Quotes About Knowledge

I would simply ask why so many critics, so many writers, so many philosophers take such satisfaction in professing that the experience of a work of art is ineffable, that it escapes by definition all rational understanding; why are they so eager to concede without a struggle the defeat of knowledge; and where does their irrepressible need to belittle rational understanding come from, this rage to affirm the irreducibility of the work of art, or, to use a more suitable word, its transcendence.

I have analyzed the peculiarity of cultural capital, which we should in fact call informational capital to give the notion its full generality, and which itself exists in three forms, embodied, objectified, or institutionalized.

The most excellent and divine counsel, the best and most profitable advertisement of all others, but the least practiced, is to study and learn how to know ourselves. This is the foundation of wisdom and the highway to whatever is good.

The most excellent and divine counsel, the best and most profitable advertisement of all others, but the least practised, is to study and learn how to know ourselves. This is the foundation of wisdom and the highway to whatever is good. . . . God, Nature, the wise, the world, preach man, exhort him both by word and deed to the study of himself.

The true science and study of man is man.

Is it right to probe so deeply into Nature's secrets? The question must here be raised whether it will benefit mankind, or whether the knowledge will be harmful.

Et peut-être la posterité me saura gré de lui avoir fait connaître que les Anciens n'ont pas tout su. ( And perhaps, posterity will thank me for having shown that the ancients did not know everything .)

I feel that I don't know anything, I don't know how to act, but I can surrender myself to a director I respect and love. I feel very lucky to be a part of their visions.

I would designate as science fiction in the best sense: they are visions and anticipations by which we seek to attain a true knowledge, but, in fact, they are only imaginations whereby we seek to draw near to the reality.

I'm a closet nerd. I love to study history and visit museums.

My parents came to visit every two months and brought plenty of books.

As a man may know about Africa either by going there personally or by reading descriptions written by travelers who have been there, so may he visit the super-physical realms if he will but qualify himself therefor, or he may learn what others who have so qualified themselves report as a result of their investigations.

I was born and raised in Orlando, where the economy and culture has been powerfully shaped by tourism, and so I've long been interested in how we narrate the places we visit, how the gap between what we see and what we know manifests when we're traveling.

I was horrified to visit our universities and find that at the Punjab Agriculture University or at the Animal and Husbandry University, we don't have scientists.

I had learned something of Miami from people who had visited there, so I knew what to expect.

Never Googled myself. I use a computer for market quotes and news, but I've never Googled myself. But I have visited their headquarters.

I'm not one of those professors whose office is encased floor-to-ceiling with books. By the way, I think academics do this to intimidate their visitors.

I think people should be able to have at their behest, like, four hours of music, entertainment, visual knowledge, different pathways. That's what I'm trying to do with modern technology, not just another song and another song.

I was very intimidated by the visual effects world. But I began to realize that you don't have to know everything. You have to be able to talk about story.

I think of my visual work as an exploration of political epistemology: the politics of how we know what we think we know.

You don't work in a vacuum. If you're a visual artist you work in a visual culture. If you're a pop musician you listen to pop music. If you're an artist you should know about the art world.

When I teach classes at the School of Visual Arts,, I'll ask the students, 'How many of you have been to a museum this year?' Nobody raises their hand and I go into a tirade. If you want to do something sharp and innovative, you have to know what went on before.

Thanks to postmodernism, we tend to see all facts as meaningless trivia, no one more vital than any other. Yet this disregard for facts qua facts is intellectually crippling. Facts are the raw material of thought, and the knowledge of significant facts makes sophisticated thought possible.

We foresee no limit to scientific advancement in the future, and in scientific truth there is nothing dead; science is always a living and growing body of knowledge; but art on the contrary has many times run its course to an end, and exhausted its vital power.