Active experimentation and passive observation are, and have been, key processes in the development of knowledge for humankind. For many people, knowledge that has been gained through active experimentation is often perceived as clear, precise and reliable due to the official publishing and confirmation of hypotheses. Passive observation on the other hand, is when one does not experience the event personally but learns from others’ experiences - it is therefore perceived as being more subjective and dependant on what each individual takes and understands from that experience. It is open to changes in as these experiences are shared from person to person. Both active experimentation and passive observation have produced vastly furthered knowledge …show more content…
Some people look at Banksy’s art and attribute different physiological responses. They may admire the artwork, whereas other people consider it graffiti. The active external environment of a person passively observing art also effects the production of knowledge and this is the Schachter–Singer theory based on two factors - physiological arousal and cognitive label . The theory states that when an emotion is felt, a physiological arousal may occur, and a person will use the immediate environment to help understand this emotion. The knowledge based on an event here, is dependent on the specific environment, and sometimes this may cause misinterpretation. As can be seen from the examples above, both passive observation and active experimentation do have multiple personal and societal limitations, which can produce false knowledge, which is …show more content…
Our imagination is a fundamental base in the production of personal knowledge. For example, when someone speaks about a planet which is not observable to us, or in Biology when a teacher asks us to pretend we are a red blood cell and track our journey through the heart, we use our imagination as a method in the production of knowledge. Imagination allows us to be our own puppet masters in the production of personal knowledge, unique to us. Each one of us has a unique imagination, and hence what we see and the knowledge we produce is individual. In the production of knowledge, we do not need passive observation or active experimentation in order to produce knowledge for ourselves, and imagination is an example of this. The planet ‘Kepler-22b’ is extremely far away from Earth and hence not visible to cameras, however, with information gained through active observation and deductive reasoning, artists can imagine what Kepler-22b would look like and hence visualise a knowledge base for teaching . The imagination of Kepler-22b would be the basis of knowledge for society, as any reference to Kepler-22b would be based around this image; this may be false as it is based on a single interpretation, however it is still knowledge for society. The example of Kepler-22b and the use of imagination when creating this hypothetical image does
In existential thought it is often questioned who decides what is right and what is wrong. Our everyday beliefs based on the assumption that not everything we are told may be true. This questioning has given light to the subjective perspective. This means that there is a lack of a singular view that is entirely devoid of predetermined values. These predetermined values are instilled upon society by various sources such as family to the media. On a societal level this has given rise to the philosophy of social hype. The idea of hype lies in society as the valuation of something purely off someone or some group of people valuing it. Hype has become one of the main driving forces behind what society considers to be good art and how successful artists can become while being the main component that leads to a wide spread belief, followed by its integration into subjective views. Its presence in the art world propagates trends, fads, and limits what we find to be good art. Our subjective outlook on art is powered by society’s feedback upon itself. The art world, high and low, is exploited by this social construction. Even when objective critique is the goal subjective remnants can still seep through and influence an opinion. Subjective thought in the art world has been self perpetuated through regulated museums, idolization of the author, and general social construction because of hype.
The first theory argues that art is an imitation of reality. The inability to represent reality flawlessly results in a piece of...
Throughout many centuries, art is portrayed as the production of an object which supply us a particular kind of pleasure. Philosophers claim that aesthetic emotion is based on perception. It can be determined by an individual’s focus on a specific object. Bell defines art as significant form whereas Tolstoy defines art as communication of feelings. Bell believed all objects provoke aesthetic emotion by the elements of an artwork but Tolstoy would disagree.
In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
There are four steps in the process of modeling for observational learning. They are attention, retention, reproduction, and motivation. Attention is when you focus on what the person you are observing is doing. Retention is remembering what you observed. Reproduction is performing the behavior you observed, and motivation is wanting to actually do the behavior.(www.courses.lumenlearning.com) The psychologist that most strongly identifies with observational learning is Albert Bandura. He believed that observational learning was the result of cognitive processes that are, “actively judgemental and constructive,” not merely “mechanical copying.”(Bandura) According to Bandura there are three different models to observational learning. They are live model which is behavior in person, verbal model which is not doing a behavior but explaining or describing it, and symbolic model is when people or fictional characters demonstrating behaviors in books,
Many of us may be familiar with the notion that creativity is intertwined with repression and pain. We may look at the paintings of Van Gogh as a recording of his descent into madness. Both the literary critic Lionel Trilling and Freud have written on the connection between the unconscious and artistic production. In The Liberal Imagination, Trilling writes of the "mechanisms by which art makes its effects" (53). Trilling suggests that these "mechanisms" make the thoughts of the unconscious more acceptable to the conscious, and he refers to "mechanisms" such as the "condensations of meanings and the displacement of accent" (53).
As Immanuel Kant once said, “all our knowledge begins with the senses, proceeds then to the understanding, and ends with reason.” Our senses are an indispensible part of ones life. Our senses allows us receive information from our environment in order to learn, appreciate and understand our surroundings. Sense perception is defined as “any of the faculties of sight, smell, hearing, taste and touch by which the body perceives an external stimulus” (theoryofknowledge.net). It is interlaced with all areas of knowledge. However, this essay will focus on strengths and weaknesses of sense perception in the arts and natural sciences. Art is defined by the oxford dictionaries as the “expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power” (oxforddictionaries.com). Art is a powerful medium that can be used to convey a message. Thus, the essay will focus on the importance of sense perception on the arts. On the other hand, the natural sciences a...
The first issue presented corresponds to the Natural Sciences as a way of knowing. The Natural Sciences’ most prominent method of conclusion and fact basing is the scientific method. The nature of the Scientific method itself, includes a revisionist stage, where the initial hypothesis is assessed based upon the observations found. The equivalent to a hypothesis could and in most instances where data is reviewed, replace the currently accepted knowledge. For instance, initial knowledge would be the belief that the earth was flat. This knowledge would undergo controversy and ultimately be revise...
For an advanced knowledge to be accepted, empirical evidence is required to discard existing knowledge, or to revise certain aspects of that knowledge. “Evidence is an available body of facts or information which indicates whether a belief or proposition is true or valid” (Oxford Dictionary). A Human Science example could be drawn from the assertion above. For the past 15 years, the l...
In this paper, I will analyze a portion of the general kinds or manifestations of knowledge that epistemologists have thought is vital to highlight accompanied by the thought of learning as a kind or sensation of some sorts. Knowledge appears to be something we pick up as we live; how would we pick up it, however? That will be our next request, before we inquire as to whether our obviously taking in knowledge is a trickery: might no one ever genuinely get data? Solutions for these requests could indicate finer things of data's constituents, joining the rules incorporated in knowing. They process, shade, and refine these philosophical hypothesis and theories about learning. We will pick up a feeling of what philosophers have thought knowledge is and could be, on top of why a few rationalists have thought knowledge both does not and couldn't exist.
In conclusion, sense perception has been evaluated as a way of knowing in the areas of the Arts and Natural Sciences and it is evidently an essential form of gaining knowledge despite its weaknesses. The tendency for our senses and perception to be biased and subjective as a form of weakness in the Arts, as it is open to misinterpretation of the artist’s intent, can also be looked upon as a strength instead. For the Arts can only thrive where there is individual thought when perceiving and creating art. Additionally, sense perception is able to overcome its limitations and restrictions since it is actively sensing, sorting, and interpreting information, allowing discoveries to be made when otherwise thought impossible in the Natural Sciences. Therefore, though the strengths of sense perception are limited, they prevail over its weaknesses.
Knowledge production through passive observation and active experiment are used in all areas of knowledge and has been crucial in creating knowledge for humankind. But, are passive observation and active experiment the only two ways of producing knowledge? To fully explore this knowledge issue it is essential that “passive observation” and “active experiment” are defined. Passive observation can be defined as gaining knowledge from noticing how something works, without directly affecting the process of outcome. On the other hand, active experiment can be seen as gaining knowledge through interfering and manipulation until eventually affecting the outcome of what they are studying. In other words, active experiment is observation plus the altercation
Imagination is the ability to be creative and understanding in everyday circumstances. Although imagination can be, at times, extremely inaccurate and unrealistic, it provides us with the ability to advance technology, further education, and resolve a wide range of conflict. Thus, imagination can aid in the production of knowledge about the reality of the world, and can practically contribute absolutely nothing to the perseverance of knowledge. Furthermore, this can potentially play a significant role in the understanding of others. However, in all cases relating to the Theory of Knowledge, the answer is explicitly dependent on the situation and the person involved.
Imagination, also known as the faculty of imagining, is the act of forming new ideas or images and concepts that are not present to our senses. Imagined images can only be seen in the “mind’s eye” (Blakslee, 1993)however, attempts at revealing imaginations can sometimes be made through narratives and works of art in a bid to share with other independent minds. Knowledge on the other hand is the facts, information and skills acquired by person through experience or education. Since knowledge is mainly facts and information it can be shared and mutually understood by a society. Knowledge is easier to comprehend as compared to other people’s imaginations where one’s own mind might drive them to a different comprehension while trying to understand other people’s imaginations.
Consider what this means when we attempt to use informal observation as a source of knowledge about human behavior. Because we prefer to have our views confirmed, we tend to notice and remember mainly information that lends support to these known as the confirmation Bias, is very strong (e.g., Johnson & Eagrly,1989); and when it operates, it places us in kind of closed system in which only evidence that confirms our existing beliefs is processed. Clearly, this is one tendency that can lead to errors in our efforts to understand others and