual information such as the painting’s context, the artist’s background, the genre and the school or movement associated with the painting, it is possible to obtain knowledge that combines objective information and subjective opinion, confirming that some degree of objectivity, albeit with our ‘cultural imprint’, is possible as an art observer.
People can have many different opinions depending on a topic, but what is truly difficult is getting a complete level of understanding from every opinion, or understanding the point of view of each opinion. Even accepting the points of view can be difficult for some people, who believe that their opinions are right. Luckily, people can learn about the other person’s frame of reference, and at the very least understand the topic or the person a little better. This particular topic is art, which is known for its multiple possible perceptions or its many different messages that it can send a person or group of people. In this way, people can learn more about the thought processes and feelings of others. Unfortunately, with differing opinions,
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
The study of past events have been a common practice of mankind since the verbal telling of stories by our ancestors. William Cronon, in his article “Why the Past Matters,” asserts that the remembrance of the past “keeps us in place.” Our individual memories and experiences shape how we act in our daily lives. In addition to influencing us at an individual level, our collective history binds us together as a society. Without knowing where we have been or what we have experienced, it is nearly impossible to judge progress or know which courses of action to pursue. The goal of the historian is to analyze and explain past events, of which they rarely have firsthand memory of, and apply the gained knowledge to make connections with current and future events.
For centuries, views of the world and its inhabitants have been expressed through various ways of art or philosophy. These views can often be related to the seeking of truth to the creation of life, politics, or the problems of the world from before, now, and after. Accordingly, it is by paintings, books, or music, that words or images have an abundant effect on people. Society indicates that knowledge is power, so then why are we sometimes burdened with the errors of generations before? The quote, “writing in English is the most ingenious torture ever devised for sins committed in previous lives. The English reading public explains the reason why,” by James Joyce; points out that any novelist, historian, or author writing about our previous failures as humans in history affects any reader in a way that brings up painful memories and leaves the reader with past knowledge. To be honest, I had to grab a chair and think for what seemed like hours before I could actually comprehend what the quote was saying. I thought to myself, “How can writing about the past bring pain to the reader? I understood how writing can bring knowledge to a person, but how can it affect anything in the present?” As Vladimir Nabokov said, “In reading, one should notice and fondle details.” So, I opened up my mind and started to analyze the quote. Then, suddenly it clicked! In The Prince by Niccolò Machiavelli, Machiavelli has a similar style to this quote in which he explains that any prince should not select anything else for study but the art of war. He declares through studying the histories of the art of war, “A prince will learn of many illustrious men’s causes for victory or defeat; therefore, avoiding the latter and imitating the former.”(Machiavell...
Through what we have studied of the artist, we know that he sees various things in his
?Any work of art owes its existence to the people and culture from which it has emerged. It has a functional and historical relationship with that culture.? Michael W. Conner, PhD#
Unlike science, art is subjective. The artist leaves behind a part of himself in his work. Therefore, each piece has its own distinct perspective. Frida Kahlo’s self-portraits show her view on her life, on how she has faced so many struggles, yet managed to be a strong person. When we see or hear or read an artistic creation, it produces a mood such as calm or loud, fear or safety. For example, the Eiffel Tower gives Paris a majestic awe; everyone who passes by feels the strength of the 113-year-old grand structure. Art also has a texture. Photographs reveal much through their textures; grainy surfaces often make the picture more realistic while smooth ones seem softer. When we hear a piece of music or see a film, a rhythm carries us from one part to another. Not just true for these two genres, rhythm is present in any artistic work. These few properties are characteristic of everything we encounter in the world of art, the world of human expression. Most have other special features also. Most of the time, though, we do not think about these characteristics because we do not have enough time to pay attention to anything for more than a few seconds.
I shall also expound Ayer's theory of knowledge, as related in his book. I will show this theory to contain logical errors, making his modified version of the principle flawed from a second angle.
In looking through the past we may discover things that we could possibly overlook while caught up in the academics assocaited with the field of history, one of those is the very real nature of the human experience. So many times in the quest for an elusive certainity it is easy to forget the actual value of information, not in the sense of obtaining impossible perfect knowledge, but in the power that knowledge can provide for people. Life is full of things that can bring people despair, especially those people who are marginilized daily and so often told they are an abnormally in so many regards; for these people the mere knowledge of knowing they come from anywhere can be inspiring and comforting in ways that aren't easily replicated. One
How we approach the question of knowledge is pivotal. If the definition of knowledge is a necessary truth, then we should aim for a real definition for theoretical and practical knowledge. Methodology examines the purpose for the definition and how we arrived to it. The reader is now aware of the various ways to dissect what knowledge is. This entails the possibility of knowledge being a set of truths; from which it follows that one cannot possibly give a single definition. The definition given must therefore satisfy certain desiderata , while being strong enough to demonstrate clarity without losing the reader. If we base our definition on every counter-example that disproves our original definition then it becomes ad hoc. This is the case for our current defini...
... over time – and the viewer’s personal experience, essentially her history. This gets very near to a common sense perspective – what we look at, and what we think about what we see has much to do with who we are and what we have experienced in life. Thus, art may be described as an interaction between the viewer, influenced by her experiences, with the work of art, inclusive of its history and the stories built up around it over time. When we look at art, we must acknowledge that the image is temporally stretched – there is more to it than meets the eye at present. What we learn from Didi-Huberman’s approach is to give this temporal ‘tension’ its due. Didi-Huberman describes and defends the importance of of how we look at artistic works: images that represent something determinate, while always remaining open to the presentation of something new and different.
Throughout the known history the artists have been striving to capture the world around them in an attempt to document the contemporary events and their surroundings or present their own or their client’s vision or an interpretation of a concept that would illustrate, describe or help visualize an idea. The description of the resulting art is often classifies the work as belonging to a specific style thus illustrating a set of common traits between the artifacts belonging to the same period. Two of these classifications are the Realist and the Impressionist movements.
When analyzing artwork, in any form, there are often times social contexts in which can be interpreted. Not always does the history behind the painting need to be revealed to fully understand the concept of the artwork, yet it is helpful in determining if the artwork is truthful in its representation. Although in analyzing artwork it is likely that there are drawbacks to considering the social context. To illustrate this point, I'm going to use the visual arts as my medium of choice. Understanding the social context can be an important tool. An advantage of knowing the history of the painting or sculpture can really enrich our knowledge, being in the 21st century, about some of the social periods from previous times. It can demonstrate how traditions were carried out, how they had an impact on the different social classes. It's a visual teaching aid of a sort. Even in the time period of which the artwork was created can be used as a tool to show how the life was in different parts of the world. It was also used as a hammer in the realist movement to show the upper classes that life for the poor was horrible. The visual arts is the only medium in which the pictorial image creates a universal language in which anyone, regardless of nationality or social class can interpret. The text which is created by this language often creates a context which is left open to interpretation. Contexts are created by the artist, critics, judges, the public, essentially, any one who views the work and forms an opinion relating to it. The contexts stem from subject or content of an artwork, and are usually facts regarding the content. Yet, the contexts almost always have backgrounds themselves, therefore making the original contexts, texts. This will be more clearly illustrated later. The chain is seeming to be a never ending process. There are always more conditions to the previous ones. All context, therefore, is in itself, textual. This concept of all context in itself textual is a post-structuralist strategy. A man named Derrida is a man who has developed this idea that the post-structuralist concept of every statement made, can be interpreted in infinite ways, with each interpretation triggering a range of subjective associations. Every statement has an association, therefore it's a sort of domino effect.
As Berger says, “the art of the past is being mystified because a privileged minority is striving to invent a history which can retrospectively justify the role of the ruling classes, and such a justification can no longer make sense in modern terms” (157). The upper class mystifies us to stay in control; without being able to see things in our own way, we are being deprived from our right to understanding ourselves and placing ourselves in a role of society.
We gain knowledge in through our ways of knowing which are mainly perception, reason and language. We use them to find knowledge because we justify our claims and beliefs by their use, thus, our evidences, because they get us closer to the truth. To accept something as knowledge, it must be considered true, one must believe it and there must be justification why the person knows it, therefore these ways of knowing aid in the process for our quest for knowledge. In conclusion, in order to obtain knowledge all of these three attributes have to be integrated in some type of way, and due to the changing nature of all three of them, knowledge is always changing and it is dynamic, leading to the fact that knowledge can be discarded. The questions b...