Do we need custodians of knowledge?
This IB Theory of Knowledge essay, based on TOK May 2024 Essay Title 5, investigates whether we need custodians of knowledge, with a focus on history and the arts. It examines the roles that museums, archives, and historians play in preserving historical knowledge and how guardians in the arts protect creative works. The essay argues for the necessity of custodians in maintaining the integrity and continuity of cultural and historical knowledge, while also considering the potential for bias and suppression by these guardians. This thoughtful analysis highlights the complex responsibilities of custodians in managing human understanding across different fields.
September 18, 2024
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Do We Need Custodians of Knowledge? Discuss With Reference to Two Areas of
Knowledge
The exploration of this topic prompts an examination of the role of custodianship in
shaping, conserving, and distributing knowledge. A clear understanding of the key terms in
this topic allows for a comprehensive exploration of custodianship based on two different
areas of knowledge. In this case, “Custodians of knowledge' indicates individuals,
organizations, or entities trusted with the role of protecting and handling knowledge.
"Knowledge" itself warrants scrutiny, comprising of the shared insights, understandings, and
information obtained by humanity over time. Comprehending the need to examine this topic
necessitates the crucial role that custodians play in shaping the line of knowledge. This essay
focuses on two areas of knowledge, specifically history and arts, each providing an exclusive
viewpoint on the complexity of custodianship. In history, where the discipline unfolds the
narratives of human experience throughout life, custodians work to protect the past.
Museums, archives, and historians together contribute to the conservation of historical
knowledge. In the world of ats, custodianships extend to the protection of a diverse range of
creative words, considering emotional, cultural, and intellectual dimensions. Therefore, based
on the inquiry "Do we need custodians of knowledge?" this essay seeks to assess theSurname 2
necessity of custodianships in history and arts, exploring their impacts on the progress and
stability of knowledge.
In the realm of history, custodianship is evident through various institutions, including
museums, archives, and historians themselves. Such entities stand out as crucial entities in
both preserving and interpreting historical events, making sure that the tapestry of human
understanding is passed down to subsequent generations. A crucial example of such
custodians includes the Library of Alexandria, a beacon of knowledge in ancient times. This
Library is located in Alexandria, Egypt, and is recognized as one of the primary centers of
knowledge in the 3rd century BCE under the Ptolemaic dynasty (Sraku-Lartey 48. The aim of
this Library at that time was to collect the wisdom of the world. However, its demolition is
masked in mystery and has developed to be synonymous with the loss of invaluable
knowledge. A number of accounts have suggested different stages of its decline and
demolition, from 48 BCE, the time when Caesar set fire to ships in the town's harbor, which
caused the flames to spread to parts of the city and the Library. The second account occurred
in 391 CE and later in 642 CE, after the Islamic conquest of Alexandria. At the time of its
first destruction, the Library was seen as the most excellent recognized collection of human
knowledge up until it was demolished (Stapleton et al. 820). It acted as a protective store of
all that reflected the best knowledge of human civilization. Therefore, its demolition could be
understood as a significant rupture in the continuum of human knowledge. Such an argument
could be the reason why we do need custodians of knowledge. The information in the
Alexandria library could have offered humanity insights into the ancient world, including
their values and belief systems, their tools, and other significant techniques.Surname 3
However, critics argue that custodianshare optionally in history, if not detrimental. A
demonstrative example is the phenomenon of historical suppression, wherein custodians
selectively neglect or alter information to line up with certain philosophies, thereby stifling
diverse insights. The historical act of burning bosk throughout various periods works as a
stark reminder of such suppression, signifying the deliberate erasure of dissenting
perspectives (Stapleton et al. 820). In such incidents, custodians become not just preservers
but also arbiters of historical truth, exerting the power to shape accounts conferring to their
predilections. A compelling instance of the possible pitfalls of custodianship in history
involves the Cultural Revolution in China from 1966-1976. Throughout this period, the
Chinese government, led by Mao Zedong, participated in an organized campaign to eliminate
elements thought to be counter-revolutionary. Such acts included the demolition of historical
books, artifacts, and cultural heritage that failed to align with the prescribed narrative of the
Communist Party (Zhang et al. 5). Therefore, the Chinese custodians of history, in this case,
were not just mere protectors of knowledge; they changed to be tools of ideological
conformism, obliterating varied insights and nonconforming voices from the historical
record. Such historical incidents raise concerns about the reliability and completeness of
knowledge under custodianship. The intentional destruction of specific historical accounts
throughout the Cultural Revolution illustrates how custodians, mainly when used as tools of
state power, can misrepresent historical records to suit political schemas (Zhang et al. 10).
The adverse insinuations of custodianship in this framework go beyond the mere
conservation of knowledge; they help in manipulating historical realities, hence affecting a
holistic and impartial understanding of the past. This counterargument challenges the idea
that custodianship is always helpful in history, underscoring the need for attentiveness against
its possible misappropriation in shaping historical knowledge.Surname 4
In the realm of arts, custodianship is unmistakably apparent in galleries, museums,
and institutions dedicated to protecting artistic creations. For instance, the Louvre Museum is
recognized as a custodian of artistic knowledge by conserving and showcasing various
masterpieces (Duncan 260). This institution represents one of the many museums that play
the crucial role of being custodians of knowledge, ensuring the physical permanence of
artworks and contributing to the long-lasting role of cultural expressions. Reports from
historical records provides that the Louvre, with a complete collection spanning periods and
cultures, works as indication of the implication of custodians in the arts (Déotte et al. 55).
The role of custodians in this case surpasses mere preservation since it comprises the curation
of varied artworks, supporting an environment where audiences can share with a rich tapestry
of human creativity. Custodians therefore act as a protector of cultural legacy, inspiring the
communication of artistic information across generations. Furthermore, study displays that
custodianship in the arts is vital for preservation artworks from the consequences of time,
possible neglect, and environmental factors (Duncan 214). In this case, it demonstrates how
artworks are delicate and vulnerable to deterioration, and custodians play a crucial role in
implementing preservation measures to make sure that their works last longer (Duncan 214).
Through a meticulous conservation effort, custodians contribute to the continuity of artistic
knowledge, allowing future generations to appreciate and derive inspiration from the
creations of the past. Therefore, such arguments support the need for custodianship in arts,
emphasizing its crucial role in conservation, showcasing, and transmitting the rich tapestry of
human creativity across different eras and cultures.
However, regardless of the benefits of custodianship in the arts, a counterclaim
emerges, providing an understanding of cases where custodial practices might affect ratherSurname
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than support artistic innovations. The deterring nature of custodianship becomes evident
when institutions undertake the authority to dictate what is considered “Valuable” or |worthy”
of protection (Kizhner et al. 620). The predetermined assessment can involuntarily stifle
evolving artists and modern movements, creating an obstacle to the organic evolution of
artistic knowledge. A fascinating instance demonstrating the conceivable problems of
custodianship in hindering artistic innovations is the reception of street art in institutional
settings. Street art, often evolving from grassroots movements and avant-garde urban spaces,
challenges traditional perceptions of artistic creation and exposition (Kizhner et al. 630). In
custodial practices that favor more conservative forms of art, organizations might be
uncertain to support or reserve street art as a result of its fleeting nature or eccentric
presentation. The restrictions imposed by custodianship in such instances prevent the
acknowledgment and conservation of the whole genre of artistic expression, possibly
looming the natural progression of artistic knowledge.
Moreover, historical events, including the controversy surrounding the removal of
street artist Bankysy's work from public spaces, demonstrate the clash between custodianship
and artistic experimentation (Davis 33). Such counterclaims highlight the need for a delicate
balance between custodianship and the encouragement of artistic experimentation. Even
though custodians play a fundamental role in conserving cultural heritage, there should be a
more inclusive approach that supports diverse artistic explorations. Such nuanced viewpoint
inspires custodians to adjust their practices to accommodate evolving artists and
contemporary movements, fostering an environment where artistic knowledge and growth are
deprived of being stifled by rigid custodial frameworks.Surname 6
The comparison between arts and history discloses diverse exhibitions of
custodianship history emphasis on conserving past events and accounts, underscoring the
protection of factual accounts. However, arts are directed to conserve a diverse array of
creative expressions (Duncan 260). Such disparity highlights the complex nature of
custodianship and its related significance. The diverse custodial practices in arts and history
suggest that the need for custodians fluctuates based on the nature of knowledge in each
AoK. Such comparative examinations illustrate the dynamic interplay between custodianship
and acknowledge across diverse areas, underscoring the need for adjustable custodial
methods that align with the exclusive characteristics and objective of each AoK. Moreover,
the comparison reveals how custodians navigate the subtle balance between conservation and
adaptation. The dynamic nature of acquiring knowledge in these domains demands a nuanced
understanding of custodial responsibilities, recognizing that a more than one-size-fits-all
approach might not be conducive to the diverse and emerging nature of human
understanding.
In conclusion, the exploration of custodianship in arts and history provides a nuanced
relationship between conservation and possible pitfalls. Even though custodians in history
protect against knowledge extinctions, the issues of bias and censorship highlight the need for
vigilance. Custodianship in arts plays a critical role in conserving diverse expressions, yet the
threat of stifling invention occurs, especially when rigid valuations prevail. The comparative
examination highlights the contextual significance of custodianship, underscoring its
dynamic nature in different AoKs. Realizing a balance between conservation and adaptability
is critical. The need for custodians might vary according to the exclusive characteristics of
each AoK, demanding considerate custodial practices that support continuity whileSurname 7
embracing the emerging landscape of human understanding. Generally, custodians work as
agents of knowledge, with the role of navigating the intricacies integral in shaping,
conserving, and distributing the diverse tapestry of human wisdom.
Works Cited
Davis, Lindsey. "The privatization of street art and the preservation paradox." Visual
Inquiry 7.1 (2018): 29-43.
Déotte, Jean-Louis. "Rome, the archetypal museum, and the Louvre, the negation of
division." Grasping the World. Routledge, 2019. 51-64.
Duncan, Carol. "From the princely gallery to the public art museum: the Louvre Museum and
the National Gallery, London." Grasping the World. Routledge, 2019. 250-277.
Kizhner, Inna, et al. "Digital cultural colonialism: measuring bias in aggregated digitized
content held in Google Arts and Culture." Digital Scholarship in the Humanities 36.3
(2021): 607-640.
Sraku-Lartey, Margaret. ‘Connecting the World through Local Indigenous Knowledge’. 1
Jan. 2021 : 43 – 51.
Stapleton, Larry, and Lise Jaillant. "“Born digital” shedding light into the darkness of digital
culture." AI & SOCIETY 37.3 (2022): 819-822.
Zhang, Joshua, and James D. Wright. "A Concise History of the Cultural
Revolution." Violence, Periodization and Definition of the Cultural Revolution. Brill, 2018. 7-17.
September 18, 2024
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Academic level:
IB Student
Type of paper:
IB ToK Essay
Discipline:
History and arts
Citation:
MLA
Pages:
6 (1600 words)
Spacing:
Double
* The sample essays are for browsing purposes only and are not to be submitted as original work to avoid issues with plagiarism.
