Year 12 TOK Mr. Jarrod
Knowing about knowing
TOK is a course about critical thinking and inquiring into the process of knowing, rather than about learning a specific body of knowledge. It is a core element which all Diploma Programme students undertake and to which all schools are required to devote at least 100 hours of class time. TOK and the Diploma Programme subjects should support each other in the sense that they reference each other and share some common goals. The TOK course examines how we know what we claim to know. It does this by encouraging students to analyse knowledge claims and explore knowledge questions. A knowledge claim is the assertion that “I/we know X” or “I/we know how to Y”, or a statement about knowledge; a knowledge question is an open question about knowledge. A distinction between shared knowledge and personal knowledge is made in the TOK guide. This distinction is intended as a device to help teachers construct their TOK course and to help students explore the nature of knowledge.
The ways of knowing
While there are arguably many ways of knowing, the TOK course identifies eight specific ways of knowing (WOKs). They are language, sense perception, emotion, reason, imagination, faith, intuition, and memory. Students must explore a range of ways of knowing, and it is suggested that studying four of these eight in depth would be appropriate.
TOK is a course about critical thinking and inquiring into the process of knowing, rather than about learning a specific body of knowledge. It is a core element which all Diploma Programme students undertake and to which all schools are required to devote at least 100 hours of class time. TOK and the Diploma Programme subjects should support each other in the sense that they reference each other and share some common goals. The TOK course examines how we know what we claim to know. It does this by encouraging students to analyse knowledge claims and explore knowledge questions. A knowledge claim is the assertion that “I/we know X” or “I/we know how to Y”, or a statement about knowledge; a knowledge question is an open question about knowledge. A distinction between shared knowledge and personal knowledge is made in the TOK guide. This distinction is intended as a device to help teachers construct their TOK course and to help students explore the nature of knowledge.
The ways of knowing
While there are arguably many ways of knowing, the TOK course identifies eight specific ways of knowing (WOKs). They are language, sense perception, emotion, reason, imagination, faith, intuition, and memory. Students must explore a range of ways of knowing, and it is suggested that studying four of these eight in depth would be appropriate.
The WOKs have two roles in TOK:
- they underlie the methodology of the areas of knowledge
- they provide a basis for personal knowledge.
Discussion of WOKs will naturally occur in a TOK course when exploring how areas of knowledge operate. Since they rarely function in isolation, the TOK course should explore how WOKs work, and how they work together, both in the context of different areas of knowledge and in relation to the individual knower. This might be reflected in the way the TOK course is constructed. Teachers should consider the possibility of teaching WOKs in combination or as a natural result of considering the methods of areas of knowledge, rather than as separate units.
The areas of knowledge
Areas of knowledge are specific branches of knowledge, each of which can be seen to have a distinct nature and different methods of gaining knowledge. TOK distinguishes between eight areas of knowledge. They are mathematics, the natural sciences, the human sciences, the arts, history, ethics, religious knowledge systems, and indigenous knowledge systems. Students must explore a range of areas of knowledge, and it is suggested that studying six of these eight would be appropriate.
The knowledge framework is a device for exploring the areas of knowledge. It identifies the key characteristics of each area of knowledge by depicting each area as a complex system of five interacting components. This enables students to effectively compare and contrast different areas of knowledge and allows the possibility of a deeper exploration of the relationship between areas of knowledge and ways of knowing. - www.theoryofknowledge.net/
Student handbook
Sketchbook Rubric
Cosmic Calendar
Sketch book Reflection
- How likely is it that humans have found out any of the profound truths about the universe?
3. What needs to happen for you to truly believe something?
This is water
- What is the message of the movie?
- What does the analogy of the fish mean?
- Are there any examples you can draw from your own life experiences?
- How many of you think you could have a better mindset through which you see the world around you?
- How we do acquire knowledge? Quick brainstorm of the ways we acquire knowledge in various AOKs (methodology, WOKs)
Knowledge acquisition
Below are 20 statements about knowing. Can you group them, finding features in common that allow them to be sorted into kinds of knowledge that they represent? On looking closely, you may discover more than one system of classification that works to cluster similar statements.
After you’ve developed your own categories, take a look at the next page with the categories that TOK has identified. See if you place the statements above as examples for the categories below.
- I know my closest friends.
- I know how to solve problems between my friends.
- I know that Brazil’s economy is stronger than Argentina’s.
- I know that God created the world.
- I know my home city of Bangkok very well.
- I know that my girlfriend Beyonce is beautiful.
- I know how to play football (or soccer as Americans call it).
- I know how to solve problems at my level in math.
- I know the feeling I get everytime I see Beyonce.
- I know that Argentina was discovered by a Spanish explorer in the early 16th century.
- I know that Spain won the FIFA World Cup in 2010.
- I know that I cannot fully explain my love of jazz music.
- I know that a right triangle has a 90 degree angle.
- I know that atoms have protons and electrons.
- I know that tomorrow morning the sun will rise.
- I know that I am going to die someday.
- I know that if I tease my sister, her cheeks will turn red.
- I know that ice cream is delicious.
- I know that I am wearing a blue shirt and holding a cup of hot coffee.
- I know when to stop arguing about something.
After you’ve developed your own categories, take a look at the next page with the categories that TOK has identified. See if you place the statements above as examples for the categories below.
Knowledge claims
In TOK there are two types of knowledge claims.
Claims that are made within particular areas of knowledge or by individual knowers about the world. It is the job of TOK to examine the basis for these first-order claims.
Claims that are made about knowledge. These are the second-order claims made in TOK that are justified using the tools of TOK which usually involve an examination of the nature of knowledge.
Here are some examples:
Both types of knowledge claims might be found in TOK. The first type will feature in examples offered in the essay and presentation illustrating the manner in which areas of knowledge go about the business of producing knowledge. The second type will constitute the core of any piece of TOK analysis.
Types of first-order knowledge claims
In TOK there are two types of knowledge claims.
Claims that are made within particular areas of knowledge or by individual knowers about the world. It is the job of TOK to examine the basis for these first-order claims.
Claims that are made about knowledge. These are the second-order claims made in TOK that are justified using the tools of TOK which usually involve an examination of the nature of knowledge.
Here are some examples:
- “There are an infinite number of prime numbers.” This is a first-order knowledge claim because it resides firmly inside the area of knowledge mathematics. It is established using the method of mathematical proof.
- “Mathematical knowledge is certain.” This is a second-order knowledge claim because it is about mathematical knowledge. We establish this by examining the methods of mathematics themselves using the tools of TOK.
Both types of knowledge claims might be found in TOK. The first type will feature in examples offered in the essay and presentation illustrating the manner in which areas of knowledge go about the business of producing knowledge. The second type will constitute the core of any piece of TOK analysis.
Types of first-order knowledge claims
- Statements of personal observation: What we know through our senses
- Statements of values or a value judgement: Qualitative and subjective; mostly opinion
- Statements of observation: Not the personal observation of the speaker but rather shared knowledge based on observations made by others.
- Predictions: Not observations but are established through observations and reasoning (applying observations of the past to the future).
- Hypothetical statements: based on past observation and places two actions in a casual relationship (if one happens then so does the other).
- Metaphysical Statement: assertion of a spiritual belief. They cannot be tested with sense perception or demonstrated to others.
- Definition: places ideas in a relationship with each other using language.
Knowledge Acquisition and WOK
Ways of Knowing
The guide gives all of the ways of knowing equal importance, shape, and space. Would you picture them differently in shape, size or relationship? Would you use a diagram to demonstrate how you think about them and their relationship to one another?
Having trouble? Consider the following:
Example 1: Analogy. Student used an umbrella analogy; the purpose of reasons is to deflect emotion and faith, the base of reason is memory which is influenced and supported by language and sense perception. Individuals may or may not bring imagination to the table as well.
- Make a sketch of the relationship of the ways of knowing to each other. Draw them in any way you think captures their relationships.
- Compare your drawing with classmates to exchange different ways of thinking about them.
Having trouble? Consider the following:
- ranking (importance, frequency of use)
- relationships (hinder or enable one another)
- analogies
Example 1: Analogy. Student used an umbrella analogy; the purpose of reasons is to deflect emotion and faith, the base of reason is memory which is influenced and supported by language and sense perception. Individuals may or may not bring imagination to the table as well.
- Time for journal reflection. Guiding question: Explain your WOK visual diagram// What claims can we make about knowledge is valued in general?
Read your guide and add reflections on Personal and Shared knowledge.
- Time for reflection. Guiding question: What are the limitations of personal and shared knowledge?
www.boredpanda.com/must-see-powerful-photos/
Areas of Knowledge
Group activity
- Time for reflection. Guiding question: Reflect on the retreat. What did you learn? What challenged you? What did you like/not like and why?What will you do with this experience?
Knowledge Questions
Real Life Situations
Complete sketchbook reflection
Knowledge Questions - Activity
Presentation Preparation
Review your workbook with a peer. Ask for honest feedback and for a grade to be offered based on the rubric above.
Submit your workbook directly to your teacher for grade and feedback. Be sure to collect it before the first REMIX session.
Mr Jarrod’s Class
Remix
Location
1- Sept 29, Oct 5, Oct 13
Towell (4308)
2- Oct 17, Oct 21, Nov 1
Tiefel (4511)
Regroup and Presentation #1
Nov 7,9,15,17,24,28
Dec 2, 7
3- Jan 11,13,19
Radcliffe (4509)
4- Jan 23,27,31
Edwards/Arce (4404)
5- Feb 6,8,15
Campbell (4507)
Regroup and Presentation #2
March 2,6,10,14,20
6- March 22,28,30
Neller (4605)
7- April 5,17,21
Rayner (Caravaggio’s Studio CAB)
Regroup and (optional) Presentation #3
April 25, May 2
ART REMIX
The Courtyard of the Old Residency in Munich, Adolf Hitler, 1914
The Arts
How can the subjective viewpoint of an individual contribute to knowledge in the arts? On what basis can the merit of a work of art be judged? Is there any point in discussing the arts—should we not simply experience them?
“The arts” is a collective term that encompasses the creative productions of humans and encompasses the visual arts, the performing arts and the literary arts. The arts explore the experience and reality of being human and are an essential element of culture.
The arts could be thought of as creating a bridge between personal knowledge and shared knowledge. Many of them are collaborative. They use emotion as a currency to generate significance at a personal level but reason provides a restrictive framework necessary for the creation of meaning: artworks have their own inner logic.
Some regard the arts as having an extra-artistic cognitive function, that they have a message about man’s place in the world which might have social or political implications. For example, there might be a case for supposing that the arts have an important function as a medium for social criticism and transformation. In any case, there is a widespread belief that the arts have a higher purpose to educate by encouraging introspection and sometimes making us think about how we should live our lives.
ETHICS in ART
• Does the artist carry any moral or ethical responsibility? Is it possible for an artwork to be immoral? Should art be judged on its ability to please or shock?
http://www.theoryofknowledge.net/areas-of-knowledge/ethics/
The Arts TOK Framework
Knowledge Framework
Scope/applications
• the arts perform some sort of social function
• the arts as a means of shaping belief
• role of society in determining what is art
• importance of the local cultural dimension in defining value in the arts
• art forms are based on sense perception
• the arts might be an instrument of social transformation
Concepts/language
• role of language and convention in the arts
• language of an art form is often non-verbal—frees the arts from being limited to propositional knowledge
Methodology
• artistic creation is often a result of personal knowledge requiring imagination and creativity
• creativity requires imagination taking place within a framework, often using reason
• art often requires a (possibly emotional) interaction with an audience
• relationship between art and technology—new technologies spawn new art forms, for example, film, computer art, computer music
Historical Development
• conventions and values in the arts change over time
• importance of historical development of an art form in making sense of its present form
Links to personal knowledge
• relationship between the artwork and the artist is often emotional
• art can contribute to a view of self
• art can shape an individual’s view of the world
Knowledge Questions:
Are the arts a system of knowledge?
If artworks are products of the imagination of the artist, how is it that they constitute a system of knowledge?
What is the relationship between the artist and the artwork?
Is the aesthetic value of an artwork purely a subjective matter?
What is the importance of form in artwork?
Does art enlarge what it is possible to think?
Is it possible that aesthetic value is at its base something universal—a fact about human beings?
How can the subjective viewpoint of an individual contribute to knowledge in the arts?
On what basis can the merit of a work of art be judged?
Is there any point in discussing the arts—should we not simply experience them?
Examples of possible topics of study:
Art as a vehicle for social critique
Artwork used to affect the beliefs of individuals and groups (for example, advertising, film, literature, folksongs)
Art forms that are strongly rooted in a particular culture or tradition
Art and morality (for example, Riefenstahl, Kirkup)
• Does the artist carry any moral or ethical responsibility? Is it possible for an artwork to be immoral? Should art be judged on its ability to please or shock?
http://www.theoryofknowledge.net/areas-of-knowledge/ethics/
The Arts TOK Framework
Knowledge Framework
Scope/applications
• the arts perform some sort of social function
• the arts as a means of shaping belief
• role of society in determining what is art
• importance of the local cultural dimension in defining value in the arts
• art forms are based on sense perception
• the arts might be an instrument of social transformation
Concepts/language
• role of language and convention in the arts
• language of an art form is often non-verbal—frees the arts from being limited to propositional knowledge
Methodology
• artistic creation is often a result of personal knowledge requiring imagination and creativity
• creativity requires imagination taking place within a framework, often using reason
• art often requires a (possibly emotional) interaction with an audience
• relationship between art and technology—new technologies spawn new art forms, for example, film, computer art, computer music
Historical Development
• conventions and values in the arts change over time
• importance of historical development of an art form in making sense of its present form
Links to personal knowledge
• relationship between the artwork and the artist is often emotional
• art can contribute to a view of self
• art can shape an individual’s view of the world
Knowledge Questions:
Are the arts a system of knowledge?
If artworks are products of the imagination of the artist, how is it that they constitute a system of knowledge?
What is the relationship between the artist and the artwork?
Is the aesthetic value of an artwork purely a subjective matter?
What is the importance of form in artwork?
Does art enlarge what it is possible to think?
Is it possible that aesthetic value is at its base something universal—a fact about human beings?
How can the subjective viewpoint of an individual contribute to knowledge in the arts?
On what basis can the merit of a work of art be judged?
Is there any point in discussing the arts—should we not simply experience them?
Examples of possible topics of study:
Art as a vehicle for social critique
Artwork used to affect the beliefs of individuals and groups (for example, advertising, film, literature, folksongs)
Art forms that are strongly rooted in a particular culture or tradition
Art and morality (for example, Riefenstahl, Kirkup)
To what extent can an artist get away with challenging ethical boundaries by claiming artistic expression?
Should we judge artists by their work or their ethical position?
Many artists have unattractive ethical outlooks. The composer Wagner was rabidly anti-Semitic, and fuelled Hitler’s hatred of the Jews. The film director Budd Schulberg informed on his friends during the McCarthy era anti-communist witch hunt, thus ruining lives and preventing artists from expressing their ideas. The writerArthur Koestler brutalized and raped several women. The designer Eric Gill sexually abused his own children.Woody Allen married his step-daughter.
Can we appreciate the artistic achievements of such figures despite knowing their characters? Yet again, the answer depends on a combination of your own moral outlook, and your opinion of art. Some would argue that art should stand on its own, and we should not be judgmental about the ethical standpoint of its creator. Others would say that art – especially if it has some kind of ethical message – cannot be seen as separate from the person who created it, that art is an expression of someone’s emotions and character.
ethicist.blogs.nytimes.com/2009/08/10/can-you-hate-the-artist-but-love-the-art/?_r=0
Can we appreciate the artistic achievements of such figures despite knowing their characters? Yet again, the answer depends on a combination of your own moral outlook, and your opinion of art. Some would argue that art should stand on its own, and we should not be judgmental about the ethical standpoint of its creator. Others would say that art – especially if it has some kind of ethical message – cannot be seen as separate from the person who created it, that art is an expression of someone’s emotions and character.
ethicist.blogs.nytimes.com/2009/08/10/can-you-hate-the-artist-but-love-the-art/?_r=0
www.ufunk.net/en/photos/los-intocables-erik-ravelo/
Cuban artist and creative director Erik Ravelo is used to having his artwork censored. He was, after all, the man behind United Colors of Benetton's UnHate campaign, which featured doctored photos of world leaders making out.
Yet his newest project, a personal artwork unrelated to his career as a creative director, has managed to spark even more controversy "I had people writing me, threatening me," he said in a phone conversation with the Huffington Post. "At first the project was fun but it got a little out of hand."
''The artist has since received a number of death threats from a swathe of people who have taken exception to the photographs''
To what extent should art be censored?
Editor apologises for posting picture of Dasha Zhukova on a Black Woman ‘Art’ chair
http://www.dailylife.com.au/dl-people/dl-entertainment/editor-apologises-for-posting-picture-of-dasha-zhukova-on-a-black-woman-art-chair-20140122-317pp.html
To what extent is withdrawing an art work from a public exhibition a representation public pressure?
www.onfaith.co/onfaith/2011/01/04/art-and-community/4966
www.washingtonpost.com/wp-dyn/content/article/2010/11/30/AR2010113004647.html
abcnews.go.com/US/smithsonian-removes-ants-crucifix-video-exhibit-sparking-debate/story?id=12305404
Read over the arguments presented in each article. Form a claim for and against the knowledge question above.
www.washingtonpost.com/wp-dyn/content/article/2010/11/30/AR2010113004647.html
abcnews.go.com/US/smithsonian-removes-ants-crucifix-video-exhibit-sparking-debate/story?id=12305404
Read over the arguments presented in each article. Form a claim for and against the knowledge question above.
What should happen if you are offended by a piece of art?
www.bbc.com/culture/story/20141125-can-art-still-shock-us
nypost.com/2016/01/26/italy-covers-nude-statues-during-iranian-presidents-museum-visit/
nypost.com/2016/01/26/italy-covers-nude-statues-during-iranian-presidents-museum-visit/
How far should we go? Should a work of art be destroyed because of public outcry?
What should happen to the offending artist?
Have you been offended by a form of art? If so, explain the situation.
What should happen to the offending artist?
Have you been offended by a form of art? If so, explain the situation.
The Beatles’ infamous “Butcher Baby” cover is perhaps the most well known banned cover of all time, and is likely the most valuable as well. The original version of this album wasn’t actually released for sale to the general public, but advance copies and promo material were sent to radio stations and a few retailers however, and the immediately ensuing outcry caused Capitol Record to quickly withdraw all inventory that was ready for distribution (about 750,000 copies). Rather than destroy all the sleeves, Capitol instead chose to slap a much more conservative photo of the lads posed around a steamer trunk over the original art and then re-issue the records to retailers. It didn’t take long for fans to figure out how to peel the trunk photo off to reveal the Butcher photo underneath, which eventually lead to a cottage industry of professional peelers. A collectors’ jargon evolved to distinguish “First State” (original uncovered version), “Second State” (paste-over version) and “Third State” (peeled) copies.
Over the years, so many paste-overs have been peeled (or damaged/lost) that these days Second State Butchers are becoming scarcer and are increasing in value. If in good condition, they can easily fetch a couple thousand dollars, and thus are more desirable than even professionally peeled Third State copies. Not surprisingly, First State originals are the most valuable; factory sealed copies in particular are extremely rare and worth in the tens of thousands of dollars or more depending on condition. http://listverse.com/2009/10/19/10-banned-controversial-album-covers/
Over the years, so many paste-overs have been peeled (or damaged/lost) that these days Second State Butchers are becoming scarcer and are increasing in value. If in good condition, they can easily fetch a couple thousand dollars, and thus are more desirable than even professionally peeled Third State copies. Not surprisingly, First State originals are the most valuable; factory sealed copies in particular are extremely rare and worth in the tens of thousands of dollars or more depending on condition. http://listverse.com/2009/10/19/10-banned-controversial-album-covers/
The following TOK presentation structure has been designed very carefully. (It’s taken about 2 years of conversations!) It’s easy for you to follow and ticks all the boxes. It tells you how many slides to have (eight), what text should go on each slide and what you should talk about while each slide is up. A clear structure like this is essential because it helps the audience follow what you’re saying. It also keeps you from wasting time, both during your presentation and in your preparation phase.
There are a few things we need to go over before we get into the slides.
The Development Section
When you get into the Development section (where the knowledge question is explored and analysed with reference to the AOKs and WOKs), you’ll see that I use a Claim, Counterclaim, Mini-Conclusion structure. You will do this (claim, counterclaim, mini-conclusion) for each of your developments (AOKs or WOKs), so we do it 3 times in total.
Here’s an example, for one of your developments:
-Your claim might be that all art is ethical and you show this using some theory (evidence) from the course.
-Your counterclaim is a problem (a limitation) with your claim, or an opposing idea in the same perspective. It might be that art can be viewed in a different way, which would show it to be unethical. You show this using (as evidence) an example from your own life experience or knowledge referenced material or material studied in some other theory from the course.
-And then, in the mini-conclusion, you basically have to find a way to draw together the two opposing sides. You have to somehow synthesise these two insights to arrive at a more insightful understanding or some kind of summary. So you might say that art can be both ethical and unethical at the same time, depending on the perspective taken and then explain how that might be true. So the MC is a possible conclusion to your KQ (Knowledge Question).
In the final conclusion of the presentation you will try to combine (draw together/synthesise) the insights of this mini-conclusion as well as the other ones (from the 2 other development sections) to show a really sophisticated/developed answer to your KQ.
Using Evidence
Use evidence for each of your claims and your counterclaims. It will make your talk much more compelling.
Evidence can be:
-Examples of from the course or from your research. For example, stories of real scientific experiments or how society responded to a certain piece of art.
-Personal examples. Specific and realistic examples from your own life experiences are highly valued in this course. So you might tell us about something that you did in IB Biology class, or when you suspected a classmate of cheating.
Now let’s go through the structure of your presentation, slide by slide. (The suggested timings in green are assuming you’re in a group of two.)
The Structure
Slide 1: Title Page (1 minute)
Text on this slide:
-Title of your presentation.
-Your group members’ names
What to say:
-Explain what you thought about the real life situation (RLS) when you first encountered it.
-Explain why it’s significant to you.
Slide 2: Decontextualization (1 minute)
Text on this slide:
-Some of the thoughts or questions you had about the real life situation.
What to say:
-Explain a few of the things we can know about the RLS and how we know it
-Consider the limits of what can be known about your knowledge questions (KQ)
Slide 3: Knowledge Question (1 minute)
Text on this slide:
-Write down your KQ
-List the AOKs and/or WOKs you will use to explore your KQ and how they are related to your KQ
What to say:
-Mention 2 KQs that you considered and the one you are investigating.
-Explain how this KQ will help you to explain the RLS.
-For each of your AOKs/WOKs, preview how they can help to answer your KQ.
-Explain any assumptions you’ve made about your KQ (if any).
-Explain any key terms that need to be explained in order for us to understand your KQ.
Slide 4: Development #1 (3.5 minutes)
On the slide:
-Very briefly, state your claim for WOK/AOK #1 (see development example above). State how it is supported by evidence (i.e. a scientific theory).
-Very briefly, state your counterclaim for WOK/AOK #1 (i.e. an opposing idea in the same AOK/WOK). State how it is supported by evidence.
-State your mini-conclusion.
What to say:
-Explain the claim and how it is supported by evidence. Make it clear how it would answer the KQ.
-Explain the counterclaim and how it is supported by evidence. Make it clear how it would answer the KQ in a different way than your claim did.
-Explain your conclusion and how it ties together the claim and counterclaim.
Slide 5: Development #2 (3.5 minutes)
On your slide:
-Very briefly, state your claim for WOK/AOK #2. State how it is supported by evidence.
-Very briefly, state your counterclaim for WOK/AOK #2. State how it is supported by evidence.
-State your mini-conclusion.
What to say:
-Explain the claim and how it is supported by evidence. Make it clear how it would answer the KQ.
-Explain the counterclaim and how it is supported by evidence. Make it clear how it would answer the KQ in a different way than your claim did.
-Explain your conclusion and how it ties together the claim and counterclaim.
Slide 6: Development #3 (3.5 minutes)
On your slide:
-Very briefly, state your claim for WOK/AOK #3. State how it is supported by evidence.
-Very briefly, state your counterclaim for WOK/AOK #3. State how it is supported by evidence.
-State your mini-conclusion.
What to say:
-Explain the claim and how it is supported by evidence. Make it clear how it would answer the KQ.
-Explain the counterclaim and how it is supported by evidence. Make it clear how it would answer the KQ in a different way than your claim did.
-Explain your conclusion and how it ties together the claim and counterclaim.
Slide 7: Conclusion (3 minutes)
On your slide:
-Write down your conclusion.
-Write down a possible flaw in your conclusion.
What to say:
-Explain your conclusion.
-Explain how this conclusion is supported by the insights you’ve drawn along the way (in your mini-conclusions).
-Explain the possible weakness or a flaw in your conclusion.
-Explain an example of someone from a different perspective (a different gender, age, time, or culture) who might disagree with this conclusion.
Slide 8: Link back to the RLS (3.5 minutes)
On your slide:
-Write 2 interesting ways that your conclusion applies to the RLS.
-Write down two other real life situations (which are perhaps related.
What to say:
-Clarify how your conclusion applies to the RLS.
-Explain how it would help to explain the 2 other real life situations you have on your slide.
Of course you are not required to follow this structure (unless your teacher says otherwise), but it is recommended. Everything in this structure is there for a very good reason.
Footer
I also recommend that every slide from #3 onward should have your KQ written on the bottom of it, as a footer. This will make it easier for the audience to relate your various insights to the knowledge question.
Signposting
Finally, to help to make sure that the person marking you gives you full credit, it’s useful to do what we call signposting. This means, using the exact key words the marker was trained to look for. Professionals do this all the time. Their use of specialist language signals to their colleagues that they know what they’re talking about. So try to speak like a TOK teacher basically. In this case, your marker will respond favourably if you use a fair amount of terminology you learned in the course. For example, use the term perspective. So you might say, “from the perspective of a historian..” rather than saying, “Historians believe that…” –just to get that word in there.
That’s it!
http://www.timwoods.org/2013/09/13/how-to-structure-a-theory-of-knowledge-presentation/