By Bem Le Hunte
Why do very few people enjoy sitting comfortably with their unknown unknowns? Why is there an uncomfortable liminality ‘betwixt and between’ the known and unknown worlds?
How can we explore unknowns in a more speculative, playful, creative capacity, through our imaginations? How can we use lack of knowledge to learn about ourselves and let it teach us how to be comfortable and curious in the midst of unknowing?
The power and allure of unknown unknowns have long been recognised by creative practitioners as a holy grail for inspiration. Borges wrote in The Library of Babel about a fictitious library where all books ever written existed together, but this library turns to a dystopia as the reader discovers that “the certainty that everything has already been written annuls us, or renders us phantasmal.”