Yep, doing pottery without technical knowledge is like writing poetry without speaking the language fluently.
Your statement may awe-strike high schoolers , but is flawed logically as it presumes that any individual work in ceramics necessarily pulls from all areas of ceramics technical knowledge, which is not the case. False Analogy. Allow me to explain.
A thorough understanding of technical knowledge, relative to the chemistry and mechanics of one's actual process and pieces in one's chosen subset of ceramics, is pretty important; this, is true.
Few here would doubt that in the first place however so it becomes moot. They may doubt me and that is fine, but they do not doubt that.
If one does not do or intend to make Raku, for instance, explain to me why the absence of thorough technical knowledge and experience in Raku process, debases the quality of their functional non-Raku cups? How does it insert flaw into or disqualify their completely unrelated process? It simply does not!
Speaking for myself, some areas of the ceramics realm, are just not applicable to my working area of competency and practice, and I have not studied them with a mind to making in that area. I am not however entirely ignorant of them, having read many books on the subject of ceramics, having seen lots of ceramics.
Why is it necessary for a production tilemaker to know how to throw to perfection on the wheel? Please explain.
Why would a potter skilled in pulling handles, have his mug work disqualified because he hasn't used an extruder. If one practices wedging clay with competency and it suits their process, then they do not need to know how to disassemble a pugmill. They might be interested, but it is not necessary to their process. Many skilled potters have never used their own found clay, personally dug formulations. This does not disqualify their work in Laguna B mix.
All of these things are a part of the broad scope or 'language' of ceramics, yet they do not have to apply to all of us in order to ensure that our work in our chosen part of the realm, is good. The probability that there is something out there, in the ceramics realm, that each one of us does not know, is very high.
Then there is the concept of the 'reference book collection.' I know a few good potters doing lovely work, who can't hold complex chemical detail in their head, jumble numbers in conversation and freely admit that they are not know-it-alls, but they have solid reference material at hand, so necessary technical knowledge, is still immediately available to them if and when they need it. I have a few dozen reference works myself, some recommended by masters. They don't tell the entire story but many technical aspects are covered in repetition. Including Raku, and though I've read much on it, I do not work in it, just not my bag, baby. Nothing wrong with that, I don't make space shuttle tiles either. All a part of the realm of ceramics.
If approached responsibly, it is not difficult or particularly time-consuming to get a grip on the skirt of the medium that interests you, accrue sufficient technical knowledge in it, and from that point forward it is just a matter of working toward the purity of your personal goal. You have to do it until you are confident that it is a successful working cycle of a process. When you discover a blind spot you say oops, forgive yourself & then permanently fill it in.
Gotcha statements can be entertaining and sparring over issues can be a healthy exercise. It is more important to do what you know, to know what you do, and to hold yourself accountable for what you make. Others' presumptions, aren't all that relevant unless they are actively working against you, and even then, there will always be people like that.
It has been said that the more that you know, the more you know that you do not know. That tends to make people insecure. Work your area of core competency well and it becomes its' own best defense.