A Quote by Georg Wilhelm Friedrich Hegel

Quite generally, the familiar, just because it is familiar, is not cognitively understood. The commonest way in which we deceive either ourselves or others about understanding is by assuming something as familiar, and accepting it on that account; with all its pros and cons, such knowing never gets anywhere, and it knows not why.... The analysis of an idea, as it used to be carried out, was, in fact, nothing else than ridding it of the form in which it had become familiar.
I like to compare the holiday season with the way a child listens to a favorite story. The pleasure is in the familiar way the story begins, the anticipation of familiar turns it takes, the familiar moments of suspense, and the familiar climax and ending.
The strange thing about hotel rooms is that they look familiar and seem familiar and have many of the accoutrements that seem domestic and familiar, but they are really weird, alien and anonymous places.
I'm not intimidated by embracing a familiar form and what's familiar about it and making it my own. It is, I think, one of my gifts.
When The Fall pummeled their way into my nervous system, circa 1983, it was as if a world that was familiar - and which I had thought too familiar, too quotidian to feature in rock - had returned, expressionistically transfigured, permanently altered.
Any time you're comfortable or familiar with something, it's easier than something you're not familiar with.
If you're familiar enough with my body of work, my voice is a familiar totem, in a sense. I guess I have something characteristic in the way that I sing, although I'm not very personally self-conscious about it, so I don't think about it that much. But when I hear the record I can tell it's me.
The mind, conditioned as it is by the past, always seeks to re-create what it knows and is familiar with. Even if it is painful, at least it is familiar. The mind always adheres to the known. The unknown is dangerous because it has no control over it. That's why the mind dislikes and ignores the present moment.
I was a supporting character in other people's lives, which seemed right and familiar to me. I was also an outsider: English in the U.S., American in England, dogged yet comforted by that familiar feeling of alien-ness, which occupied that space where my sense of self should have been.
In all my science fiction movies, I try to blend the familiar with the futuristic so as not to be too off-putting to the audience. There is always something familiar they can grab onto.
In all my science fiction movies, I try to blend the familiar with the futuristic so as not to be too off putting to the audience. There is always something familiar they can grab onto.
I don't have time to celebrate accomplishments. When good things happen, it's great, and obviously I get excited inside. But soon I gotta do something else; I gotta keep doing more stuff. The whole world will never be familiar, so I'm constantly going to be on a quest to get familiar.
I've never quite understood that feeling: that you arrive in a strange place, yet you want to have nothing but familiar experiences.
The food to me is just a hook, it's a button, it happens to be the social construct and the cultural totem that I'm most familiar with. So of course I built the show around food because it's where I'm familiar.
He shifted over without comment, lifting the blankets, and I scrambled into the warm sheets beside him. He smelled like soap and sleep and bare skin. He smelled familiar. Not the deja vu familiar of Guy or Mel. Familiar like...the ache in your chest of homesickness, of longing for harbor after weeks of rough seas or craving a fire's warmth after snow--or wanting back something you should never have given away.
Everything I write doesn't appear to be biography until later. I often say that I've never written about anything I've experienced. Of course, that's not true. But it doesn't appear familiar to me at all. And maybe that's because I have to be in a kind of coma in order to write. If it appeared familiar, I wouldn't.
We apply the language that is comforting and comfortable and familiar in order to grasp that which confuses and scares us. That is the first step toward cliché and stereotype, as they're comforting devices. They reduce the confusing world to the already familiar. We're always smoothing out the bumps of actual living to turn it into narratable life.
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