One of the more interesting points of the Heath's argument is that there is a natural enemy to this process of forming creative ideas, what they label the Curse of Knowledge. The Curse of Knowledge is essentially the following scenario:
“Once we know something, we find it hard to imagine what it was like not to know it. Our knowledge has ‘cursed’ us. And it becomes difficult for us to share our knowledge with others, because we can’t readily re-create our listeners’ state of mind” (20).
I think this is a very real concern for many educators, both within the museum field and without. As a result, lots of questions emerge from this one scenario: How can I really know and understand the mindset, reference point, or previous knowledge of my visitors if I am so blinded by my own knowledge? How can I understand them if I am nothing like them? How can I use my knowledge to my advantage, rather than letting it hinder my ability to understand where my visitors are coming from? Ultimately, we question how to look beyond what we know in order to make that information/knowledge accessible to others. We wonder how to relate to our visitors.
Although I think the above-mentioned quote is a profound statement on the difficulties associated with presenting knowledge to those utterly unfamiliar with a subject matter that you, yourself, are well-acquainted with, I believe that there is a significant positive side to this situation. Any attainment or acquisition of knowledge exercises the powers of the brain and inevitably serves to broaden one's perspective on life. Knowledge grants us the ability to see beyond set standards of knowledge--of spoon-fed tidbits; it increases one's ability to walk a less-traveled path, for the foundation of knowledge has created the stability necessary for this growth to occur. So, as we look at the situation above, perhaps our higher level of knowledge can inhibit just how well we can relate to our visitors. But, think about this. If we do have a thorough understanding of a given subject matter, we should be able to find (more easily) various points of entry that can be accessible to those unlearned in this area. Essentially, knowing more allows us numerous options in the way of education. What we see as barriers are self-constructed.
I think you've hit on a really important question that is at the crux of exhibitions! What of the curator's knowledge is influencing the design and content of an exhibition? The more you understand your perspective and how it influences others, it can be easier to know how to better work with different audiences. Think about the STEVE project--the ways that visitors tag artwork can be really different than the curators. Back to the idea of balance. Both have to be present to really get to the idea of "sticking" right?
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