A Quote by Michael Dirda
Critics for established venues are vetted by editors; they usually demonstrate a certain objectivity; and they come with known backgrounds and specialized knowledge.
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In the general tendency toward specialization, philosophy too has established itself as a specialized discipline, one purified of all specific content. In so doing, philosophy has denied its own constitutive concept: the intellectual freedom that does not obey the dictates of specialized knowledge.
Every one of my opponents, every one of my critics, will tell you that I am a generalist spread far too thin in an age when this is not done anymore, when responsible knowledge is specialized knowledge.
I've asked to go back into theaters and smaller venues because to me, in smaller venues I can really demonstrate my commitment to quality. Theaters are great containers for music.
Certain media-related developments in the country are raising questions regarding its objectivity and credibility. Paid news and the declining roles of the editors and their editorial freedom is posing a major threat to the Indian media.
Knowledge signifies things known. Where there are no things known, there is no knowledge. Where there are no things to be known, there can be no knowledge. We have observed that every science, that is, every branch of knowledge, is compounded of certain facts, of which our sensations furnish the evidence. Where no such evidence is supplied, we are without data; we are without first premises; and when, without these, we attempt to build up a science, we do as those who raise edifices without foundations. And what do such builders construct? Castles in the air.
One of the most prevalent and undermentioned genres of music is what is known as noise. You can find it all over the world happening in basements, small venues and even some festivals. Often blown off or belittled by critics, the form for the most part goes unheard and unnoticed.
Specialized meaninglessness has come to be regarded, in certain circles, as a kind of hallmark of true science.
I think editors have to come out of a certain kind of community.
The knowledge we now consider knowledge proves itself in action. What we now mean by knowledge is information effective in action, information focused on results. Results are outside the person, in society and economy, or in the advancement of knowledge itself. To accomplish anything this knowledge has to be highly specialized.
The old scientific ideal of episteme - of absolutely certain, demonstrable knowledge - has proved to be an idol. The demand for scientific objectivity makes it inevitable that every scientific statement must remain tentative for ever.
Don't be dismayed by the opinions of editors, or critics. They are only the traffic cops of the arts.
To sustain the belief that there is no God, atheism has to demonstrate infinite knowledge, which is tantamount to saying, “I have infinite knowledge that there is no being in existence with infinite knowledge
You have a certain objectivity, as a member of the audience, and you can come away maybe being provoked into a certain discourse or a certain arena of questioning, regarding how you would deal with things that your character has to deal with. Whereas when you're doing a film, once you start asking, "What would I do?," you're getting the distance greater between yourself and the character, or you're bringing the character to you, which I think is self-serving, in the wrong way. The idea is to bring yourself to the character.
Art editors and critics - people like me - have become a courtier class.
Islam is a religion based upon knowledge, and a denial of the possibility and objectivity of knowledge would involve the destruction of the fundamental basis upon which not only the religion, but all the sciences are rooted.
Even scientific knowledge, if there is anything to it, is not a random observation of random objects; for the critical objectivity of significant knowledge is attained as a practice only philosophically in inner action.
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