A Quote by Walker Percy
[In art] you are telling the reader or the listener or the viewer something he already knows but which he doesn't quite know that he knows, so that in the action of communication he experiences a recognition, a feeling that he has been there before, a shock of recognition.
Related Quotes
There are four types of men in this world: 1. The man who knows, and knows that he knows; he is wise, so consult him. 2. The man who knows, but doesn't know that he knows; help him not forget what he knows. 3. The man who knows not, and knows that he knows not; teach him. 4. Finally, there is the man who knows not but pretends that he knows; he is a fool, so avoid him.
I've been very lucky. There are guys I know who are really terrific in this business of stand-up who have not gotten the recognition they deserve. And it's nice, if you've put in the time, to achieve that recognition.
I'm quite into fitness, and I have a fantastic personal trainer who knows me, knows my body, knows when to push me, and knows when not to push me. She doesn't make me do 20 burpees in a row and instead focuses on strengthening my core, telling me we need to focus on making me into 'a tall giraffe'!
The whole path of American music has been so much about the recognition of stylistic diversity, and the recognition of the importance of music which was from one of the vernacular traditions.
I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.
Men are four;
He who knows and knows not that he knows. He is asleep; wake him.
He who knows not and knows not that he knows not. He is a fool; shun him.
He who knows not and knows that he knows not. He is a child; teach him.
He who knows and knows that he knows. He is a king; follow him.
The heights by great men reached and kept
Were not attained by sudden flight,
But they, while their companions slept,
Were toiling upward in the night.
I think music, like writing, can be a mirror. Can turn back onto the listener, the viewer, the reader, an experience that they know but they don't know.
I define a thriller as a big-stakes, multiple-viewpoint novel involving suspense, action, and mystery, in which the reader doesn't know everything but usually knows more than any single character.
...in our time art is encrusted with a noisy, opaque, logorrhea of theory that prevents a work from coming into direct, media free, non-interpreted contact with its viewer (its reader, its listener)
The so called unconscious inferences can be traced back to the all-preserving memory, which presents us with parallel experiences and hence already knows the consequences of an action. It is not anticipation of the effects; rather, it is the feeling: identical causes, identical effects . . .
A man’s ignorance sometimes is not only useful, but beautiful - while his knowledge, so called, is oftentimes worse than useless, besides being ugly. Which is the best man to deal with - he who knows nothing about a subject, and, what is extremely rare, knows that he knows nothing, or he who really knows something about it, but thinks that he knows all?
Anyone who has had an experience of mystery knows that there is a dimension of the universe that is not that which is available to his senses. There is a pertinent saying in one of the Upanishads: When before the beauty of a sunset or of a mountain you pause and exclaim, ‘Ah,’ you are participating in divinity. Such a moment of participation involves a realization of the wonder and sheer beauty of existence. People living in the world of nature experience such moments every day. They live in the recognition of something there that is much greater than the human dimension.
There is likely to be a lag between the need for action and government ["an individual's" or "a team's"] recognition of the need; a further lag between recognition of the need for action and the taking of action; and a still further lag between the action and its effects
Consciousness is a state in which a man knows all at once everything that he in general knows and in which he can see how little he does know and how many contradictions there are in what he knows.
There [is] a feeling of recognition, as of meeting an old friend, which comes to us all in the face of great artistic experiences. I had the same experience when I first heard an English folksong, when I first saw Michelangelo's Day and Night, when I suddenly came upon Stonehenge or had my first sight of New York City - the intuition that I had been there already.
A dogmatic tone is generally inspired by abysmal ignorance. The man who knows nothing thinks he is informing others of something which he has that moment learnt; the man who knows a great deal can scarcely believe that people are ignorant of what he is telling them, and speaks more diffidently.
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