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experts in a discipline? Develop your answer with reference to two areas of knowledge.
Across the Areas of Knowledge (AOKs), disagreements typically occur when knowers
draw multiple conclusions. These conclusions are often created on the basis of facts, or the form
of truth that has been verified and justified repetitively and accepted by the consensus of people
within the realm of shared knowledge. However, as knowers, we often find it difficult to accept
that the same combination of facts could lead to differing, sometimes opposing results. This can
be shocking, causing skepticism toward the results and whether we can discover truth. Ironically,
this also occurs among experts, or knowers associated with mastery within a particular field of
study in which they contribute and synthesize knowledge. The aim is to understand how experts
within the same discipline develop different conclusions in their synthesis of knowledge when
given access to similar facts. To explore this issue, disagreements in the arts and natural sciences
will be examined to discover the means by which they occur, particularly in reference to the
One way disagreements occur among experts is due to the acquisition of facts through
sense perception. Although sense perception is considered subjective, the school of thought
called empiricism “claims all knowledge must ultimately be based on sense perception”
(Lagemaat 31). Therefore, according to this philosophy, sense perception can be used to derive
truth and therefore facts which can by synthesized to produce art by experts like Nick Ryan.
Ryan, a British composer and thus artistic expert who contributes to the arts as his field of study,
hears sounds similarly to everyone else. Therefore, he receives the same facts, or sounds in this
synesthesia, causing him to see colors, shapes, and textures in response to certain sounds. Even
when the world’s facts are the same, the results of Ryan’s orchestrations occur differently: “Highly
textured, precisely coloured digital imagery was projected on a large screen, morphing to match his
music” (Williams). Ryan intertwined the perception of sound with sight for listeners to experience,
even though the facts of auditory information do not inherently have visual information associated
with them. Therefore, Ryan conveyed the facts he acquired through sense perception differently,
merging senses normally experienced separately, and causing disagreement: “some graphic
matches felt satisfyingly correct; others, downright wrong” (Williams). Because art as an AOK
works as a form of language, experts can alter their perceptions of the world to communicate the
message they desire. Thus, sense perception may inherently be the same for all when acquiring the
world’s facts, but when used within the arts, they can be easily manipulated to form differing
results.
Within the AOK of the natural sciences however, sense perception is utilized with other
WOKs to combat the potential manipulation or uncertainty associated with solely applying sense
perception. Oftentimes reason is employed, especially for coherence checks in the form of the
scientific method or the combination of qualitative with quantitative evidence. However, experts
within this discipline still disagree, and this occurs due to the different combination of their facts
and their means of reasoning. In 1559, France’s King Henri II was hit in the head while jousting,
requiring two neurosurgeons: Ambroise Paré and Andreas Vesalius. Both received the same facts
because they could observe the same King in the same room at the same time. Additionally,
because they lived during the same time period, both men had similar training and knowledge of
medicine. However, their diagnoses differed, between themselves and the other court physicians.
“Paré and Vesalius found no fractures on Henri’s skull” (Kean 32) which, according to the court
physicians’ reasoning, meant Henri would live since common knowledge of the era suggested
people only died with a skull fracture. However, after Vesalius perceived a screaming King after
yanking a cloth from his mouth, experience from Vesalius’ previous patients suggested that
“people with pain so intense usually didn’t survive” (Kean 33). Paré, however, drew on common
battlefield experience and previous autopsies to note that soldiers did not always receive external
signs of damage, similar to the King. Rather, Paré deduced Henri had a mortal contrecoup
concussion. In this case, experts came to differing conclusions based on their means of reasoning
in addition to sense perception, causing disagreement. However, disagreement does not indicate
that multiple conclusions cannot be correct. In fact, in the case of the two neurosurgeons, both
deductions were accurate. This indicates that a combination of facts can affect the extent to which
an expert agrees with another, because the way they are combined can affect the outcome that is
drawn.
A similar process ensues between critics in the arts when they disagree about the
interpretations of works of literature. Critics are considered experts because they contribute to
their field by writing critiques on novels to improve the knowledge gained from them. They are
also given access to the same facts as other critics: the literary devices and evidence created by the
author in a given novel. In my Extended Essay, I analyzed George Bernard Shaw’s Pygmalion and
found many differing conclusions drawn by critics about the themes within the novel. For
example, Berst suggests Pygmalion is about the development of Eliza’s independence: “Our
primary attention focuses on the human ramifications of Higgins’s experiment rather than the
mechanics themselves” (Berst 58). Nonetheless, other critics like Crofts, Alexander, and Shaw
himself claim the main theme is about phonetics and accents causing social barriers within society.
Ironically, it is possible to find all of these themes. Even the Prequel and Sequel to Pygmalion
contain this discrepancy, with the Prequel suggesting the main theme to be about accents, while the
Sequel suggests it to be about a love story. Either way, critiques of literature require justification,
and only those that provide evidence within the text to explain their assertions can be considered
credible. Like the natural sciences, the arts also employ rationalization and reasoning, indicating
that a different combination of the same facts can lead to disagreeing conclusions. Additionally, in
relation to the natural sciences, disagreements among critics do not mean a single conclusion is
literature and its effect on the reasoning involved. Critics, such as those aforementioned, are often
tasked with deducing the most significant or important theme in works of literature. When these
qualifying terms are added, disagreements arise in logical thinking, particularly because of the
inherent limitations found in language. Terms can be ambiguous or have connotations. They can
also be applied differently, or evoke certain emotions, especially those associated with opinions.
Additionally, this combination of the two WOKs can affect a critic’s interpretation. Critics may
emphasize certain pieces of evidence more than others or deduce alternate meanings from textual
evidence. For example, some interpret Eliza’s desire to “look for the ring” (Shaw 53) as symbolic
of Eliza’s love for Higgins, while others decide the ring is insignificant since common knowledge
of literature suggests a symbol must be repeated, but the ring is not. Multiple interpretations could
also be because of the addition of the critic’s emotion leading to confirmation bias and the
manipulation of facts because of the desire to prove oneself correct. Therefore, reason, even when
combined with language, can affect the creation of various conclusions, especially when emotion is
Finally, disagreements can also ensue due to the lack of reasoning by other experts and the
use of emotion instead in the natural sciences as well as the arts. Wegener, an expert geologist,
deduced the theory of plate tectonics and continental drift, challenging the previous theory that
the Earth cooled and hardened after formation into what it is today (Egger). He had access to the
same facts from previous research, yet he reasoned differently to draw a different conclusion.
However, he could not explain what made the continents move, lacking reasoning in his
argument. Therefore, fellow experts refused to redo the last seventy years of research without
appropriate justification, sparking emotions like anger and anxiety. However, instead of using
reason to attack the logic of Wegener’s argument, certain experts in the American Association of
Petroleum Geologists organized people to use petty, emotional methods to criticize Wegener
personally and indirectly discredit his theory (Mendoza). Even with other research and facts
supporting Wegener, indicating the justification of his reasoning and establishing credibility of
his knowledge, the Association organized people to write papers attacking anything or anyone
agreeing with the continental drift theory. Irritation caused fellow experts to refuse to agree with
an overall reliable theory. Therefore, even with the best rationalization, emotion as a WOK can
In light of these scenarios, it appears that, in the synthesis of knowledge, experts come to
differing conclusions due to the WOKs they employ and their effects on the facts attained.
Whether that be sense perception, reason, language, or emotion, each retains its own inherent
limitations and affects the experts and other WOKs to cause differing results. Discrepancy also
occurs when experts employ the WOKs differently. Thus, we find the acquisition of knowledge
to be difficult in many of its aspects, particularly since discovering the absolute truth is hard to
do. It is wise then, to use a combination of WOKs in the synthesis of knowledge in order to
account for their limitations. Additionally, justification and coherence checks are also important
since two disagreeing arguments do not necessarily indicate that only one is correct.
Works Cited
Alexander, Nigel. "The Play of Ideas." George Bernard Shaw's Pygmalion, Edited by Harold
Bloom, New York: Chelsea House, 1988, pp. 19-44. Questia School,
www.questiaschool.com/read/102674279/george-bernard-shaw-s-pygmalion. Accessed
12 Mar. 2016.
Berst, Charles A. "Pygmalion: A Potboiler as Art." George Bernard Shaw's Pygmalion, Edited
by Harold Bloom, New York: Chelsea House, 1988, pp. 57-76. Questia School,
www.questiaschool.com/read/102674317/george-bernard-shaw-s-pygmalion. Accessed
31 Aug. 2016.
Crofts, Thomas. Note. Pygmalion, by George Bernard Shaw, Edited by Thomas Crofts and
Stanley Applebaum, 1st ed., New York: Dover Publications, 1994, pp. v.
Egger, A. E., Ph.D. (2003). Origins of Plate Tectonic Theory. Retrieved February 20, 2017, from
http://www.visionlearning.com/en/library/Earth-Science/6/Origins-of-Plate-Tectonic-
Theory/65
Kean, Sam. The Tale of the Dueling Neurosurgeons: The History of the Human Brain as
Revealed by True Stories of Trauma, Madness, and Recovery. New York: Little, Brown
Lagemaat, Richard van de. Theory of Knowledge for the IB Diploma. 2nd ed., Cambridge,
Mendoza, Jack. “7 Incredible Scientific Innovations Held Back by Petty Feuds.” Cracked.com,
innovations-held-back-by-petty-feuds.html.
Shaw, George Bernard. Preface to Pygmalion: A Professor of Phonetics. Pygmalion, by Shaw,
Edited by Thomas Crofts and Stanley Applebaum, 1st ed., New York: Dover
---. Pygmalion. Edited by Thomas Crofts and Stanley Applebaum, 1st ed., New York: Dover
Publications, 1994.
---. "Sequel". Pygmalion, by Shaw, Edited by Thomas Crofts and Stanley Applebaum, 1st ed.,
Williams, Holly. “BBC - Culture - How synaesthesia inspires artists.” BBC News, BBC, 21 Oct.
2014, www.bbc.com/culture/story/20140904-i-see-songs-in-colour.