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Over the course of the sixteenth and early seventeenth centuries, Mughal court painters evolved from illustrators of manuscripts and albums to active mediators of imperial visionary experience, cultivating their patrons' earthly and spiritual authority. Featuring over 80 color illustrations, The Brush of Insight traces this shift, demonstrating how royal artists created a new visual economy that featured highly naturalistic royal portraits and depictions of the emperors' dreams. These images, in turn, shaped the perception of the Mughal emperors' preeminence in all domains-temporal and spiritual-from the reign of Akbar to that of his son and successor, Jahangir. In analyzing a wide range of visual materials including manuscripts, albums, and coins, art historian Yael Rice documents how manuscript painters and paintings challenged the status of writing as the primary medium for the transmission of knowledge and experience. With compelling material and original arguments, The Brush of Insight probes how pictures and illustrated books became central to imperial modes of seeing and being in early modern Mughal South Asia.

Is knowledge a uniform kind? If not, what relation do the different kinds of knowledge bear to one another? Is there a central notion of knowledge which other kinds of knowledge must be understood in terms of? In this paper, I use Aristotle’s theory of homonyms as a framework to make progress on these questions. I argue that knowledge is not a uniform kind but rather a core-dependent homonym. To demonstrate this, I focus on knowledge by acquaintance. I argue that the principles that govern propositional knowledge cannot govern knowledge by acquaintance. I then develop analogue principles for knowledge by acquaintance and show why, despite their different modal profiles, knowledge by acquaintance is nevertheless a form of knowledge. I then show that the analysis of propositional knowledge fundamentally depends on knowledge by acquaintance.

Self-transcendence has been extensively studied and discussed among scholars, both theoretically and empirically. However, further academic inquiry into self-transcendent experiences (STEs), particularly their nature, religious implications, and spiritual benefits, is still needed. This paper undertakes a qualitative exploration of the topic, phenomenologically analyzing the author’s first-person STEs within Buddhist and Christian contexts. In addition to personal journals and reflections, the dataset includes email exchanges with and reports to supervisors, as well as comparative insights drawn from testimonies shared by individuals of various religious backgrounds. The findings suggest that while religion may sometimes inhibit its adherents from experiencing STEs, it can also serve as a catalyst for such experiences among nonreligious individuals. Furthermore, the universal nature of STEs, which transcends cultural and religious boundaries, has the potential to promote interfaith dialogue and provide a theoretical framework for fostering religious harmony. Data on STEs could also act as a bridge connecting science with other forms of human knowledge, enabling shared discourse and offering a complementary perspective for understanding the world. Finally, a proposed mechanism of STEs highlights their role in achieving lifelong peace by balancing physical and mental needs, while also offering insights to help individuals maximize their potential and lead fulfilling lives.

The use of nature as an environment to develop children’s knowledge in kindergartens is growing globally. Understanding how children learn in nature and the types of knowledge they acquire is crucial for this pedagogical approach. This article examines the outcomes for children aged 3–5 years within these practices. It examines how they acquire knowledge and the types of knowledge they gain, emphasizing that the focus extends beyond epistemic knowledge alone. The children’s knowledge of nature is analysed through Aristotle’s forms of knowledge—episteme (scientific knowledge), techne (skills), and phronesis (practical wisdom). This article also incorporates the theory of relational knowledge. Our study involved thirty children and twenty staff members from six nature groups, with the main method being child interviews. Our methods included child-guided tours of the “nature area,” playful focus group interviews with children, and child-drawn illustrations. This approach enabled the children to share their thoughts and experiences. The staff were interviewed in focus groups. Our results show that children acquire knowledge through sensory experiences, reflection, action, and interactions with nature over time. Learning occurs through the collaboration of three actors: nature, children, and staff. This allows children to think independently and develop relational knowledge about nature through their active engagement.

Inspired by Mbembe’s emphasis on plasticity as a hallmark of African forms of knowledge, Geschiere notes the risk that this leads to a celebration of Africanness, sliding into culturalism and identity politics. But Mbembe relates this plasticity also to the continent’s position as the last frontier of capitalism. Such a historical view converges with Joseph Tonda’s work on éblouissement (endazzlement) as a global phenomenon. Everywhere people are now being blinded by an overproduction of images. However, Africans have a long experience of living with multiple realities and “alternative facts.” Is this relevant for dealing with the risk that we all become blinded by the images we ourselves have created?

Set in the vocational education and training sector in England, this article draws attention to how top-down, centre–periphery approaches to curriculum design and development in vocational education fail for at least three reasons. First, they misconstrue the nature of knowledge. Second, they lead to perfunctory and fragmented approaches to curriculum design, coupled with mechanistic measures of quality and achievement, which often require little more than “one-off” and superficially assessed demonstrations of performance. Finally, they underplay the role and importance of the teacher as researcher and artist in putting the cultural resources of society to work in creative curriculum design and pedagogy. Teacher artistry is pivotal in animating and heightening the vitality of vocational curricula. It is through this artistry that teachers make theories, ideas and concepts in vocational subjects and disciplines accessible and meaningful to all learners in coherent ways in the contexts of their learning and their lives. The consequences of the epistemic faux pas underpinning centre-to-periphery models of curriculum design and development are highlighted in this article in vocational tutors’ accounts of experiences of problems and issues in curriculum design, development and assessment encountered in their practice. Participants in the research teach in a variety of vocational education settings, including Apprenticeships and Higher-Level Technical Education; English Language at General Certificate of Secondary Education (GCSE) level; Health and Social Care; Information and Communications Technology; Construction (Plumbing); Digital Production, Design and Development and High-Tech Precision Engineering. Data are analysed and reported through systematic, thematic analysis This article draws upon qualitative data derived from a study funded by the Education and Training Foundation (ETF) in England over a two-year period from 2021 to 2023. The research population consists of a group of eight practitioner–researchers working in three colleges of Further Education (FE) and one Industry Training Centre (ITC) in England. All of the teachers of vocational education reported here volunteered to participate in the study. Research methods include semi-structured interviews, analysis of critical incidents and case studies produced by practitioner–researchers from across the FE and Skills sector in England.

Thought as montage and image has become a revealing method in the practical and theoretical study processes of artists and researchers of the 20th and 21st centuries. This article aims to articulate three ways of thinking through montage in the works of Bertolt Brecht, Sergei Eisenstein e Georges Didi-Huberman. The philosopher and art historian Georges Didi-Huberman re-inaugurates the debate and exercise of thinking the anthropology of image and montage as a metalanguage and a form of knowledge.

Thought as montage and image has become a revealing method in the practical and theoretical study processes of artists and researchers of the 20th and 21st centuries. This article aims to articulate three ways of thinking through montage in the works of Bertolt Brecht, Sergei Eisenstein e Georges Didi-Huberman. The philosopher and art historian Georges Didi-Huberman re-inaugurates the debate and exercise of thinking the anthropology of image and montage as a meta-language and a form of knowledge. 

Science has continually bridged the gaps in knowledge about reality by exerting its prowess in explanation, discovery and invention. Astonished by the successes of science coupled with the demonstrability and (purported) objectivity of scientific knowledge, scholars are lured to nurse the impression that science is the answer to all questions that need to be asked about reality. This has led to an intellectual fanaticism called scientism where science is seen as the only bona fide way of attaining any true knowledge whatsoever. Consequently, other fields of knowledge suffer grievously from being abandoned, belittled or modified to operate using the scientific method of inquiry. Against this backdrop, this paper argues that science is not the only way of knowing reality. Other fields of knowledge and their traditional methods of inquiry are vital in the understanding of reality that abandoning or constructing them in the scientific light is tantamount to having a parochial view of reality. Through its arguments, the research advances pluralistic, inclusive and complementary approaches. Intradisciplinary and/or interdisciplinary implications: This research challenges the claims and influence of scientism, which holds that science has the answer to every question about reality. The paper contends that other epistemological methods of philosophical, religious, mythical and artistic forms are essential epistemological methods. Hence, the research advances a pluralistic and complementary approach in epistemology.

A metalanguage of normal forms of knowledge and its text and graphic descriptions are presented. Numerous linguistic examples including the syntax of a subset of simple English sentences and a metalanguage of Extended Backus–Naur Form are formally described in text and graphic forms. The conclusion is made that the metalanguage presented can be compared favorably with human capabilities of knowledge representation and use.