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Knowing Quotes

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Knowing Quotes

“Each pursues his private interest and only his private interest; and thereby serves the private interests of all, the general interest, without willing it or knowing it. The real point is not that each individual's pursuit of his private interest promotes the totality of private interests, the general interest. One could just as well deduce from this abstract phrase that each individual reciprocally blocks the assertion of the others' interests, so that, instead of a general affirmation, this war of all against all produces a general negation.”

“Art too is just a way of living, and however one lives, one can, without knowing, prepare for it; in everything real one is closer to it, more its neighbor, than in the unreal half-artistic professions, which, while they pretend to be close to art, in practice deny and attack the existence of all art - as, for example, all of journalism does and almost all criticism and three quarters of what is called (and wants to be called) literature.”

“I think now that maybe true sweetness can only happen in limbo. I don't know why. Is it because we are so unsure, so tentative and waiting? Like it needs that much room, that much space to expand. The not knowing anything really, the hoping, the aching transience: This is not real, not really, and so we let it alone, let it unfold lightly. Those times that can fly.”

“Women should be permitted to volunteer for non-combat service... We have no real way of knowing whether the kinds of training that teach men both courage and restraint would be adaptable to women or effective in a crisis. But the evidence of history and comparative studies of other species suggest that women as a fighting body might be far less amenable to the rules that prevent war from becoming a massacre and, with the use of modern weapons, that protect the survival of all humanity. That is what I meant by saying that women in combat might be too fierce.”

“Instead of loving a God, we love each other. Instead of the religion of the sky-the religion of this world-the religion of the family-the love of husband for wife, of wife for husband-the love of all for children. So that now the real religion is: Let us live for each other; let us live for this world without regard for the past and without fear for the future. Let us use our faculties and our powers for the benefit of ourselves and others, knowing that if there be another world, the same philosophy that gives us joy here will make us happy there.”

“..the real world's all we've got. Believers in the supernatural claim to have special wisdom about the world. But real wisdom means knowing truth from falsehood, knowing the difference between evidence and wishful thinking. Yes, the real world is mysterious and sometimes frightening. But would the supernatural make it better? The real world has beauty, poetry, love and the joy of honest discovery. Isn't that enough?”

“Such debates [about the nature of Scripture], in my view, distract attention from the real point of what the Bible is there for. Squabbling over particular definitions of the qualities of the Bible is like a married couple squabbling over which of them loves the children more, when they should be getting on with bringing them up and setting them a good example. The Bible is there to enable God's people to be equipped to do God's work in God's world, not to give them an excuse to sit back smugly, knowing they possess all God's truth.”

“Knowledge of Rome must be physical, sweated into the system, worked up into the brain through the thinning shoe-leather. ... When it comes to knowing, the senses are more honest than the intelligence. Nothing is more real than the first wall you lean up against sobbing with exhaustion. Rome no more than beheld (that is, taken in through the eyes only) could still be a masterpiece in cardboard - the eye I suppose being of all the organs the most easily infatuated and then jaded and so tricked. Seeing is pleasure, but not knowledge.”

“Real artists find answers. The knowledge of the artisan is within the confines of his skills. For example, I know a lot about lenses, about the editing room. I know what the different buttons on the camera are for. I know more or less how to use a microphone. I know all that, but that's not real knowledge. Real knowledge is knowing how to live, why we live, things like that.”

“Instead of the 1997 film directed, written, by James Cameron with Leonardo DiCaprio, Kate Winslet, Billy Zane creating a love story and a large diamond with a beautiful song “My Heart Will Go On” sung by Celine Dion. What about the real love story that took place that night between the passengers themselves, and many crew members knowing they would also give their lives. Adding another meaning for “SOS” Service, Obedience, and Sacrifice.”

“Next, 'real' is what we may call a trouser-word. It is usually thought, and I dare say usually rightly thought, that what one might call the affirmative use of a term is basic--that, to understand 'x,' we need to know what it is to be x, or to be an x, and that knowing this apprises us of what it is not to be x, not to be an x. But with 'real' (as we briefly noted earlier) it is the negative use that wears the trousers.”

“All that you are attached to, all that you love, all that you know, someday will be gone. Knowing this, and that the world is your mind which you create, play in, and suffer from, is known as discrimination. Discriminate between the Real and the Unreal, the known is unreal and will come and go so stay with the Unknown, the Unchanging, the Truth.”

“There is one Cosmic Essence, all-pervading, all-knowing, all-powerful. This nameless formless essence can be approached by any name, any form, any symbol that suites the taste of the individual. Follow your religion, but try to understand the real purpose behind all of the rituals and traditions, and experience that Oneness.”

“I think the most important key to quality communication and interaction is developing an interest in the person you`re talking with. Most women know the secret to a quality conversation is to ask quality questions and have a sincere interest in hearing the answers. In fact, the best communicators very often say the least. It`s not the extrovert who dominates the conversation that a client feels most connected with, but rather the individual who shows a real and sincere interest in knowing about the life of the person they`re talking with.”

“I know that I'm very susceptible to getting caught up in storylines like, "I want him to be different. I want him to be more open. I want him to call." We have all of these storylines that kind of take over sometimes, and I think there's real grace and a peaceful heart at the center of just accepting what is, and knowing that everything's OK. The good, the bad, the ugly, the pain, the hurt, the frustration - all of that is valuable and part of this human experience, so we should lean in to all of it.”

“Home is a blueprint of memory...Finding home is crucial to the act of writing. Begin here. With what you know. With the tales you've told dozens of times...with the map you've already made in your heart. That's where the real home is: inside. If we carry that home with us all the time, we'll be able to take more risks. We can leave on wild excursions, knowing we'll return home.”

“I don`t know why, but I love the dog eat dog nature of tennis. It`s real, it`s brutal and there`s no hiding place - it's like a one to one street fight. I love the intensity that comes with knowing you walk off court either a winner or a loser. It`s daunting but very exciting. There is no one to blame except yourself, no one cares who comes second.”

“Working with Jim Sheridan for instance, we did this movie Brothers. Jim will ask anybody - we'll get a delivery on set, and like the poor delivery guy will be like, "Here's your pizza," and he'll be like, "Come over here. Come here. I want to ask you a question. Do you think this is real? What do you think? Should we do another take?" And they're like, "I, uh, you want your pizza?" There's no shame in everybody's ideas. There's no shame in somebody not knowing.”

“Stories set the inner life into motion, and this is particularly important where the inner life is frightened, wedged, or cornered. Story greases the hoists and pulleys, it causes adrenaline to surge, shows us the way out, down, or up, and for our trouble, cuts for us fine wide doors in previously blank walls, openings that lead to the dreamland, that lead to love and learning, that lead us back to our own real lives as knowing wildish women.”

“You've got the people you know, which are problematic. Always. They're rich but they're also real people living their lives alongside you. Then you've got the people that you make-up completely, who are often missing a dimension if they don't have some reference to real people. So strangers exist in this in-between space, where in not knowing them, you are creating a fiction for them, even in passing, but at the same time, there they are, with their actual bodies and their actual clothes. It's totally enticing.”

“Trying to tell an authentic, raw and honest story without making it therapy. Separating myself enough to have perspective while putting myself in the emotional hot seat so that I could make this thing real. Asking for help. Delegating responsibility. Standing up for myself. Fighting the impulse to be sweet and likeable 24/7. Being open to all ideas, but staying true to the spine of the story. Knowing when to let go and when to hold on and fight like hell. Getting out of my own way. Shall I go on?”

“People who just wanted to make it work and knew it was going to be a real challenge. We were on the beach the first day and Donald [Sutherland] and I are playing best friends our whole lives. We met each other for 10 seconds the night before and we're sitting on a beach lining up a shot that we shoot a few minutes later, never having had a conversation with each other and then end up going skinny dipping in the Pacific Ocean buck-ass naked, not knowing who the other person is.”

“When I first starting making beats, I didn't know samples were being used in any beats. I had no idea where producers were getting the real string sounds or the voices on their tracks. I knew nothing about loops or sampling off of records. So, by me knowing nothing about this it made me concentrate on my chords on the keyboard.”