Home > Topic > such knowledge
1 " We can never have Knowledge (Gnan) without worship (bhakti). Such knowledge would be considered shushka-gnan [unproductive knowledge]. It cannot be considered True Knowledge. "
― Dada Bhagwan
2 " That all our knowledge begins with experience there can be no doubt. For how should the faculty of knowledge be called into activity, if not by objects which affect our senses and which, on the one hand, produce representations by themselves or on the other, rouse the activity of our understanding to compare, connect, or separate them and thus to convert the raw material of our sensible impressions into knowledge of objects, which we call experience? With respect to time, therefore, no knowledge within us is antecedent to experience, but all knowledge begins with it.But though all our knowledge begins with experience, is does not follow that it all arises from experience. For it is quite possible that even our empirical knowledge is a compound of that which we perceive through impressions, and of that which our own faculty of knowledge (incited by sense impressions) supplies from itself, a supplement which we do not distinguish from that raw material until long practice and rendered us capable of separating one from the other.It is therefore a question which deserves at least closer investigation and cannot be disposed of at first sight: Whether there is any knowledge independent of all experience and even of all impressions of the senses? Such knowledge is called 'a priori' and is distinguished from empirical knowledge, which has its source 'a posteriori', that is, in experience... "
― Immanuel Kant , Critique of Pure Reason
3 " Knowledge means rising above immediacy, beyond self, into the foreign and distant. The object of such knowledge is inherently vulnerable to scrutiny; the object is a ‘fact’ which, if it develops, changes, or otherwise transforms itself in the way that civilizations frequently do, nevertheless is fundamentally, even ontologically stable. To have such knowledge of such a thing is to dominate it, to have authority over it. "
― Edward W. Said , Orientalism
4 " Of course there is such a thing as too much doubt, for we ought to accept what is true. But there is also such a thing as proper doubt, for we ought not accept what is false. The possibility of doubt is inherent in the longing to understand, and nothing less than complete and perfect knowledge can satisfy the mind. We do not possess such knowledge here on earth; it is reserved for the beatific vision. Until then, doubt will be with us. This is...why it is so unreasonable to trust only what cannot be doubted, as Descartes proposed, because everything can be doubted. We should believe, not what we cannot doubt, but what we have the best reasons to believe. "
― J. Budziszewski , Commentary on Thomas Aquinas's Treatise on Law
5 " Agitation from the other side of the desk.“No—now you must take this phlegmatically. You had hoped you would qualify. You had feared you would not. Actually, both hope and fear are weaknesses. You knew you would qualify and you hesitate to admit the fact because such knowledge might stamp you as cocksure and therefore unfit. Nonsense! The most hopelessly stupid man is he who is not aware that he is wise. It is part of your qualification that you knew you would qualify.”Relaxation on the other side of the desk.“Exactly. Now you feel better and your guard is down. You are fitter to concentrate and fitter to understand. Remember, to be truly effective, it is not necessary to hold the mind under a tight, controlling barrier which to the intelligent probe is as informative as a naked mentality. Rather, one should cultivate an innocence, an awareness of self, and an unselfconsciousness of self which leaves one nothing to hide. My mind is open to you. Let this be so for both of us. "
― Isaac Asimov , Second Foundation (Foundation #3)
6 " He didn't know all that much about how the machinery worked anyway. Such knowledge was for specialists. In war, as in love, he was a fearless, happy-go-lucky adventurer. "
― ,
7 " To achieve accurate knowledge of others, if such a thing were possible, we could only ever arrive at it through the slow and unsure recognition of our own initial optical inaccuracies. However, such knowledge is not possible: for, while our vision of others is being adjusted, they, who are not made of mere brute matter, are also changing; we think we have managed to see them more clearly, but they shift; and when we believe we have them fully in focus, it is merely our older images of them that we have clarified, but which are themselves already out of date. "
― Marcel Proust , In the Shadow of Young Girls in Flower
8 " The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art. To women he is half vivisector, half vampire. He gets into intimate relations with them to study them, to strip the mask of convention from them, to surprise their inmost secrets, knowing that they have the power to rouse his deepest creative energies, to rescue him from his cold reason, to make him see visions and dream dreams, to inspire him, as he calls it. He persuades women that they may do this for their own purpose whilst he really means them to do it for his. He steals the mother’s milk and blackens it to make printer’s ink to scoff at her and glorify ideal women with. He pretends to spare her the pangs of child-bearing so that he may have for himself the tenderness and fostering that belong of right to her children. Since marriage began, the great artist has been known as a bad husband. But he is worse: he is a child-robber, a blood-sucker, a hypocrite, and a cheat. Perish the race and wither a thousand women if only the sacrifice of them enable him to act Hamlet better, to paint a finer picture, to write a deeper poem, a greater play, a profounder philosophy! For mark you, Tavy, the artist’s work is to shew us ourselves as we really are. Our minds are nothing but this knowledge of ourselves; and he who adds a jot to such knowledge creates new mind as surely as any woman creates new men. In the rage of that creation he is as ruthless as the woman, as dangerous to her as she to him, and as horribly fascinating. Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman. Which shall use up the other? that is the issue between them. And it is all the deadlier because, in your romanticist cant, they love one another. "
― George Bernard Shaw , Man and Superman
9 " From an essay on early reading by Robert Pinsky:My favorite reading for many years was the " Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality.I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of " being a writer" --a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--" much darker than the last wood" :[S]he reached the wood: It looked very cool and shady. " Well, at any rate it's a great comfort," she said as she stepped under the trees, " after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. " I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. " What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name (" I know it begins with L!" ), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, " What do you call yourself?" Alice returns the question, the creature replies, " I'll tell you, if you'll come a little further on . . . . I can't remember here" .The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. " I'm a Fawn!" it cried out in a voice of delight. " And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed.In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out.What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words.From " Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions) "
10 " This vacillation between assertion and denial in discussions about organised abuse can be understood as functional, in that it serves to contain the traumatic kernel at the heart of allegations of organised abuse. In his influential ‘just world’ theory, Lerner (1980) argued that emotional wellbeing is predicated on the assumption that the world is an orderly, predictable and just place in which people get what they deserve. Whilst such assumptions are objectively false, Lerner argued that individuals have considerable investment in maintaining them since they are conducive to feelings of self—efficacy and trust in others. When they encounter evidence contradicting the view that the world is just, individuals are motivated to defend this belief either by helping the victim (and thus restoring a sense of justice) or by persuading themselves that no injustice has occurred. Lerner (1980) focused on the ways in which the ‘just world’ fallacy motivates victim-blaming, but there are other defences available to bystanders who seek to dispel troubling knowledge. Organised abuse highlights the severity of sexual violence in the lives of some children and the desire of some adults to inflict considerable, and sometimes irreversible, harm upon the powerless. Such knowledge is so toxic to common presumptions about the orderly nature of society, and the generally benevolent motivations of others, that it seems as though a defensive scaffold of disbelief, minimisation and scorn has been erected to inhibit a full understanding of organised abuse. Despite these efforts, there has been a recent resurgence of interest in organised abuse and particularly ritualistic abuse (eg Sachs and Galton 2008, Epstein et al. 2011, Miller 2012). "
― , Organised Sexual Abuse
11 " Some things can't be explained. They just are. And after a while they disappear, usually forever, or become interesting in another way. Literature's consolations are always temporary, while life is quick to begin again. It is better not even to look so hard, to leave off explaining. Nothing makes me more queasy than to spend time with people who don't know that and who can't forget, and for whom such knowledge isn't a cornerstone of life. "
― Richard Ford , The Sportswriter
12 " It is precisely this refusal of the Cartesian paradigm that characterizes Radical Orthodoxy, which seeks to reanimate the account of knowledge offered by Augustine and Aquinas. On this ancient-medieval-properly-postmodern model, we rightly give up pretensions to absolute knowledge or certainty, but we do not thereby give up on knowledge altogether. Rather, we can properly confess that we know God was in Christ reconciling the world to himself, but such knowledge rests on the gift of (particular, special) revelation, is not universally objective or demonstrable, and remains a matter of interpretation and perspective (with a significant appreciation for the role of the Spirit's regeneration and illumination as a condition for knowledge). We confess knowledge without certainty, truth without objectivity. "
― James K.A. Smith , Who's Afraid of Postmodernism?: Taking Derrida, Lyotard, and Foucault to Church (The Church and Postmodern Culture)
13 " Too many film schools, as well as any number of screenwriting gurus and an obscene number of how-to-write tomes, have made a business of catering to fledgling screenwriters and filmmakers by exploiting their belief that the only thing standing between them and an Oscar is the right kind of knowledge. If only one knew enough, one could easily become rich and famous. Unfortunately, almost all are susceptible to that eternal malady – “that last great infirmity of the soul” – which is FAME. And whilst I don’t deny the value of technical knowledge, such knowledge matters very little if the story one is trying to tell doesn’t matter, either because it’s incoherent or simply because it fails to make us care. "
14 " Other personalities are created to handle new traumas, their existence usually occurring one at a time. Each has a singular purpose and is totally focused on that task. The important aspect of the mind's extreme dissociation is that each ego state is totally without knowledge of the other. Because of this, the researchers for the CIA and the Department of Defense believed they could take a personality, train him or her to be a killer and no other ego stares would be aware of the violence that was taking place. The personality running the body would be genuinely unaware of the deaths another personality was causing. Even torture could not expose the with, because the personality experiencing the torture would have no awareness of the information being sought. Earlier, such knowledge was gained from therapists working with adults who had multiple personalities. The earliest pioneers in the field, such as Dr. Ralph Alison, a psychiatrist then living in Santa Cruz, California, were helping victims of severe early childhood trauma. Because there were no protocols for treatment, the pioneers made careful notes, publishing their discoveries so other therapists would understand how to help these rare cases. By 1965, the information was fairly extensive, including the knowledge that only unusually intelligent children become multiple personalities and that sexual trauma endured by a restrained child under the age of seven is the most common way to induce hysteric dissociation. "
― , Secret Weapons: How Two Sisters Were Brainwashed to Kill for Their Country
15 " The study of truth requires a considerable effort - which is why few are willing to undertake it out of love of knowledge - despite the fact that God has implanted a natural appetite for such knowledge in the minds of men. "
― Thomas Aquinas , Summa Contra Gentiles
16 " The President regards the Japanese as a brave people; but courage, though useful in time of war, is subordinate to knowledge of arts; hence, courage without such knowledge is not to be highly esteemed. "
17 " Translating any insights I have for strangers' lives into positive action in my own has proved a challenge. While I've learned a lot about what everyone else is thinking, I fail miserably to use such knowledge in my private relationships. "