Facts and knowledge are not the same thing. The earth orbits the sun. That is a fact, whether or not it is known. It was a fact long before anybody existed to know it.
You can know facts; you can know processes; you can know people and places.
Knowledge is learned. So in that sense it is created. At one point nobody knew how aerofoils worked. Then people learned, through observation, trial and error, and application. That knowledge, which once didn’t exist, now exists. It was created.
I like a number of things about the above contribution to this thread.
I wonder about the idea of knowing a person. I suspect that it depends upon the English language. That combination of words might be ambiguous or incoherent in another language.
I would distinguish between know-how that allows you to engage in dialogue or fact-checking, and a capacity to emit sounds in a monologue.
If knowing a poem is tested by your ability to recite it, then it is possible that you do not even know the language in which the poem is written, that you have never read a translation, and that you have learned to imitate a sound recording that you own and have listened to repeatedly, perhaps with help from a native speaker to correct subtle problems that make your speech sound foreign, artificial, or too much like a particular speaker who is known for having recited that poem.
DeWolf Hopper was the first person to give a stage recitation of the poem Casey at the Bat, on August 14, 1888, at New York’s Wallack Theatre. Hopper became known as an orator of the poem, and recited it more than 10,000 times (by his count—- some tabulations are as much as four times greater) before his death.
Link:
en.wikipedia.org/wiki/Casey_at_the_Bat#Live_performances
It is interesting that the subject known as “English” in elementary school, high school, and college is often used not merely to teach dramatic arts, but also to demand performance of a particular script in front of a live audience. The Beatles in the recording studio could have failed that test, even though they composed the score or script that is to be performed!
I imagine that many teachers would forbid a student who has a talent for imitating the voices of particular individuals from imitating the sound of the teacher’s voice. Maybe this is a way to provoke reform in the classroom, rather then merely reform of some theoretical rules, policies, laws, etc. After class, all students could work together to learn to imitate the sound of the teacher’s voice, as a reaction whenever they are required to utter a sequence of sounds that was already uttered by the teacher.
