Sensation And Perception Quotes

We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.

We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. [...] By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies - all these are private and, except through symbols and at second hand, incommunicable.

We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies - all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes. Most island universes are sufficiently like one another to Permit of inferential understanding or even of mutual empathy or "feeling into." Thus, remembering our own bereavements and humiliations, we can condole with others in analogous circumstances, can put ourselves (always, of course, in a slightly Pickwickian sense) in their places. But in certain cases communication between universes is incomplete or even nonexistent. The mind is its own place, and the Places inhabited by the insane and the exceptionally gifted are so different from the places where ordinary men and women live, that there is little or no common ground of memory to serve as a basis for understanding or fellow feeling. Words are uttered, but fail to enlighten. The things and events to which the symbols refer belong to mutually exclusive realms of experience.

Don't separate the mind from the body. Don't separate even character - you can't. Our unit of existence is a body, a physical, tangible, sensate entity with perceptions and reactions that express it and form it simultaneously. Disease is one of our languages. Doctors understand what disease has to say about itself. It's up to the person with the disease to understand what the disease has to say to her.

The private experience that you perceive forms your world, period. But which world do you inhabit? For if you altered your private sensations of reality, then that world, seemingly the only one, would also change. You do go through transformations of beliefs all the time, and your perception of the world is different. You seem to be, no longer, the person you that you were. You are quite correct — you are not the person that you were, and your world has changed, and not just symbolically.

Pragmatically, aesthetic value can be recognized or experienced, but it cannot be conveyed to those who are incapable of grasping its sensations and perceptions. To quarrel on its behalf is always a blunder.

What is perceptible to one’s mistrust is the cut-and-dried way that life is divided up and the ready-made form it assumes, the ever-recurring sameness of it, the pre-formations passed down by generation after generation, the ready-made language not only of the tongue but also of the sensations and the feelings.

It was thought, perception, sensations that interested her, the conscious mind as a river through time, and how to represent its onward roll, as well as all the tributaries that would swell it, and the obstacles that would divert it. If only she could reproduce the clear light of a summer’s morning,

After all, color in itself has no color — it's simply a construction of the mind: a sensation, like the Humming Chorus from Madame Butterfly and the smell of honeysuckle.

To persons standing alone on a hill during a clear midnight such as this, the roll of the world eastward is almost a palpable movement. The sensation may be caused by the panoramic glide of the stars past earthly objects, which is perceptible in a few minutes of stillness, or by the better outlook upon space that a hill affords, or by the wind, or by the solitude; but whatever be its origin the impression of riding along is vivid and abiding. The poetry of motion is a phrase much in use, and to enjoy the epic form of that gratification it is necessary to stand on a hill at a small hour of the night, and, having first expanded with a sense of difference from the mass of civilized mankind, who are dreamwrapt and disregardful of all such proceedings at this time, long and quietly watch your stately progress through the stars. After such a nocturnal reconnoitre it is hard to get back to earth, and to believe that the consciousness of such majestic speeding is derived from a tiny human frame.

By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies- all these are private and except through symbols and at second hand incommunicable.

That is, a single sensation/thought/perception appears in consciousness and thinking alone conceptualises

Beliefs are the unquestioned acceptance of an idea in the absence of verification and reason.   Beliefs are not facts; beliefs are the escape from facts. Beliefs are the food of a make-believe world.   Permanent clarity is available to you, but not if you want to cling to your beliefs.   If you insist on believing, believe this:   I am Conscious Life Energy. Because I am, all is. I am vibrant intelligence, by which flowers grow and wounds heal. In my absence, existence as it is known, ceases. The world is my manifest expression and this body is its instrument of perception and action. In this regard, I am the Knowing of every sensation, feeling and thought. I am the Author of every action.

His bedroom was a reflection of Bryant's mind, its untidy shelves filled with games and puzzles stacked in ancient boxes, statues and mementoes competing for space with books on every subject imaginable, from Sensation and Perception in the History of Experimental Psychology to Illustrated British Ballads and A History of Indian Philosophy. "What are you reading at the moment?' asked May. "Batman," said Bryant. "The drawings are terribly good.

What? We feel aesthetic pleasure at a sonata by Beethoven and not at one with the same style and charm if it comes from one of our own contemporaries? Isn't that the height of hypocrisy? So then the sensation of beauty is not spontaneous, spurred by our sensibility, but instead is cerebral, conditioned by our knowing a date? No way around it: historical consciousness is so thoroughly inherent in our perception of art that this anachronism (a Beethoven piece written today) would be spontaneously (that is, without the least hypocrisy) felt to be ridiculous, false, incongruous, even monstrous. Our feeling for continuity is so strong that it enters into the perception of any work of art.

Habitualization devours objects, clothes, furniture, one's wife, and the fear of war. If all the complex lives of many people go on unconsciously, then such lives are as if they had never been. Art exists to help us recover the sensation of life; it exists to make us feel things, to make the stone stony. The end of art is to give a sensation of the object seen, not as recognized. The technique of art is to make things 'unfamiliar,' to make forms obscure, so as to increase the difficulty and the duration of perception. The act of perception in art is an end in itself and must be prolonged. In art, it is our experience of the process of construction that counts, not the finished product.

INTUITION (L. intueri, ‘to look at or into’). I regard intuition as a basic psychological function (q.v.). It is the function that mediates perceptions in an unconscious way. Everything, whether outer or inner objects or their relationships, can be the focus of this perception. The peculiarity of intuition is that it is neither sense perception, nor feeling, nor intellectual inference, although it may also appear in these forms. In intuition a content presents itself whole and complete, without our being able to explain or discover how this content came into existence. Intuition is a kind of instinctive apprehension, no matter of what contents. Like sensation (q.v.), it is an irrational (q.v.) function of perception. As with sensation, its contents have the character of being “given,” in contrast to the “derived” or “produced” character of thinking and feeling (qq.v.) contents. Intuitive knowledge possesses an intrinsic certainty and conviction, which enabled Spinoza (and Bergson) to uphold the scientia intuitiva as the highest form of knowledge. Intuition shares this quality with sensation (q.v.), whose certainty rests on its physical foundation. The certainty of intuition rests equally on a definite state of psychic “alertness” of whose origin the subject is unconscious.

I am that which knows or is aware of all experience, but I am not myself an experience. I am aware of thoughts but am not myself a thought; I am aware of feelings and sensations but am not myself a feeling or sensation; I am aware of perceptions but am not myself a perception. Whatever the content of experience, I know or am aware of it. Thus, knowing or being aware is the essential element in all knowledge, the common factor in all experience.

Loneliness if often exacerbated by a perception that one is lonely while everyone else is connected. It's exaggerated by a sensation of being outside something that others seem to be in on: a family, a couple, a friendship, a joke. Perhaps now we can learn how flawed that kind of thinking is, because loneliness is one of the most universal things any person can feel.

We know there are colours in the spectrum untranslatable to our eyes; sounds beyond the range of our hearing; sensations beyond the tolerance of taste or touch. What else is there that we might be missing? Could it be that we, ourselves, only ever really experience the mere gist of our own lives? (attrib: F.L. Vanderson)

To the right mind, no time exists other than the present moment, and each moment is vibrant with sensation. Life or death occurs in the present moment. The experience of joy happens in the present moment. Our perception and experience of connection with something that is greater than ourselves occurs in the present moment. To our right mind, the moment of now is timeless and abundant.

There are parts of a woman’s heart that are reserved for certain types of love. Experiencing the love of a father figure in an appropriate way is essential in paving the way for the love of a man to be experienced in the right way. The love of a father is vital in ensuring that a woman’s heart is kept open in this area. If this area is not kept open, it produces problems later on in a woman’s life, for that area is also reserved for the romantic love that comes in the form of a marriage relationship. This is an extremely sensitive area of the heart for a woman, and has plenty of opportunity to be easily bruised. When that does occur, she will put up a protective barrier to try and avoid any such pain occurring again. If this barrier isn’t dismantled fairly soon, a woman’s heart becomes accustomed to its protective barrier, and the heart shielded inside gradually becomes hardened. As women, we may be able to function like this for awhile. But there will come a time in your life where God will begin to peel away those hard layers surrounding your heart, and you probably won’t like that sensation. But you have to fight your natural instinct to run away. This is where many Christian women may get stuck. They view every man through the lens of what their father was to them, or what he was not. Their perception of men is shaded, and often damaged, by the very people who should have been modeling the world of adult relationships to their daughters. As a result, their judgement is often clouded, and women find themselves settling for less than what they truly deserve. Many marriages, even Christian marriages, have been damaged and even terminated because one or both partners refused to sit down and deal with their past issues.

For the first time in his life, Mont Blanc for a moment looked to him what it was - a chaos of anarchic and purposeless forces - and he needed days of repose to see it clothe itself again with the illusions of his senses, the white purity of its snows, the splendor of its light, and the infinity of its heavenly peace. Nature was kind; Lake Geneva was beautiful beyond itself, and the Alps put on charms real as terrors.

Understanding the physiological and neurological features of spiritual experiences should not be interpreted as an attempt to discredit their reality or explain them away. Rather, it demonstrates their physical existence as a fundamental, shared part of human nature. Spiritual experiences cannot be considered irrational, since we have seen that, given their physiological basis, experiencers' descriptions of them are perfectly rational... All human perceptions of material reality can ultimately be documented as chemical reactions in our neurobiology; all our sensations, thoughts, and memories are ultimately reducible to chemistry, yet we feel no need to deny the existence of the material world; it is not less real because our perceptions of it are biologically based... It is not rational to assume that the spiritual reality of core experiences is any less real than the more scientifically documentable material reality.

According to this model, human beings are, at least in one aspect, sensation-receiving machines; and although our receptory apparatus is competent to select and organize outward stimuli within the narrow range necessary for physical survival within our environment, it does not necessarily tell us very much about the nature of that environment. People, in other words, have little access to the possible world existing beyond their sensations.

No one can ever use his heart to listen or touch or feel or see or smell. It's just a lump of muscle pumping mechanically inside your ribs. It has no will and no ability to do anything but go on pumping until it gives up and withers away or is choked by some disease. Your spinal cord, on the other hand, feels. The central nervous system pours out from the spinal cord, and with it one feels pain. Pain is the most trustworthy sensation a human being can know because it teaches us what hurts. With the spinal cord, one can hear what will hurt, smell the sting of suffering, taste it, feel it, and see the world with new eyes. I learned a long time ago not to follow my heart, the hunk of meat flexing in the chest. I trust the tube locked up in a column of bone, the tube that shows me what pain is.

A pulse. Beat-beating against her palm. Alive. Beat by beat the bottomless whirlwind of perceptions and data and images and sensations careening through her mind—so many how can this tiny skull hold them all—began to abate in time to the rhythm of not her pulse, but his.

People can learn to control and change their behavior, but only if they feel safe enough to experiment with new solutions. The body keeps the score: If trauma is encoded in heartbreaking and gut-wrenching sensations, then our first priority is to help people move out of fight-or-flight states, reorganize their perception of danger, and manage relationships. Where traumatized children are concerned, the last things we should be cutting from school schedules are the activities that can do precisely that: chorus, physical education, recess, and anything else that involves movement, play, and other forms of joyful engagement.

The cases described in this section (The Fear of Being) may seem extreme, but I have become convinced that they are not as uncommon as one would think. Beneath the seemingly rational exterior of our lives is a fear of insanity. We dare not question the values by which we live or rebel against the roles we play for fear of putting our sanity into doubt. We are like the inmates of a mental institution who must accept its inhumanity and insensitivity as caring and knowledgeableness if they hope to be regarded as sane enough to leave. The question who is sane and who is crazy was the theme of the novel One Flew Over The Cuckoo's Nest. The question, what is sanity? was clearly asked in the play Equus. The idea that much of what we do is insane and that if we want to be sane, we must let ourselves go crazy has been strongly advanced by R.D. Laing. In the preface to the Pelican edition of his book The Divided Self, Laing writes: "In the context of our present pervasive madness that we call normality, sanity, freedom, all of our frames of reference are ambiguous and equivocal." And in the same preface: "Thus I would wish to emphasize that our 'normal' 'adjusted' state is too often the abdication of ecstasy, the betrayal of our true potentialities; that many of us are only too successful in acquiring a false self to adapt to false realities." Wilhelm Reich had a somewhat similar view of present-day human behavior. Thus Reich says, "Homo normalis blocks off entirely the perception of basic orgonotic functioning by means of rigid armoring; in the schizophrenic, on the other hand, the armoring practically breaks down and thus the biosystem is flooded with deep experiences from the biophysical core with which it cannot cope." The "deep experiences" to which Reich refers are the pleasurable streaming sensations associated with intense excitation that is mainly sexual in nature. The schizophrenic cannot cope with these sensations because his body is too contracted to tolerate the charge. Unable to "block" the excitation or reduce it as a neurotic can, and unable to "stand" the charge, the schizophrenic is literally "driven crazy." But the neurotic does not escape so easily either. He avoids insanity by blocking the excitation, that is, by reducing it to a point where there is no danger of explosion, or bursting. In effect the neurotic undergoes a psychological castration. However, the potential for explosive release is still present in his body, although it is rigidly guarded as if it were a bomb. The neurotic is on guard against himself, terrified to let go of his defenses and allow his feelings free expression. Having become, as Reich calls him, "homo normalis," having bartered his freedom and ecstasy for the security of being "well adjusted," he sees the alternative as "crazy." And in a sense he is right. Without going "crazy," without becoming "mad," so mad that he could kill, it is impossible to give up the defenses that protect him in the same way that a mental institution protects its inmates from self-destruction and the destruction of others.

It is the same in life; the heart changes, and that is our worst misfortune; but we learn of it only from reading or by imagination; for in reality its alteration, like that of certain natural phenomena, is so gradual that, even if we are able to distinguish, successively, each of its different states, we are still spared the actual sensation of change. Lygiai taip gyvenime keičiasi ir mūsų širdis, ir tai skaudžiausia; tačiau patiriame tą skausmą tik skaitydami knygas, vaizduotėje; tikrovėje jos keitimasis, kaip ir kai kurių gamtos reiškinių vyksmas yra toks lėtas, kad nors ir galime konstatuoti kiekvieną atskirą būseną, paties keitimosi pajusti nepajėgiame.

Something, most certainly, happens to a diver’s emotions underwater. It is not merely a side effect of the pleasing, vaguely erotic sensation of water pressure on the body. Nor is it alone the peculiar sense of weightlessness, which permits a diver to hang motionless in open water, observing sea life large as whales around him; not the ability of a diver, descending in that condition, to slowly tumble and rotate in all three spatial planes. It is not the exhilaration from disorientation that comes when one’s point of view starts to lose its “lefts” and “down” and gains instead something else, a unique perception that grows out of the ease of movement in three dimensions. It is not from the diminishment of gravity to a force little more emphatic than a suggestion. It is not solely exposure to an unfamiliar intensity of life. It is not a state of rapture with the bottomless blue world beneath one’s feet…it is some complicated mix of these emotions, together with the constant proximity of real terror.

When we think back on our past sensations and feelings, our thought is a faithful mirror that copies its objects truly; but it does so in colours that are fainter and more washed-out than those in which our original perceptions were clothed.

The Ego, as noted, is simply the content of your PSM [Phenomenal Self Model] at this moment (your bodily sensations, your emotional state, your perceptions, memories, acts of will, thoughts). But it can become the Ego only because you are constitutionally unable to realize that all this is just the content of a simulation in your brain. It is not reality itself but an image of reality - and a very special one indeed. The Ego is a transparent mental image: You - the physical person as a whole - look right through it. You do not see it. You see with it. The Ego is a tool for controlling and planning your behavior and for understanding the behavior of others

A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having for its object an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with in definite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music without the idea is simply music; the idea without the music is prose from its very definitiveness.

Ingenious philosophers tell you, perhaps, that the great work of the steam-engine is to create leisure for mankind. Do not believe them: it only creates a vacuum for eager thought to rush in. Even idleness is eager now—eager for amusement; prone to excursion-trains, art museums, periodical literature, and exciting novels; prone even to scientific theorizing and cursory peeps through microscopes. Old Leisure was quite a different personage. He only read one newspaper, innocent of leaders, and was free from that periodicity of sensations which we call post-time. He was a contemplative, rather stout gentleman, of excellent digestion; of quiet perceptions, undiseased by hypothesis; happy in his inability to know the causes of things, preferring the things themselves. He lived chiefly in the country, among pleasant seats and homesteads, and was fond of sauntering by the fruit-tree wall and scenting the apricots when they were warmed by the morning sunshine, or of sheltering himself under the orchard boughs at noon, when the summer pears were falling. He knew nothing of weekday services, and thought none the worse of the Sunday sermon if it allowed him to sleep from the text to the blessing; liking the afternoon service best, because the prayers were the shortest, and not ashamed to say so; for he had an easy, jolly conscience, broad-backed like himself, and able to carry a great deal of beer or port-wine, not being made squeamish by doubts and qualms and lofty aspirations.

It is important to understand that sense perceptions, bodily sensations, practical thoughts, creative thoughts, and thoughts about the truth are impersonal. They are not a problem.

By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.

Several themes describe misconceptions about mental illness and corresponding stigmatizing attitudes. Media analyses of film and print have identified three: people with mental illness are homicidal maniacs who need to be feared; they have childlike perceptions of the world that should be marveled; or they are responsible for their illness because they have weak character (29-32)." World Psychiatry. 2002 Feb; 1(1): 16–20. PMCID: PMC1489832 Understanding the impact of stigma on people with mental illness PATRICK W CORRIGAN and AMY C WATSON

Sensation is unorganized stimulus, perception is organized sensation, conception is organized perception, science is organized knowledge, wisdom is organized life: each is a greater degree of order, and sequence, and unity.

when the Indian sage Atmananda Krishna Menon was asked how to know when one is established in one’s true nature, he is said to have replied, ‘When thoughts, feelings, sensations and perceptions can no longer take you away’.

To persons standing alone on a hill during a clear midnight such as this, the roll of the world eastward is almost a palpable movement. The sensation may be caused by the panoramic glide of the stars past earthly objects, which is perceptible in a few minutes of stillness, or by the better outlook upon space that a hill affords, or by the wind, or by the solitude; but whatever be its origin, the impression of riding along is vivid and abiding.

Sadhana Look around. Among your family, coworkers, and friends, can you see how everyone has different levels of perception? Just observe this closely. If you know a few people who seem to have a greater clarity of perception than others, watch how they conduct their body. They often have a certain poise without practice. But just a little practice can make an enormous difference. If you sit for just a few hours a day with your spine erect, you will see that it will have an unmistakable effect on your life. You will now begin to understand what I mean by the geometry of your existence. Just the way you hold your body determines almost everything about you. Another way of listening to life is paying attention to it experientially, not intellectually or emotionally. Choose any one thing about yourself: your breath, your heartbeat, your pulse, your little finger. Just pay attention to it for eleven minutes at a time. Do this at least three times a day. Keep your attention on any sensation, but feel free to continue doing whatever you are doing. If you lose attention, it doesn’t matter. Simply refocus your attention. This practice will allow you to move from mental alertness to awareness. You will find the quality of your life experience will begin to change.

Just as the world of appearances can never become a moral problem for the man who merely senses it, the world of inner images is never a moral problem for the intuitive. For both of them it is an aesthetic problem, a matter of perception, a "sensation.

If you summarily rule out any single sensation and do not make a distinction between the element of belief that is superimposed on a percept that awaits verification and what is actually present in sensation or in the feelings or some percept of the mind itself, you will cast doubt on all other sensations by your unfounded interpretation and consequently abandon all the criteria of truth. On the other hand, in cases of interpreted data, if you accept as true those that need verification as well as those that do not, you will still be in error, since the whole question at issue in every judgment of what is true or not true will be left intact.

Wild eyes were another sign. It is something I have seldom seen — the expression of an ecstatic state — though much is foolishly written of them, as if they grew like Jerusalem artichokes along the road. The eyes are black, right enough, whatever their normal color is; they are black because their perception is condensed to a coal, because the touch and taste and perfume of the lover, the outcry of a dirty word, a welcome river, have been reduced in the heat of passion to a black ash, and this unburnt residue of oxidation, this calyx, replaces the pupil so it no longer receives but sends, and every hair is on end, though perhaps only outspread on a pillow, and the nostrils are flared, mouth agape, cheeks sucked so the whole face seems as squeezed as a juiced fruit; I know, for once Lou went into that wildness while we were absorbing one another, trying to kiss, not merely forcefully, not the skull of our skeleton, but the skull and all the bones on which the essential self is hung, kiss so the shape of the soul is stirred too, that's what is called the ultimate French, the furtherest fuck, when a cock makes a concept cry out and climax; I know, for more than once, though not often, I shuddered into that other region, when a mouth drew me through its generosity into the realm of unravel, and every sensation lay extended as a lake, every tie was loosed, and the glue of things dissolved. I knew I wore the wild look then. The greatest gift you can give another human being is to let them warm you till, in passing beyond pleasure, your defenses fall, your ego surrenders, its structure melts, its towers topple, lies, fancies, vanities, blow away in no wind, and you return, not to the clay you came from — the unfired vessel — but to the original moment of inspiration, when you were the unabbreviated breath of God.

If I wanted to express perceptual experience with precision, I would have to say that one perceives in me, and not that I perceive. Every sensation includes a seed of dream or depersonalization, as we experience through this sort of stupor into which it puts us when we truly live at the level of sensation.

He was surprised to find this young woman—who though but a milkmaid had just that touch of rarity about her which might make her the envied of her housemates—shaping such sad imaginings. She was expressing in her own native phrases—assisted a little by her Sixth Standard training—feelings which might almost have been called those of the age—the ache of modernism. The perception arrested him less when he reflected that what are called advanced ideas are really in great part but the latest fashion in definition—a more accurate expression, by words in logy and ism, of sensations which men and women have vaguely grasped for centuries.

I realized the universe had consumed my whole entity with its divine sensation of eternal bliss. All I could consciously perceive in that state of mind was absolute oneness. I felt being one with the banyan tree, under which I was sitting. I felt one with the corns in the field. I felt one with the sky and the clouds in it. As if everything was me, and I was everything. I didn’t have any perception of time or space. All that there was, was an all- pervading eternity – a state of non-dualism.

I have therefore defined sensation as perception through conscious sensory processes, and intuition as perception by way of unconscious contents and connections.

Sophia’s case sheds light on CFS because there were changes in her dorsal ganglia – the gatekeepers to sensation in the brain – and we know that fatigue depends on sensory perception.

As I train myself to cast off words, as I learn to erase word-thoughts, I begin to feel a new world rising up around me, The old world of houses, rooms, trees and streets shimmers, wavers and tears away, revealing another universe as startling as fire. We are shut off from the fullness of things. Words hide the world. They blur together elements that exist apart, or they break elements into pieces bind up the world, contract it into hard little pellets of perception. But the unbound world, the world behind the world – how fluid it is, how lovely and dangerous. At rare moments of clarity, I succeed in breaking through. Then I see. I see a place where nothing is known, because nothing is shaped in advance by words. There, nothing is hidden from me. There, every object presents itself entirely, with all its being. It's as if, looking at a house, you were able to see all four sides and both roof slopes. But then, there's no “house,” no “object,” no form that stops at a boundary, only a stream of manifold, precise, and nameless sensations, shifting into one another, pullulating, a fullness, a flow. Stripped of words, untamed, the universe pours in on me from every direction. I become what I see. I am earth, I am air. I am all. My eyes are suns. My hair streams among the galaxies.

the only prospect which is really desirable or delightful, is that from the window of the breakfast-room [...] where we meet the first light of the dewy day, the first breath of the morning air, the first glance of gentle eyes; to which we descend in the very spring and elasticity of mental renovation and bodily energy, in the gathering up of our spirit for the new day, in the flush of our awakening from the darkness and the mystery of faint and inactive dreaming, in the resurrection from our daily grave, in the first tremulous sensation of the beauty of our being, in the most glorious perception of the lightning of our life; there, indeed, our expatiation of spirit, when it meets the pulse of outward sound and joy, the voice of bird and breeze and billow, does demand some power of liberty, some space for its going forth into the morning, some freedom of intercourse with the lovely and limitless energy of creature and creation.

And yet from what is to what could be you cross a bridge that takes you, no more, no less, from Hell to Paradise. And more bizarre: a Paradise composed of the exact same material as Hell. The only difference is our perception of the material’s arrangement – more easily understood by imagining it applied to ethical and emotional architectures – yet it’s enough to pinpoint the immeasurable difference. If the reality created by people whose half-mast emotions and sensations disallow, now and perhaps forever, the other architecture or, in other words, the revolutionary re-synthesis, then, to my thinking, only the spirit is free and able to take it on.

Having proven that solitary pleasures are as delicious as any others and much more likely to delight, it becomes perfectly clear that this enjoyment, taken in independence of the objectwe employ, is not merely of a nature very remote from what could be pleasurable to thatobject, but is even found to be inimical to that object’s pleasure: what is more, it may becomean imposed suffering, a vexation, or a torture, and the only thing that results from this abuse isa very certain increase of pleasure for the despot who does the tormenting or vexing; let usattempt to demonstrate this.”Voluptuous emotion is nothing but a kind of vibration produced in our soul by shockswhich the imagination, inflamed by the remembrance of a lubricious object, registers uponour senses, either through this object’s presence, or better still by this object’s being exposedto that particular kind of irritation which most profoundly stirs us; thus, our voluptuoustransport Ä this indescribable convulsive needling which drives us wild, which lifts us to thehighest pitch of happiness at which man is able to arrive Ä is never ignited save by twocauses: either by the perception in the object we use of a real or imaginary beauty, the beautyin which we delight the most, or by the sight of that object undergoing the strongest possiblesensation; now, there is no more lively sensation than that of pain; its impressions are certainand dependable, they never deceive as may those of the pleasure women perpetually feign andalmost never experience; and, furthermore, how much self-confidence, youth, vigor, healthare not needed in order to be sure of producing this dubious and hardly very satisfyingimpression of pleasure in a woman. To produce the painful impression, on the contrary,requires no virtues at all: the more defects a man may have, the older he is, the less lovable,the more resounding his success. With what regards the objective, it will be far more certainlyattained since we are establishing the fact that one never better touches, I wish to say, that onenever better irritates one’s senses than when the greatest possible impression has been produced in the employed object, by no matter what devices; therefore, he who will cause themost tumultuous impression to be born in a woman, he who will most thoroughly convulsethis woman’s entire frame, very decidedly will have managed to procure himself the heaviest possible dose of voluptuousness, because the shock resultant upon us by the impressionsothers experience, which shock in turn is necessitated by the impression we have of thoseothers, will necessarily be more vigorous if the impression these others receive be painful,than if the impression they receive be sweet and mild; and it follows that the voluptuousegoist, who is persuaded his pleasures will be keen only insofar as they are entire, willtherefore impose, when he has it in his power to do so, the strongest possible dose of painupon the employed object, fully certain that what by way of voluptuous pleasure he extractswill be his only by dint of the very lively impression he has produced.

the job of the brain is to constantly monitor and evaluate what is going on within and around us. These evaluations are transmitted by chemical messages in the bloodstream and electrical messages in our nerves, causing subtle or dramatic changes throughout the body and brain. These shifts usually occur entirely without conscious input or awareness: The subcortical regions of the brain are astoundingly efficient in regulating our breathing, heartbeat, digestion, hormone secretion, and immune system. However, these systems can become overwhelmed if we are challenged by an ongoing threat, or even the perception of threat. This accounts for the wide array of physical problems researchers have documented in traumatized people. Yet our conscious self also plays a vital role in maintaining our inner equilibrium: We need to register and act on our physical sensations to keep our bodies safe.

The passions, then, can be defined as ‘perceptions, or sensations, or emotions of the soul that we refer (rapportons) particularly to the soul itself, and that are caused, sustained, and fortified by some movement of the spirits’ (§27).

Suddenly, with a roar like that of a waterfall, I felt a stream of liquid light entering my brain through the spinal cord. Entirely unprepared for such a development, I was completely taken by surprise; but regaining my self control instantaneously, I remained sitting in the same posture, keeping my mind on the point of concentration. The illumination grew brighter and brighter, the roaring louder, I experienced a rocking sensation and then felt myself slipping out of my body, entirely enveloped in a halo of light. It is impossible to describe the experience accurately. I felt the point of consciousness that was myself growing wider surrounded by waves of light. It grew wider and wider, spreading outward while the body, normally the immediate object of its perception, appeared to have receded into the distance until I became entirely unconscious of it. I was now all consciousness without any outline, without any idea of corporeal appendage, without any feeling or sensation coming from the senses, immersed in a sea of light simultaneously conscious and aware at every point, spread out, as it were, in all directions without any barrier or material obstruction. I was no longer myself, or to be more accurate, no longer as I knew myself to be, a small point of awareness confined to a body, but instead was a vast circle of consciousness in which the body was but a point, bathed in light and in a state of exultation and happiness impossible to describe.

Spirited children experience every emotion and sensation deeply and powerfully. Their hearts pound; the adrenaline flows through their bodies. There is actually a physical reaction that occurs more strongly in their bodies than in less intense individuals. They are not loud because they know it irritates people; they are loud because they really feel that much excitement, pain, or whatever the emotion or sensation might be. Their intensity is real. It is their first and most natural reaction.

The moment after, I began to respire 20 quarts of unmingled nitrous oxide. A thrilling, extending from the chest to the extremities, was almost immediately produced. I felt a sense of tangible extension highly pleasurable in every limb; my visible impressions were dazzling, and apparently magnified, I heard distinctly every sound in the room and was perfectly aware of my situation. By degrees, as the pleasurable sensations increased, I last all connection with external things; trains of vivid visible images rapidly passed through my mind, and were connected with words in such a manner, as to produce perceptions perfectly novel. I existed in a world of newly connected and newly modified ideas. I theorised—I imagined that I made discoveries. When I was awakened from this semi-delirious trance by Dr. Kinglake, who took the bag from my mouth, indignation and pride were the first feelings produced by the sight of the persons about me. My emotions were enthusiastic and sublime; and for a minute I walked round the room, perfectly regardless of what was said to me. As I recovered my former state of mind, I felt an inclination to communicate the discoveries I had made during the experiment. I endeavoured to recall the ideas, they were feeble and indistinct; one collection of terms, however, presented itself: and with the most intense belief and prophetic manner, I exclaimed to Dr Kinglake, 'Nothing exists but thoughts!—the universe is composed of impressions, ideas, pleasures and pains!

In 2008, Lawrence Williams and John Bargh conducted a study where they had people meet strangers. One group held a cup of warm coffee, and the other group held iced coffee. Later, when asked to rate the stranger’s personality, the people who held the warm coffee said they found the stranger to be nice, generous, and caring. The other group said the same person was difficult, standoffish, hard to talk to. In another round of research subjects held either a heating pad or a cold pack and then were asked to look at various products and judge their overall quality. Once they had done this, the experimenters told them they could choose a gift to keep for participating or they could give the gift to someone else. Those who held the heating pad chose to give away their reward 54 percent of the time, but only 25 percent of the cold pack group shared. The groups had turned their physical sensations into words, and then used those words as metaphors to explain their perceptions or predict their own actions.

Awareness In most of our daily activities we choose the agenda and develop a strategy to achieve the goal at hand. We create the program. Awareness moves differently. The program is happening around us. The world is the doer and we are the witness. We have little or no control over the content. The gift of awareness allows us to notice what’s going on around and inside ourselves in the present moment. And to do so without attachment or involvement. We may observe bodily sensations, passing thoughts and feelings, sounds or visual cues, smells and tastes. Through detached noticing, awareness allows an observed flower to reveal more of itself without our intervention. This is true of all things. Awareness is not a state you force. There is little effort involved, though persistence is key. It’s something you actively allow to happen. It is a presence with, and acceptance of, what is happening in the eternal now. As soon as you label an aspect of Source, you’re no longer noticing, you’re studying. This holds true of any thought that takes you out of presence with the object of your awareness, whether analysis or simply becoming aware that you’re aware. Analysis is a secondary function. The awareness happens first as a pure connection with the object of your attention. If something strikes me as interesting or beautiful, first I live that experience. Only afterward might I attempt to understand it. Though we can’t change what it is that we are noticing, we can change our ability to notice. We can expand our awareness and narrow it, experience it with our eyes open or closed. We can quiet our inside so we can perceive more on the outside, or quiet the outside so we can notice more of what’s happening inside. We can zoom in on something so closely it loses the features that make it what it appears to be, or zoom so far out it seems like something entirely new. The universe is only as large as our perception of it. When we cultivate our awareness, we are expanding the universe. This expands the scope, not just of the material at our disposal to create from, but of the life we get to live.

THE FOUR STEPS Step 1: Relabel—Identify your deceptive brain messages and the uncomfortable sensations; call them what they really are.   Step 2: Reframe—Change your perception of the importance of the deceptive brain messages; say why these thoughts, urges, and impulses keep bothering you: They are false brain messages (It’s not ME, it’s just my BRAIN!).   Step 3: Refocus—Direct your attention toward an activity or mental process that is wholesome and productive—even while the false and deceptive urges, thoughts, impulses, and sensations are still present and bothering you.   Step 4: Revalue—Clearly see the thoughts, urges, and impulses for what they are, simply sensations caused by deceptive brain messages that are not true and that have little to no value (they are something to dismiss, not focus on).

It is among men of genius and science that Atheism alone is found, but among these alone is cherished an hostility to those errors, with which the illiterate and vulgar are infected. How small is the proportion of whose who really believe in God, to the thousands who are prevented by their occupations from ever bestowing a serious thought upon the subject, and the millions who worship butterflies, bones, feathers, monkeys, calabashes and serpents. The word God, like other abstractions, signifies the agreement of certain propositions, rather than the presence of any idea. If we found our belief in the existence of God on the universal consent of mankind, we are duped by the most palpable of sophisms. The word God cannot mean at the same time an ape, a snake, a bone, a calabash, a Trinity, and a Unity. Nor can that belief be accounted universal against which men of powerful intellect and spotless virtue have in every age protested. . . . Intelligence is that attribute of the Deity, which you hold to be most apparent in the Universe. Intelligence is only known to us as a mode of animal being. We cannot conceive intelligence distinct from sensation and perception, which are attributes to organized bodies. To assert that God is intelligent, is to assert that he has ideas; and Locke has proved that ideas result from sensation. Sensation can exist only in an organized body, an organized body is necessarily limited both in extent and operation. The God of the rational Theosophist is a vast and wise animal. . . . Thus, from the principles of that reason to which you so rashly appealed as the ultimate arbiter of our dispute, have I shewn that the popular arguments in favor of the being of God are totally destitute of colour. I have shewn the absurdity of attributing intelligence to the cause of those effects that we perceive in the Universe, and the fallacy that lurks in the argument from design. I have shewn that order is no more than a peculiar manner of contemplating the operation of necessary agents, that mind is the effect, not the cause of motion, that power is the attribute, not the origin of Being. I have proved that we can have no evidence of the existence of a God from the principles of reason.

[O]ur percept is an elaborate computer model in the brain, constructed on the basis of information coming from [the environment], but transformed in the head into a form in which that information can be used. Wavelength differences in the light out there become coded as 'colour' differences in the computer model in the head. Shape and other attributes are encoded in the same kind of way, encoded into a form that is convenient to handle. The sensation of seeing is, for us, very different from the sensation of hearing, but this cannot be directly due to the physical differences between light and sound. Both light and sound are, after all, translated by the respective sense organs into the same kind of nerve impulses. It is impossible to tell, from the physical attributes of a nerve impulse, whether it is conveying information about light, about sound or about smell. The reason the sensation of seeing is so different from the sensation of hearing and the sensation of smelling is that the brain finds it convenient to use different kinds of internal model of the visual world, the world of sound and the world of smell. It is because we internally use our visual information and our sound information in different ways and for different purposes that the sensations of seeing and hearing are so different. It is not directly because of the physical differences between light and sound.

We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves.

Sensation is unorganized stimulus, perception is organized sensation, conception is organized perception, science is organized knowledge, wisdom is organized life: each is a greater degree of order, and sequence, and unity. Whence this order, this sequence, this unity? Not from the things themselves; for they are known to us only by sensation that come through a thousand channels at once in disorderly multitude; it is our purpose that put order and sequence and unity upon this importunate lawlessness; it is ourselves, our personalities, our minds, that bring light upon these seas.

Normal persons deprived of sensation progress from having mild to severe hallucinations, starting out with what looks very much like form constants (geometric patterns, mosaics, lines, rows of dots) and building to more developed, dream-like juxtapositions of perceptions the longer they remain in isolation.

The age of clear answers was over. So was the age of characters and plots. Despite her journal sketches, she no longer really believed in characters. They were quiant devices that belonged to the nineteenth century. The very concept of character was founded on errors that modern psychology had exposed. Plots too were like rusted machinery whose wheels would no longer turn. A modern novelist could no more write characters and plots than a modern composer could a Mozart symphony. It was thought, perception, sensations that interested her, the conscious mind as a river through time, and how to represent its onward roll, as well as the tributaries that would swell it, and the obstacles that would divert it. If only she could reproduce the clear light of a summer's morning, the sensations of a child standing at a window, the curve and dip of a swallow's flight over a pool of water. The novel of the future would be unlike anything in the past.

To recognize the nature of nihilism, we see feces and death as the "dark side" of the mouth, and through that recognize life beyond the human perspective. Humans fear things that disturb them personally, and then assign to those things a universal status, like a monkey trying to convince a tribe that his enemy is its enemy. Escaping this is the essence of nihilism, or a reduction of all value except the inherent and holistic. "Disgusting" is not important; the function of the world and the human body is. Function, measures in real-world changes and results, is more important than sensations or moral judgements,feelings and emotions.

The function of consciousness is to represent information about what is happening outside and inside the organism in such a way that it can be evaluated and acted upon by the body. In this sense, it functions as a clearinghouse for sensations, perceptions, feelings, and ideas, establishing priorities among all the diverse information. Without consciousness we would still “know” what is going on, but we would have to react to it in a reflexive, instinctive way. With consciousness, we can deliberately weigh what the senses tell us, and respond accordingly. And we can also invent information that did not exist before: it is because we have consciousness that we can daydream, make up lies, and write beautiful poems and scientific theories.

physician and viral researcher Frank Ryan comments . . . Viruses have a kind of sensation that could be classed as intermediate between a rudimentary smell or touch . . . they have a way of detecting the chemical composition of cell surfaces. . . . This gives a virus the most exquisite ability to sense the right cell surfaces. It recognizes them through a perception in three-dimensional surface chemistry.1

By the time you regain consciousness, the thawing process has already run most of its course. The flashes and images become brighter and more perceptible. You have a sort of falling sensation, during which you become aware of your body. Painfully aware. When you open your eyes, you’ve got a splitting headache and a nauseous stomach. Every time you move, another muscle cramps up on you. If you aren’t careful, you empty your bowels right there in the chamber. The glass hisses open, the chamber tilts up to a forty five degree angle, and your limp body slides down the cold metal back until you find yourself sitting on your ankles. Your breath feels like fire in your lungs, and even though steam envelopes your body from all sides, you feel deathly cold. Too weak to stand up, you fall forward onto your hands and knees instead.

Not only could he share the memories, and control them, he could keep the link intact as their thoughts moved through time from the past to the present. The men of his clan enjoyed a richer, fuller ceremonial interrelationship than any other clan. But with the trained minds of the mog-urs, he could make the telepathic link from the beginning. Through him, all the mog-urs shared a union far closer and more satisfying than any physical one—it was a touching of spirits. The white liquid from Iza’s bowl that had heightened the perceptions and opened the minds of the magicians to The Mog-ur, had allowed his special ability to create a symbiosis with Ayla’s mind as well. The traumatic birth that damaged the brain of the disfigured man had impaired only a portion of his physical abilities, not the sensitive psychic overdevelopment that enabled his great power. But the crippled man was the ultimate end-product of his kind. Only in him had nature taken the course set for the Clan to its fullest extreme. There could be no further development without radical change, and their characteristics were no longer adaptable. Like the huge creature they venerated, and many others that shared their environment, they were incapable of surviving radical change. The race of men with social conscience enough to care for their weak and wounded, with spiritual awareness enough to bury their dead and venerate their great totem, the race of men with great brains but no frontal lobes, who made no great strides forward, who made almost no progress in nearly a hundred thousand years, was doomed to go the way of the woolly mammoth and the great cave bear. They didn’t know it, but their days on earth were numbered, they were doomed to extinction. In Creb, they had reached the end of their line. Ayla felt a sensation akin to the deep pulsing of a foreign bloodstream superimposed on her own. The powerful mind of the great magician was exploring her alien convolutions, trying to find a way to mesh. The fit was imperfect, but he found channels of similarity, and where none existed, he groped for alternatives and made connections where there were only tendencies. With startling clarity, she suddenly comprehended that it was he who had brought her out of the void; but more, he was keeping the other mog-urs, also linked with him, from knowing she was there. She could just barely sense his connection with them, but she could not sense them at all. They, too, knew he had made a connection with someone—or something—else, but never dreamed it was Ayla.

The organopsychedelic muscimole, an isoxazole-alkaloid derived from Amanita muscaria, a.k.a. the fly agaric mushroom—by no means, Michael Pemulis emphasizes, to be confused with phalloides or verna or certain other kill-you-dead species of North America’s Amanita genus, as the little kids sit there Indian-style on the Viewing Room floor, glassy-eyed and trying not to yawn—goes by the structural moniker 5-aminomethyl-3-isoxazolol, requires about like maybe ten to twenty oral mg. per ingestion, making it two to three times as potent as psilocybin, and frequently results in the following alterations in consciousness (not reading or referring to notes in any way): a kind of semi-sleep-like trance with visions, elation, sensations of physical lightness and increased strength, heightened sensual perceptions, synesthesia, and favorable distortions in body-image.

When we think, it is in order to judge or to reach a conclusion, and when we feel it is in order to attach a proper value to something; sensation and intuition, on the other hand, are perceptive—they make us aware of what is happening, but do not interpret or evaluate it. They do not act selectively according to principles, but are simply receptive of what happens. But "what happens" is merely nature, and therefore essentially non-rational.

is easy to recall from everyday experience that neither electricity nor magnetism have visual properties. So, on its own, it’s not hard to grasp that there is nothing inherently visual, nothing bright or colored about that candle flame. Now let these same invisible electromagnetic waves strike a human retina, and if (and only if) the waves each happen to measure between 400 and 700 nanometers in length from crest to crest, then their energy is just right to deliver a stimulus to the 8 million cone-shaped cells in the retina. Each in turn sends an electrical pulse to a neighbor neuron, and on up the line this goes, at 250 mph, until it reaches the warm, wet occipital lobe of the brain, in the back of the head. There, a cascading complex of neurons fire from the incoming stimuli, and we subjectively perceive this experience as a yellow brightness occurring in a place we have been conditioned to call “the external world.” Other creatures receiving the identical stimulus will experience something altogether different, such as a perception of gray, or even have an entirely dissimilar sensation. The point is, there isn’t a “bright yellow” light “out there” at all. At most, there is an invisible stream of electrical and magnetic pulses. We are totally necessary for the experience of what we’d call a yellow flame. Again, it’s correlative.

It is only when the Understanding begins to act, a function, not of single, delicate nerve-extremities, but of that mysterious, complicated structure weighing from five to ten pounds, called the brain only when it begins to apply its sole form, the causal law, that a powerful transformation takes place, by which subjective sensation becomes objective perception. For, in virtue of its own peculiar form, therefore a priori, i.e. before all experience.

The ego is continuously, zealously, in search of the world. Compelled to navigate among beacons emitting conflicting and fragmentary signals and exposed to internal pressures of its own, it seeks to extract as much information from its sensations and perceptions as it can. It works to ward off dangers and to repeat pleasures. It organizes, with impressive efficiency, the individual's capacities for response and his encounters with men and things. It reasons, calculates, remembers, compares, thus equipping men to grope their way toward the future. Its appraisals are never beyond suspicion; they are bound to be distorted by conflicts and compromised by traumas. Thus the outside world never really enters the mind unscathed; the impressions with which the individual must work are so many mental representations of the real thing. But the ego, obeying its appetite for experience, bravely continues to determine what is and more difficult, what can be.

Few men realise that their life, the very essence of their character, their capabilities and their audacities, are only the expression of their belief in the safety of their surroundings. The courage, the composure, the confidence; the emotions and principles; every great and every insignificant thought belongs not to the individual but to the crowd: to the crowd that believes blindly in the irresistible force of its institutions and of its morals in the power of its police and of its opinion. But the contact with pure unmitigated savagery, with primitive nature and primitive man, brings sudden and profound trouble into the heart. To the sentiment of being alone of one's kind, to the clear perception of the loneliness of one's thoughts, of one's sensations - to the negation of the habitual, which is safe, there is added the affirmation of the unusual, which is dangerous; a suggestion of things vague, uncontrollable, and repulsive, whose discomposing intrusion excites the imagination and tries the civilised nerves of the foolish and the wise alike.

But the greatest human problems are not social problems, but decisions that the individual has to make alone. The most important feelings of which man is capable emphasise his separateness from other people, not his kinship with them. The feelings of a mountaineer towards a mountain emphasise his kinship with the mountain rather than with the rest of mankind. The same goes for the leap of the heart experienced by a sailor when he smells the sea, or for the astronomer’s feeling about the stars, or for the archaeologist’s love of the past. My feeling of love for my fellowmen makes me aware of my humanness; but my feeling about a mountain gives me an oddly nonhuman sensation. It would be incorrect, perhaps, to call it ‘superhuman’; but it nevertheless gives me a sense of transcending my everyday humanity. Maslow’s importance is that he has placed these experiences of ‘transcendence’ at the centre of his psychology. He sees them as the compass by which man gains a sense of the magnetic north of his existence. They bring a glimpse of ‘the source of power, meaning and purpose’ inside himself. This can be seen with great clarity in the matter of the cure of alcoholics. Alcoholism arises from what I have called ‘generalised hypertension’, a feeling of strain or anxiety about practically everything. It might be described as a ‘passively negative’ attitude towards existence. The negativity prevents proper relaxation; there is a perpetual excess of adrenalin in the bloodstream. Alcohol may produce the necessary relaxation, switch off the anxiety, allow one to feel like a real human being instead of a bundle of over-tense nerves. Recurrence of the hypertension makes the alcoholic remedy a habit, but the disadvantages soon begin to outweigh the advantage: hangovers, headaches, fatigue, guilt, general inefficiency. And, above all, passivity. The alcoholics are given mescalin or LSD, and then peak experiences are induced by means of music or poetry or colours blending on a screen. They are suddenly gripped and shaken by a sense of meaning, of just how incredibly interesting life can be for the undefeated. They also become aware of the vicious circle involved in alcoholism: misery and passivity leading to a general running-down of the vital powers, and to the lower levels of perception that are the outcome of fatigue. ‘The spirit world shuts not its gates, Your heart is dead, your senses sleep,’ says the Earth Spirit to Faust. And the senses sleep when there is not enough energy to run them efficiently. On the other hand, when the level of will and determination is high, the senses wake up. (Maslow was not particularly literary, or he might have been amused to think that Faust is suffering from exactly the same problem as the girl in the chewing gum factory (described earlier), and that he had, incidentally, solved a problem that had troubled European culture for nearly two centuries). Peak experiences are a by-product of this higher energy-drive. The alcoholic drinks because he is seeking peak experiences; (the same, of course, goes for all addicts, whether of drugs or tobacco.) In fact, he is moving away from them, like a lost traveller walking away from the inn in which he hopes to spend the night. The moment he sees with clarity what he needs to do to regain the peak experience, he does an about-face and ceases to be an alcoholic.

Just as the sacrament not only symbolizes, in sensible species, an operation of Grace, but is also the real presence of God, which it causes to occupy a fragment of space and communicates to those who eat of the consecrated bread, provided that they are inwardly prepared, in the same way the sensible has not only a motor and vital significance, but is nothing other than a certain way of being in the world suggested to us from some point in space, and seized and acted upon by our body, provided that it is capable of doing so, so that sensation is literally a form of communion.

After all, across the population there are slight differences in brain function, and sometimes these translate directly into different ways of experiencing the world. And each individual believes his way is reality. To get a sense of this, imagine a world of magenta Tuesdays, tastes that have shapes, and wavy green symphonies. One in a hundred otherwise normal people experience the world this way, because of a condition called synesthesia (meaning “joined sensation”).5 In synesthetes, stimulation of a sense triggers an anomalous sensory experience: one may hear colors, taste shapes, or systematically experience other sensory blendings. For example, a voice or music may not only be heard but also seen, tasted, or felt as a touch. Synesthesia is a fusion of different sensory perceptions: the feel of sandpaper might evoke an F-sharp, the taste of chicken might be accompanied by a feeling of pinpoints on the fingertips, or a symphony might be experienced in blues and golds. Synesthetes are so accustomed to the effects that they are surprised to find that others do not share their experiences. These synesthetic experiences are not abnormal in any pathological sense; they are simply unusual in a statistical sense.

One must indeed be forsaken by all the gods, to imagine that the outer, perceptible world, filling Space in its three dimensions and moving on in the inexorable flow of Time governed at every step by the laws of Causality, which is without exception, and in all this merely obeying laws we can indicate before all experience of them that such a world as this, we say, can have a real, objective existence outside us, without any agency of our own, and that it can then have found its way into our heads through bare sensation and thus have a second existence within us like the one outside. For what a miserably poor thing is mere sensation, after all!

Astarte has come again, more powerful than before. She possesses me. She lies in wait for me. December 97 My cruelty has also returned: the cruelty which frightens me. It lies dormant for months, for years, and then all at once awakens, bursts forth and - once the crisis is over - leaves me in mortal terror of myself. Just now in the avenue of the Bois, I whipped my dog till he bled, and for nothing - for not coming immediately when I called! The poor animal was there before me, his spine arched, cowering close to the ground, with his great, almost human, eyes fixed on me... and his lamentable howling! It was as though he were waiting for the butcher! But it was as if a kind of drunkenness had possessed me. The more I struck out the more I wanted to strike; every shudder of that quivering flesh filled me with some incomprehensible ardour. A circle of onlookers formed around me, and I only stopped myself for the sake of my self-respect. Afterwards, I was ashamed. I am always ashamed of myself nowadays. The pulse of life has always filled me with a peculiar rage to destroy. When I think of two beings in love, I experience an agonising sensation; by virtue of some bizarre backlash, there is something which smothers and oppresses me, and I suffocate, to the point of anguish. Whenever I wake up in the middle of the night to the muted hubbub of bumps and voices which suddenly become perceptible in the dormant city - all the cries of sexual excitement and sensuality which are the nocturnal respiration of cities - I feel weak. They rise up around me, submerging me in a sluggish flux of embraces and a tide of spasms. A crushing weight presses down on my chest; a cold sweat breaks out on my brow and my heart is heavy - so heavy that I have to get up, run bare-foot and breathless, to my window, and open both shutters, trying desperately to breathe. What an atrocious sensation it is! It is as if two arms of steel bear down upon my shoulders and a kind of hunger hollows out my stomach, tearing apart my whole being! A hunger to exterminate love. Oh, those nights! The long hours I have spent at my window, bent over the immobile trees of the square and the paving-stones of the deserted street, on watch in the silence of the city, starting at the least noise! The nights I have passed, my heart hammering in anguish, wretchedly and impatiently waiting for my torment to consent to leave me, and for my desire to fold up the heavy wings which beat inside the walls of my being like the wings of some great fluttering bird! Oh, my cruel and interminable nights of impotent rebellion against the rutting of Paris abed: those nights when I would have liked to embrace all the bodies, to suck in all the breaths and sup all the mouths... those nights which would find me, in the morning, prostrate on the carpet, scratching it still with inert and ineffectual fingers... fingers which never know anything but emptiness, whose nails are still taut with the passion of murder twenty-four hours after the crises... nails which I will one day end up plunging into the satined flesh of a neck, and... It is quite clear, you see, that I am possessed by a demon... a demon which doctors would treat with some bromide or with all-healing sal ammoniac! As if medicines could ever be imagined to be effective against such evil!

The business of an animal is not only to reproduce (which is common to all living things), but they all of them also participate in a kind of knowledge (some more, some less, some very little indeed), because they have sense-perception, which is a kind of knowledge. But the worth we assign it hinges on whether we look at it compared with intelligence or with the class of lifeless things. Compared with intelligence it seems like almost nothing to have a share of touch and taste alone, but compared with the absence of all sensation it appears a great thing. For even this form of knowledge would appear a precious thing compared with lying in a state of death or of nonexistence. —Aristotle, Generation of Animals

we live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. the martyrs go hand in hand into the arena; they are crucified alone. embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. by its very nature every embodied spirit is doomed to suffer and enjoy in solitude. sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. we can pool information about experiences, but never the experiences themselves. from family to nation, every human group is a society of island universes. most island universes are sufficiently like one another to permit of inferential understanding or even of mutual empathy or “feeling into”. thus, remembering our own bereavements and humiliations, we can condole with others in analogous circumstances, we can put ourselves (always, of course, in a slightly pickwickian sense) in their places. but in certain cases communication between universes is incomplete or even nonexistent. the mind is its own place, and the places inhabited by the insane and the exceptionally gifted are so different from the places where ordinary men and women live, that there is little or no common ground of memory to serve as a basis for understanding or fellow feeling. words to which the symbols refer belong to mutually exclusive realms of existence.

Hildebrand, too, challenged the ideals of scientific naturalism by an appeal to the psychology of perception: if we attempt to analyze our mental images to discover their primary constituents, we will find them composed of sense data derived from vision and from memories of touch and movement. A sphere, for instance, appears to the eye as a flat disk; it is touch which informs us of the properties of space and form. Any attempt on the part of the artist to eliminate this knowledge is futile, for without it he would not perceive the world at all. His task is, on the contrary, to compensate for the absence of movement in his work by clarifying his image and thus conveying not only visual sensations but also those memories of touch which enable us to reconstitute the three-dimensional form in our minds.

Essay on Lust Identity can’t be concise. It’s knit from sequins and lust and scatters. Mostly everyone was fucking the seven arts with a willed difficulty. Then for one day there was the collective sensation that we carried our lovely voices as if in baskets, piled up in clear tones like grapes. Each voice had achieved its particular mass. From an interior space we heard the word sequin repeating in relation to leaves and the image was yellow-gold leaves moving on dark water. We had undergone an influence of death which was itself imprinted on such a moving sequin: the breath sequins, the heartbeat sequins, the organs and their slowing articulation sequins which drifting from the foreground appear to dim since they gradually go out to illuminate some event so distant we will never own the moment of its perception. But all this gives the illusion of peacefulness which is inert or at least passive when breaths burst smashing into sobbed words some urgent errand trapped in these letters as labour of light diminishing rhythm and if we fiercely decide to clear the stupid human stuff stop waiting for something to come to the father-studded earth shouldn’t this impatience release itself as a tongue so new weeping stops. In young women enamoured of their own intensities the Latin element wells up and knits from lust the pelt on the wall that’s ocelot or shadepelt or the imagination of matter. Nothing’s frugal. As for us, we want to give the city what lust has never ceased to put together. Young women or other women carrying their lovely voices as if on platters, their ten voices or nine voices in urgent errand dictating the imagination of matter. It is not our purpose to obscure the song of no-knowledge.

In the forest of sensible objects that surrounds me, I find my way to becoming master of the chaos of the sensations assailing me only by separating objects from others, by giving them outline, dimensions, and form; in short, by creating unity in diversity and vividly and confidently designating these objects with the stamp of my inner sense, as if this were a seal of truth. Our whole life, then, is to a certain extent poetics: we do not see images but rather create them. The Divinity has sketched them for us on a great panel of light, from which we trace their outlines and paint the images in the soul using a finer brush than that of the rays of light. For the image that is projected on the retina of your eye is not the idea that you derive from its object; it is merely a product of your inner sense, a work of art created by your soul’s faculty of perception.

SHOHAKU OKUMURA: In chapter 30, Sawaki Roshi and Uchiyama Roshi talked about people who chase external things and lose sight of themselves. In this chapter they discuss how one’s own opinion is not valid. On the surface, these two are contradictory. How can we seek ourselves without having our own opinion? When the Buddha, Sawaki Roshi, and Uchiyama Roshi talk about “self” they don’t mean the image of ourselves created within the framework of separation between I as subject and others as objects. In Harischandra Kaviratna’s translation of the Dhammapada, the Buddha says, “The self is the master of the self. Who else can that master be? With the self fully subdued, one obtains the sublime refuge, which is very difficult to achieve.” Self is master of the self, but the self still needs to be subdued. In the Japanese translation of this verse, “subdued” is more like “harmonized” or “well tuned.” In Genjokoan, Dogen said, “To study the Buddha way is to study the self. To study the self is to forget the self.” To study the self, we need to forget the self. In these sayings, self is not a fixed, permanent entity separate from other beings. Self is our body and mind, that is, a collection of the five aggregates: form, sensation, perception, formation, and consciousness. These aggregates are always changing, but somehow we create a fixed self-image based on our past experiences and relations with others. We grasp this image as I. This I is an illusion, yet we measure everything based on the tunnel vision of this fictitious self. When we see fiction as fiction, illusion as illusion, they can be useful. Although no map is reality itself, when we know how a map was made, what its distortions are, and how to use it, the map can be a useful tool for understanding reality. However, if we don’t see a model’s limitations, we build our entire lives on a delusion.

A man shouldn’t claim to know even himself as he really is by knowing himself through inner sensation—i.e. by introspection. For since he doesn’t produce himself (so to speak) or get his concept of himself a priori but only empirically, it is natural that he gets his knowledge of himself through inner sense and consequently only through how his nature appears and how his consciousness is affected. But beyond the character of his own subject, which is made up out of these mere appearances, he necessarily assumes something else underlying it, namely his I as it is in itself. Thus in respect to mere perception and receptivity to sensations he must count himself as belonging to the sensible world; but in respect to whatever pure activity there may be in himself (which reaches his consciousness directly and not by affecting the inner or outer senses) he must count himself as belonging to the intellectual world—though he doesn’t know anything more about it.

Dougal lifted his spoon and slit it into his mouth. Immediately, a frozen look came over his face. Sophia tensed. He removed the spoon from his mouth. Sophia gripped her own spoon tighter. A slow red crept up his face, his eyes watering slightly. Ha! Mary's soup was working its magic. Pleased, Sophia pretended to eat some soup. Dougal slapped a hand on the table. The dishes and Sophia jumped. "What's wrong?" He pointed to his bowl with his spoon. "That." "The soup? Why, whatever's wrong with it?" "Nothing.That is the best soup I've ever had." Sophia blinked. Surely he hadn't just said- He dipped his spoon back into his bowl and took another large bite. Though his eyes watered and his face turned a deeper red, he continued to eat, murmuring, "Excellent!" every third bite or so. Sophia looked at her own soup, which reeked of garlic and pepper and onion. Mary had added a large amount of salt, as well. But watching MacLean eat with gusto made her question her perceptions. What if Mary's natural ability to cook had overcome her attempts to provide an inedible meal? Sophia dipped her spoon into herbowl and gingerly sniffed the contents, grimacing at the strong odor. Casting a puzzled look at MacLean, who was about finished with his soup, she put the spoon into her mouth. The burning sensation of pepper mingled with the rancid taste of uncooked garlic and what could only have been salted dishwater. She jerked the spoon from her mouth and grabbed her water goblet, pouring it into her mouth to wash down the horrid taste. Gasping, she glared with watery, accusing eyes at MacLean. He seemed not to have noticed anything, too busy scraping the bottom of his bowl, as if afraid some succulent tidbit might have escaped him. Finding nothing more, he placed his spoon on the table and sat back, wiping his mouth with his napkin. "That was the best soup I've ever been served. I believe I'll have more." "More? Are you...are you certain?" "I'm positive.

Arin watched the fire flare crimson. Then he went outside and surveyed the grounds, saw through leafless trees that no one was near. He could steal a few minutes. When he stepped back inside the forge, he leaned against the anvil. With one hand he pulled a book from its hiding place behind the kindling box, and in the other he held a hammer so that, if in danger of being caught, he could more quickly pretend to have been working. He began to read. It was a book he had seen in Kestrel’s possession, one on the history of the Valorian empire. He had taken it from the library after she had returned it, weeks ago. What would she say, if she saw him reading a book about his enemy, in his enemy’s tongue? What would she do? Arin knew this: her gaze would measure him, and he would sense a shift of perception within her. Her opinion of him would change as daylight changed, growing or losing shadow. Subtle. Almost indiscernible. She would see him differently, though he wouldn’t know in what way. He wouldn’t know what it meant. This had happened, again and again, since he had come here. Sometimes he wished he had never come here. Well. Kestrel couldn’t see him in the forge, or know what he read, because she couldn’t leave her rooms. She couldn’t even walk. Arin shut the book, gripped it between rigid fingers. He nearly threw it into the fire. I will have you torn limb from limb, the general had said. That wasn’t why Arin stayed away from her. Not really. He forced his thoughts from his head. He hid the book where it had been. He busied himself with quiet work, heating iron and charcoal in a crucible to produce steel. It took some time before Arin realized he was humming a dark tune. For once, he didn’t stop himself. The pressure of song was too strong, the need for distraction too great. Then he found that the music caged behind his closed teeth was the melody Kestrel had played for him months ago. He felt the sensation of it, low and alive, on his mouth. For a moment, he imagined it wasn’t the melody that touched his lips, but Kestrel. The thought stopped his breath, and the music, too.

Connection with the world is built in to every aspect of our being. […] We’re joined to the cosmos and the everyday world as described by science in countless ways: the elements composing our bodies are the products of the Big Bang and stellar evolution; most of our DNA is shared with other beings; our perceptions and sensations are all mediated by processes involving photons, electrons, ions, neurotransmitters and other entirely physical entities; and our character and behavior is fully a function of genetics and environment. We are, therefore, fully linked with our surroundings in time, space, matter/energy, and causality. In fact, no more intimate connection with the totality of what is could be imagined. So, from a naturalistic perspective, there is an empirically valid referent for the sense of cosmic consciousness encountered in spiritual experience. The feeling of unity generated by (actually, identical to) the quieting of the orientation mechanisms in the brain mirrors the objective state of our complete interconnection with the world.

Cannabis, the sensation that had reignited in America and helped bring hemp’s recreational usage back to prominence in a quiet, steady British counter-culture, had helped dispel much of the prejudice, entitlement and arrogance that had eluded the careful eye of Simon’s mother, undermining her care during the once-restlessly energetic yet gentle soul’s dedicated mothering of the studious boy. It took root in his thoughts and expectations. Bravado and projection replaced genuine yet understated confidence; much of that which had been endearing in him ceased to be seen, to his mother’s despondency. A bachelor of the arts, the blissfully apathetic raconteur left university, having renounced his faith and openly claiming to feel no connection, either socially or intellectually with the student life and further study. Personal failures and parental despair combined to sober the-21yr old frustrated essayist and tentative poet. Cannabis, ironically sought following the conclusion of his stimulant-fuelled student years, had finally levelled him out, and provided the introspection needed to dispel the lesser demons of his nature. Reefer Madness, such insanity – freely distributed for the mass-consumer audience of the west! Curiosity pushed the wealthy young man’s interest in the plant to an isolated purchase, and thence to regular use. Wracked by introspection, the young man struggled through several months of instability and self-doubt before readjusting his focus to chase goals. Once humorous, Reefer Madness no longer amused him, and he dedicated an entire afternoon to writing an ultimately unpublished critique of the film, that descended into an impassioned defence of the plant. He began to watch with keen interest, as the critically-panned debacle of sheer slapstick silliness successfully struck terror into the hearts of a large section of non-marijuana smoking people in the west. The dichotomy of his own understanding and perception only increased the profound sense of gratitude Simon felt for the directional change in which his life was heading. It helped him escape from earlier attachments to the advantage of his upbringing, and destroyed the arrogance that, he realised with shock, had served to cloud years of his judgement. Thus, positive energy led to forward momentum; the mental readjustment silenced doubts, which in turn brought peace, and hope.

in adults the anterior cingulate cortex activates when they see someone hurt. Ditto for the amygdala and insula, especially in instances of intentional harm—there is anger and disgust. PFC regions including the (emotional) vmPFC are on board. Observing physical pain (e.g., a finger being poked with a needle) produces a concrete, vicarious pattern: there is activation of the periaqueductal gray (PAG), a region central to your own pain perception, in parts of the sensory cortex receiving sensation from your own fingers, and in motor neurons that command your own fingers to move.fn3 You clench your fingers. Work by Jean Decety of the University of Chicago shows that when seven-year-olds watch someone in pain, activation is greatest in the more concrete regions—the PAG and the sensory and motor cortices—with PAG activity coupled to the minimal vmPFC activation there is. In older kids the vmPFC is coupled to increasingly activated limbic structures.13 And by adolescence the stronger vmPFC activation is coupled to ToM regions. What’s happening? Empathy is shifting from the concrete world of “Her finger must hurt, I’m suddenly conscious of my own finger” to ToM-ish focusing on the pokee’s emotions and experience.

. . . These two are the fountains of knowledge, from whence all the ideas we have, or can naturally have, do spring. 3. The objects of sensation one source of ideas. First, our Senses, conversant about particular sensible objects, do convey into the mind several distinct perceptions of things, according to those various ways wherein those objects do affect them. And thus we come by those ideas we have of yellow, white, heat, cold, soft, hard, bitter, sweet, and all those which we call sensible qualities; which when I say the senses convey into the mind, I mean, they from external objects convey into the mind what produces there those perceptions. This great source of most of the ideas we have, depending wholly upon our senses, and derived by them to the understanding, I call SENSATION. 4. The operations of our minds, the other source of them. Secondly, the other fountain from which experience furnisheth the understanding with ideas is,- the perception of the operations of our own mind within us, as it is employed about the ideas it has got;- which operations, when the soul comes to reflect on and consider, do furnish the understanding with another set of ideas, which could not be had from things without. And such are perception, thinking, doubting, believing, reasoning, knowing, willing, and all the different actings of our own minds;- which we being conscious of, and observing in ourselves, do from these receive into our understandings as distinct ideas as we do from bodies affecting our senses. This source of ideas every man has wholly in himself; and though it be not sense, as having nothing to do with external objects, yet it is very like it, and might properly enough be called internal sense. But as I call the other SENSATION, so I Call this REFLECTION, the ideas it affords being such only as the mind gets by reflecting on its own operations within itself. By reflection then, in the following part of this discourse, I would be understood to mean, that notice which the mind takes of its own operations, and the manner of them, by reason whereof there come to be ideas of these operations in the understanding. These two, I say, viz. external material things, as the objects of SENSATION, and the operations of our own minds within, as the objects of REFLECTION, are to me the only originals from whence all our ideas take their beginnings. The term operations here I use in a large sense, as comprehending not barely the actions of the mind about its ideas, but some sort of passions arising sometimes from them, such as is the satisfaction or uneasiness arising from any thought. 5.All our ideas are of the one or the other of these. . . .

A great deal of effort has been devoted to explaining Babel. Not the Babel event -- which most people consider to be a myth -- but the fact that languages tend to diverge. A number of linguistic theories have been developed in an effort to tie all languages together." "Theories Lagos tried to apply to his virus hypothesis." "Yes. There are two schools: relativists and universalists. As George Steiner summarizes it, relativists tend to believe that language is not the vehicle of thought but its determining medium. It is the framework of cognition. Our perceptions of everything are organized by the flux of sensations passing over that framework. Hence, the study of the evolution of language is the study of the evolution of the human mind itself." "Okay, I can see the significance of that. What about the universalists?" "In contrast with the relativists, who believe that languages need not have anything in common with each other, the universalists believe that if you can analyze languages enough, you can find that all of them have certain traits in common. So they analyze languages, looking for such traits." "Have they found any?" "No. There seems to be an exception to every rule." "Which blows universalism out of the water." "Not necessarily. They explain this problem by saying that the shared traits are too deeply buried to be analyzable." "Which is a cop out." "Their point is that at some level, language has to happen inside the human brain. Since all human brains are more or less the same --" "The hardware's the same. Not the software." "You are using some kind of metaphor that I cannot understand." "Well, a French-speaker's brain starts out the same as an English-speaker's brain. As they grow up, they get programmed with different software -- they learn different languages." "Yes. Therefore, according to the universalists, French and English -- or any other languages -- must share certain traits that have their roots in the 'deep structures' of the human brain. According to Chomskyan theory, the deep structures are innate components of the brain that enable it to carry out certain formal kinds of operations on strings of symbols. Or, as Steiner paraphrases Emmon Bach: These deep structures eventually lead to the actual patterning of the cortex with its immensely ramified yet, at the same time, 'programmed' network of electrochemical and neurophysiological channels." "But these deep structures are so deep we can't even see them?" "The universalists place the active nodes of linguistic life -- the deep structures -- so deep as to defy observation and description. Or to use Steiner's analogy: Try to draw up the creature from the depths of the sea, and it will disintegrate or change form grotesquely.

We have therefore wanted to say that all our intuition is nothing but the representation of appearance; that the things that we intuit are not in themselves what we intuit them to be, nor are their relations so constituted in themselves as they appear to us; and that if we remove our own subject or even only the subjective constitution of the senses in general, then all constitution, all relations of objects in space and time, indeed space and time themselves would disappear, and as appearances they cannot exist in themselves, but only in us. What may be the case with objects in themselves and abstracted from all this receptivity of our sensibility remains entirely unknown to us. We are acquainted with nothing except our way of perceiving them, which is peculiar to us, and which therefore does not necessarily pertain to every being, though to be sure it pertains to every human being. We are concerned solely with this. Space and time are its pure forms, sensation in general its matter. We can cognize only the former a priori, i.e., prior to all actual perception, and they are therefore called pure intuition; the latter, however, is that in our cognition that is responsible for its being called a posteriori cognition, i.e., empirical intuition. The former adheres to our sensibility absolutely necessarily, whatever sort of sensations we may have; the latter can be very different.

Adam threw himself into the middle of the pentagram. Curiously, there was no sound here, not in any reasonable way. The end of Blue's cry was muffled, as if it had been shoved under water. The air was still around him. It was as if time itself had become a sluggish thing, barely existing. The only true sensation he felt was that of electricity--the barely perceptible tingly of a lightning storm. Neeve had said that it wasn't about the killing, that it was about sacrifice. It was obvious that stymied Whelk completely. But Adam knew what sacrifice meant, more than he thought Whelk or Neeve had ever had to know. He knew it wasn't about killing someone or drawing a shape made of bird bones. When it came down to it, Adam had been making sacrifices for a very long time, and he knew what the hardest one was. On his terms, or not at all. He wasn't afraid. Being Adam Parrish was a complicated thing, a wonder of muscles and organs, synapses and nerves. He was a miracle of moving parts, a study in survival. The most important thing to Adam Parrish, though, had always been free will, the ability to be his own master. This was the important thing. It had always been the most important thing. This was what it was to be Adam. Kneeling in the middle of the pentagram, digging his fingers into the soft, mossy turf, Adam said, "I sacrifice myself." Gansey's cry was agonized. "Adam, no! No!" On his terms, or not at all. I will be your hands, Adam thought. I will be your eyes. There was a sound like a breaker being thrown. A crackle. Beneath them, the ground began to roll.