Visual Stimulation Quotes

Is the beauty myth good to men? It hurts them by teaching them how to avoid loving women. It prevents men from actually seeing women. It does not, contrary to its own professed ideology, stimulate and gratify sexual longing. In suggesting a vision in place of a woman, it has a numbing effect, reducing all senses but the visual, and impairing even that.

Think of cocaine. In its natural form, as coca leaves, it's appealing, but not to an extent that it usually becomes a problem. But refine it, purify it, and you get a compound that hits your pleasure receptors with an unnatural intensity. That's when it becomes addictive. Beauty has undergone a similar process, thanks to advertisers. Evolution gave us a circuit that responds to good looks - call it the pleasure receptor for our visual cortex - and in our natural environment, it was useful to have. But take a person with one-in-a-million skin and bone structure, add professional makeup and retouching, and you're no longer looking at beauty in its natural form. You've got pharmaceutical-grade beauty, the cocaine of good looks. Biologists call this "supernormal stimulus" [...] Our beauty receptors receive more stimulation than they were evolved to handle; we're seeing more beauty in one day than our ancestors did in a lifetime. And the result is that beauty is slowly ruining our lives. How? The way any drug becomes a problem: by interfering with our relationships with other people. We become dissatisfied with the way ordinary people look because they can't compare to supermodels.

One thing is certain: the arts keep you alive. They stimulate, encourage, challenge, and, most of all, guarantee a future free from boredom. They allow growth and even demand it in that time of life we call maturity but too often enter it with a childish faith that what we learned in youth is sustenance enough for the years when most men are mentally famished but won't admit it—or when they are apt to curb their hunger with the sops of complacency, security, and the assurance of death.

Maybe I wanted to be crushed, too. To be ready you need to be tired, and you need to have seen a great deal, or what you consider to have been a great deal- we all have such different capacities, are able to absorb and sustain vastly different quantities of visions and pain- and at that moment I started thinking that I had seen enough, that in general I'd had my fill and that in terms of visual stimulation the week thus far has shown me enough and that I was sated. The rock-running in Senegal was enough, the kids and their bonjours- that alone would prepare me for the end; if I couldn't be thankful enough having been there I was sick and ungrateful, and I would not be ungrateful, not ever, I would always know the gifts given me, I would count them and keep them safe! I had had so much so I would be able to face the knife in the alley and accept it all, smiling serenely, thankful that I'd be taken while riding the very crest of everything. I had been on a plane! A tiny percentage of all those who'd ever lived would ever be on an airplane- and had seen Africa rushing at me like something alive and furious. I could be taken and eaten by these wet alleyways without protest.

The overwhelming noise we live with has made a fundamental pleasure like sex somehow less exciting, less satisfying, than it was for our libidinous forefathers and mothers. It seems to me that for sex and other pleasures to be enjoyed to the fullest, a certain contemplative quality to life must be present. If you doubt this imagine yourself for a moment having sex. Now imagine you wished to increase the pleasure you were feeling, feel it more intensely. What might you do? Well one of the things you'd probably do is close your eyes. What this does of course is shut out other stimuli. The visual quiet increases your sensual enjoyment and you concentrate more fully on the pleasure. The same is true for the removal of auditory noise as well. Well my feeling is that the average person has a much harder time doing this today than they would have decades ago. Today you close your eyes and shut off Television but the noise persists. It's part of our fabric now, our biology, and all other pleasures including sex are diminished as a result. We don't notice this derogation by the way and sex still feels great, don't get me wrong, but I think the difference is there nonetheless. Like the difference between seeing breasts when you're thirty as opposed to when you were thirteen.

Many of my all-time favorite movies are almost entirely verbal. The entire plot of My Dinner with Andre is “Wallace Shawn and Andre Gregory eat dinner.” The entire plot of Before Sunrise is “Ethan Hawke and Julie Delpy walk around Vienna.” But the dialogue takes us everywhere, and as Roger Ebert notes, of My Dinner with Andre, these films may be paradoxically among the most visually stimulating in the history of the cinema:

U2 makes music for guys who have ears and can hear. But U2 makes concert imagery for guys who need visual stimulation to help push kidney stones through their urethras.

Modulation and processing of the range of sensory experiences allows for social engagement and attachment to others. A person who is easily overwhelmed by sounds, touch, movement, or visual stimulation may avoid interactions with persons or situations that are highly stimulating. In contrast, the person who does not process sensory input unless it is very intense may develop a pattern of thrill seeking, high stimulation, and risky behavior.

Thus the “brainy” economy designed to produce this happiness is a fantastic vicious circle which must either manufacture more and more pleasures or collapse—providing a constant titillation of the ears, eyes, and nerve ends with incessant streams of almost inescapable noise and visual distractions. The perfect “subject” for the aims of this economy is the person who continuously itches his ears with the radio, preferably using the portable kind which can go with him at all hours and in all places. His eyes flit without rest from television screen, to newspaper, to magazine, keeping him in a sort of orgasm-with-out-release through a series of teasing glimpses of shiny automobiles, shiny female bodies, and other sensuous surfaces, interspersed with such restorers of sensitivity—shock treatments—as “human interest” shots of criminals, mangled bodies, wrecked airplanes, prize fights, and burning buildings. The literature or discourse that goes along with this is similarly manufactured to tease without satisfaction, to replace every partial gratification with a new desire. For this stream of stimulants is designed to produce cravings for more and more of the same, though louder and faster, and these cravings drive us to do work which is of no interest save for the money it pays—to buy more lavish radios, sleeker automobiles, glossier magazines, and better television sets, all of which will somehow conspire to persuade us that happiness lies just around the corner if we will buy one more.

Floating in the tank after a busy day’s work brings a great relief. Suddenly all of the stimulation of holding one upright against gravity disappears. One realizes that a good deal of the fatigue accumulated during the day is caused by keeping one’s body upright in a gravitational field. From a neurophysiological standpoint, one has immediately freed up very large masses of neurons from the necessity of constant computations (as to the direction of gravity, the programming by visual and acoustic inputs, by temperature changes, etcetera). For example, one’s cerebellum is now freed for uses other than balancing the body. In summary, then,

The color white is a blank canvas, just waiting to be written on. Compared to other more stimulating colors it is a refreshing change, a soothing and calm visual experience for the mind, which allows for imagination growth and creativity.

I am a lifelong lover of form–content interplay, and this book is no exception. As with several of my previous books, I have had the chance to typeset it down to the finest level of detail, and my quest for visual elegance on each page has had countless repercussions on how I phrase my ideas. To some this may sound like the tail wagging the dog, but I think that attention to form improves anyone’s writing. I hope that reading this book not only is stimulating intellectually but also is a pleasant visual experience.

A neurosurgeon once told me about operating on the brain of a young man with epilepsy. As is customary in this kind of operation, the patient was wide awake, under only local anesthesia, while the surgeon delicately explored his exposed cortex, makingsure that the parts tentatively to be removed were not absolutely vital by stimulating them electrically and asking the patient what he experienced. Some stimulations provoked visual flashes or hand-raisings, others a sort of buzzing sensation, but one spot produced a delighted response from the patient: "It's 'Outta Get Me' by Guns N' Roses. my favorite heavy metal band!" I asked the neurosurgeon If he had asked the patient to sing or hum along with the music, since it would be fascinating to learn how "high fidelity" the provoked memory was, would it be in exactly the same key and tempo as the record? Such a song (unliken"Silent Night") has one canonical version. so we could simply have superimposed a recording of the patients humming with the standard record and compared the results. Unfortunately, even though a tape recorder had been running during the operation, thesurgeon hadn't asked the patient to sing along. ''Why not?" I asked, and he replied: "I hate rock music!' Later in the conversation the neurosurgeon happened to remark that he was going to have to operate again on the same young man. and I expressed the hope that he would just check to see if he could restimulate the rock music, and this time ask the fellow to sing along. "I can't do it." replied the neurosurgeon. "since I cut out that part." "It was part of the epileptic focus?" I asked. "No,'' the surgeon replied, ''I already told you — I hate rock music.

Mephistopheles' contentious, often ambiguous relationship to Faustus is a reference to tantra just as it is to alchemy. It resembles the shifting tactics of a guru who varies his approach to his pupil in order to dissolve his resistances and prepare him for wider states of consciousness. Both Faustus and the tantric aspirant stimulate and indulge their senses under the guidance of their teachers who encourage them to have sexual encounters with women in their dreams. Both work with magical diagrams or yantras, exhibit extraordinary will, "fly" on visionary journeys, acquire powers of teleportation, invisibility, prophecy, and healing, and have ritual intercourse with women whom they visualize as goddesses. The tantrist [sic] is said to become omniscient as a result of his sacred "marriage," and Faustus produces an omniscient child in his union with the visualized Helen, or Sophia.

By learning to relax and easing excessive effort, you stimulate neurons to find new awareness pathways. Proprioception is stimulated. This is an awareness of where the body is in space that does not rely on visual cues. Grace is the natural result of making the right use of effort and will. The body begins to move in a naturally gracious manner in all activities, for the training is not limited to the time spent on the yoga mat. The training affects all motions that the anatomy makes.

Visual over-stimulation is a distraction from concentration and evokes the same sort of reactions as over-stimulation from noise. But the source might surprise you. Even fussy clothing moving around can be a visual distraction, or too many people in the room, or too many machines with moving parts. For those who work outside, a windy day is a triple-threat—with sound, sight, and touch all being affected. Cars moving, lights, signs, crowds, all this visual chaos can exhaust the AS person. Back in the office, too many computer screens, especially older ones with TV-style monitors, and sickly, flickering, unnatural fluorescent lighting were both high on the trigger list. The trouble with fluorescent light is threefold: Cool-white and energy-efficient fluorescent lights are the most commonly used in public buildings. They do not include the color blue, “the most important part for humans,” in their spectrum. In addition to not having the psychological benefits of daylight, they give off toxins and are linked to depression, depersonalization, aggression, vertigo, anxiety, stress, cancer, and many other forms of ill health. It’s true. There’s an EPA report to prove it (Edwards and Torcellini 2002). Flickering fluorescent lights, which can trigger epileptic seizures, cause strong reactions in AS individuals, including headaches, confusion, and an inability to concentrate. Even flickering that is not obvious to others can be perceived by some on the spectrum.

Just a few nights ago the roaring fire prompted a conversation about Gaston Bachelard's Psychoanalysis of Fire,' I said to Foucault. 'Did you by any chance know Bachelard?' 'Yes, I did,' Foucault responded. 'He was my teacher and exerted a great influence upon me.' 'I can just visualize Bachelard musing before his hearth and devising the startling thesis that mankind tamed fire to stimulate his daydreaming, that man is fundamentally the dreaming animal.' 'Not really,' Foucault blurted out. 'Bachelard probably never saw a fireplace or ever listened to water streaming down a mountainside. With him it was all a dream. He lived very ascetically in a cramped two-room flat he shared with his sister.' 'I have read somewhere that he was a gourmet and would shop every day in the street markets to get the freshest produce for his dinner.' 'Well, he undoubtedly shopped in the outdoor markets,' Foucault responded impatiently, 'but his cuisine, like his regimen, was very plain. He led a simple life and existed in his dream.' 'Do you shop in the outdoor markets in Paris?' Jake asked Michel. 'No,' Foucault laughed, 'I just go to the supermarket down the street from where I live.

Visualize a purpose and an outcome. This concept really struck me from reading Frankl, and it’s a lesson all leaders need to master. Think of it as a mental dress rehearsal for what will happen (notice I said will, not could). If you picture a positive result, it trains your brain to look for the resources that will help you achieve it. Seeing what you want stimulates your creativity and strengthens your confidence. This is more than just daydreaming. It’s eliminating the self-doubt and negativity that can deter you, and putting in place a plan that will lead you on your desired path. And once you know that there’s a light at the end of the tunnel, it’s much easier to face the dark.

It was only twenty-five years ago that the philosopher Joseph Levine officially dubbed it the explanatory gap, which he later described in his book Purple Haze: We have no idea, I contend, how a physical object could constitute a subject of experience, enjoying, not merely instantiating, states with all sorts of qualitative character. As I now look at my red diskette case, I’m having a visual experience that is reddish in character. Light of a particular composition is bouncing off the diskette case and stimulating my retina in a particular way. That retinal stimulation now causes further impulses down the optic nerve, eventually causing various neural events in the visual cortex. Where in all of this can we see the events that explain my having a reddish experience? There seems to be no discernible connection between the physical description and the mental one, and thus no explanation of the latter in terms of the former.2

The areas of the cortex responsible for attention and self-regulation develop in response to the emotional interaction with the person whom we may call the mothering figure. Usually this is the birth mother, but it may be another person, male or female, depending on circumstances. The right hemisphere of the mother’s brain, the side where our unconscious emotions reside, programs the infant’s right hemisphere. In the early months, the most important communications between mother and infant are unconscious ones. Incapable of deciphering the meaning of words, the infant receives messages that are purely emotional. They are conveyed by the mother’s gaze, her tone of voice and her body language, all of which reflect her unconscious internal emotional environment. Anything that threatens the mother’s emotional security may disrupt the developing electrical wiring and chemical supplies of the infant brain’s emotion-regulating and attention-allocating systems. Within minutes following birth, the mother’s odors stimulate the branching of millions of nerve cells in the newborn’s brain. A six-day-old infant can already distinguish the scent of his mother from that of other women. Later on, visual inputs associated with emotions gradually take over as the major influences. By two to seven weeks, the infant will orient toward the mother’s face in preference to a stranger‘s — and also in preference to the father’s, unless the father is the mothering adult. At seventeen weeks, the infant’s gaze follows the mother’s eyes more closely than her mouth movements, thus fixating on what has been called “the visible portion of the mother’s central nervous system.” The infant’s right brain reads the mother’s right brain during intense eye-to-eye mutual gaze interactions. As an article in Scientific American expressed it, “Embryologically and anatomically the eye is an extension of the brain; it is almost as if a portion of the brain were in plain sight.” The eyes communicate eloquently the mother’s unconscious emotional states.

Red: Maintaining health, bodily strength, physical energy, sex, passion, courage, protection, and defensive magic. This is the color of the element of fire. Throughout the world, red is associated with life and death, for this is the color of blood spilled in both childbirth and injury. Pink: Love, friendship, compassion, relaxation. Pink candles can be burned during rituals designed to improve self-love. They’re ideal for weddings and for all forms of emotional union. Orange: Attraction, energy. Burn to attract specific influences or objects. Yellow: Intellect, confidence, divination, communication, eloquence, travel, movement. Yellow is the color of the element of air. Burn yellow candles during rituals designed to heighten your visualization abilities. Before studying for any purpose, program a yellow candle to stimulate your conscious mind. Light the candle and let it burn while you study. Green: Money, prosperity, employment, fertility, healing, growth. Green is the color of the element of earth. It’s also the color of the fertility of the earth, for it echoes the tint of chlorophyll. Burn when looking for a job or seeking a needed raise. Blue: Healing, peace, psychism, patience, happiness. Blue is the color of the element of water. This is also the realm of the ocean and of all water, of sleep, and of twilight. If you have trouble sleeping, charge a small blue candle with a visualization of yourself sleeping through the night. Burn for a few moments before you get into bed, then extinguish its flame. Blue candles can also be charged and burned to awaken the psychic mind. Purple: Power, healing severe diseases, spirituality, meditation, religion. Purple candles can be burned to enhance all spiritual activities, to increase your magical power, and as a part of intense healing rituals in combination with blue candles. White: Protection, purification, all purposes. White contains all colors. It’s linked with the moon. White candles are specifically burned during purification and protection rituals. If you’re to keep but one candle on hand for magical purposes, choose a white one. Before use, charge it with personal power and it’ll work for all positive purposes. Black: Banishing negativity, absorbing negativity. Black is the absence of color. In magic, it’s also representative of outer space. Despite what you may have heard, black candles are burned for positive purposes, such as casting out baneful energies or to absorb illnesses and nasty habits. Brown: Burned for spells involving animals, usually in combination with other colors. A brown candle and a red candle for animal protection, brown and blue for healing, and so on.

Dr. Hobson (with Dr. Robert McCarley) made history by proposing the first serious challenge to Freud’s theory of dreams, called the “activation synthesis theory.” In 1977, they proposed the idea that dreams originate from random neural firings in the brain stem, which travel up to the cortex, which then tries to make sense of these random signals. The key to dreams lies in nodes found in the brain stem, the oldest part of the brain, which squirts out special chemicals, called adrenergics, that keep us alert. As we go to sleep, the brain stem activates another system, the cholinergic, which emits chemicals that put us in a dream state. As we dream, cholinergic neurons in the brain stem begin to fire, setting off erratic pulses of electrical energy called PGO (pontine-geniculate-occipital) waves. These waves travel up the brain stem into the visual cortex, stimulating it to create dreams. Cells in the visual cortex begin to resonate hundreds of times per second in an irregular fashion, which is perhaps responsible for the sometimes incoherent nature of dreams. This system also emits chemicals that decouple parts of the brain involved with reason and logic. The lack of checks coming from the prefrontal and orbitofrontal cortices, along with the brain becoming extremely sensitive to stray thoughts, may account for the bizarre, erratic nature of dreams. Studies have shown that it is possible to enter the cholinergic state without sleep. Dr. Edgar Garcia-Rill of the University of Arkansas claims that meditation, worrying, or being placed in an isolation tank can induce this cholinergic state. Pilots and drivers facing the monotony of a blank windshield for many hours may also enter this state. In his research, he has found that schizophrenics have an unusually large number of cholinergic neurons in their brain stem, which may explain some of their hallucinations. To make his studies more efficient, Dr. Allan Hobson had his subjects put on a special nightcap that can automatically record data during a dream. One sensor connected to the nightcap registers the movements of a person’s head (because head movements usually occur when dreams end). Another sensor measures movements of the eyelids (because REM sleep causes eyelids to move). When his subjects wake up, they immediately record what they dreamed about, and the information from the nightcap is fed into a computer. In this way, Dr. Hobson has accumulated a vast amount of information about dreams. So what is the meaning of dreams? I asked him. He dismisses what he calls the “mystique of fortune-cookie dream interpretation.” He does not see any hidden message from the cosmos in dreams. Instead, he believes that after the PGO waves surge from the brain stem into the cortical areas, the cortex is trying to make sense of these erratic signals and winds up creating a narrative out of them: a dream.

For instance, emotional memories are stored in the amygdala, but words are recorded in the temporal lobe. Meanwhile, colors and other visual information are collected in the occipital lobe, and the sense of touch and movement reside in the parietal lobe. So far, scientists have identified more than twenty categories of memories that are stored in different parts of the brain, including fruits and vegetables, plants, animals, body parts, colors, numbers, letters, nouns, verbs, proper names, faces, facial expressions, and various emotions and sounds. Figure 11. This shows the path taken to create memories. Impulses from the senses pass through the brain stem, to the thalamus, out to the various cortices, and then to the prefrontal cortex. They then pass to the hippocampus to form long-term memories. (illustration credit 5.1) A single memory—for instance, a walk in the park—involves information that is broken down and stored in various regions of the brain, but reliving just one aspect of the memory (e.g., the smell of freshly cut grass) can suddenly send the brain racing to pull the fragments together to form a cohesive recollection. The ultimate goal of memory research is, then, to figure out how these scattered fragments are somehow reassembled when we recall an experience. This is called the “binding problem,” and a solution could potentially explain many puzzling aspects of memory. For instance, Dr. Antonio Damasio has analyzed stroke patients who are incapable of identifying a single category, even though they are able to recall everything else. This is because the stroke has affected just one particular area of the brain, where that certain category was stored. The binding problem is further complicated because all our memories and experiences are highly personal. Memories might be customized for the individual, so that the categories of memories for one person may not correlate with the categories of memories for another. Wine tasters, for example, may have many categories for labeling subtle variations in taste, while physicists may have other categories for certain equations. Categories, after all, are by-products of experience, and different people may therefore have different categories. One novel solution to the binding problem uses the fact that there are electromagnetic vibrations oscillating across the entire brain at roughly forty cycles per second, which can be picked up by EEG scans. One fragment of memory might vibrate at a very precise frequency and stimulate another fragment of memory stored in a distant part of the brain. Previously it was thought that memories might be stored physically close to one another, but this new theory says that memories are not linked spatially but rather temporally, by vibrating in unison. If this theory holds up, it means that there are electromagnetic vibrations constantly flowing through the entire brain, linking up different regions and thereby re-creating entire memories. Hence the constant flow of information between the hippocampus, the prefrontal cortex, the thalamus, and the different cortices might not be entirely neural after all. Some of this flow may be in the form of resonance across different brain structures.

Breasts are sexually stimulating, but so are legs, lips and the nape of the neck, to name a few focuses of visual eroticism.

When the team zapped the area with high frequency electrical impulses, the woman lost consciousness. She stopped reading and stared blankly into space, she didn't respond to auditory or visual commands and her breathing slowed. As soon as the stimulation stopped, she immediately regained consciousness with no memory of the event.

No other idea is so powerful in developing self-confidence as this simple belief when practiced. To practice it simply affirm “God is with me; God is helping me; God is guiding me.” Spend several minutes each day visualizing His presence. Then practice believing that affirmation. Go about your business on the assumption that what you have affirmed and visualized is true. Affirm it, visualize it, believe it, and it will actualize itself. The release of power which this procedure stimulates will astonish you. Feelings of confidence depend upon the type of thoughts that habitually occupy your mind.

Remove all the books from your bookcases. You cannot judge whether or not a book really grabs you when it’s still on the shelf. Like clothes or any other belongings, books that have been left untouched on the shelf for a long time are dormant. Or perhaps I should say they’re “invisible.” Although in plain sight, they remain unseen, just like a praying mantis still in the grass, merging with its surroundings. (Have you ever experienced that jolt of surprise when you suddenly notice it there?) If you ask yourself, “Does this spark joy?” when you are just looking at the things on your shelves or in your drawers, the question won’t mean much to you. To truly decide whether you want to keep something or to dispose of it, you must take your things out of hibernation. Even the piles of books already on the floor will be easier to assess if you move them to a different part of the floor or restack them. Just like the gentle shake we use to wake someone up, we can stimulate our belongings by physically moving them, exposing them to fresh air and making them “conscious.” While helping my clients tidy their homes or offices, I stand in front of the mound of books they have piled on the floor and clap my hands, or I gently stroke the book covers. Although my clients look at me strangely at first, they are inevitably surprised at how quickly and precisely they are able to choose after this. They can see exactly what they need and don’t need. It is much harder to choose books when they are still on the shelf, which means you will have to repeat the process later. If there are too many books to arrange on the floor all at one time, I ask my clients to divide them into four broad categories: General (books you read for pleasure) Practical (references, cookbooks, etc.) Visual (photograph collections, etc.) Magazines Once you have piled your books, take

Words are powerful, so add visually descriptive adjectives to the story.

Words are powerful, so add visually descriptive adjectives to the story. For example, if you're talking about a fruit you had for lunch, you could say, "Today I had the most delicious strawberries. As I bit into one, I could feel the juices squirting out," or

Visualization often helps with this. So, close your eyes for a moment and imagine being in the setting you want to share your story, and

feet can tell you whether a person is interested or not; how the movement of the eyes can determine whether a person is a visual, kinesthetic, or auditory thinker; and how to determine if a person is lying. Let’s

1: Take 10 to 60 seconds to prepare before walking over to the other person to significantly boost your chances of success. If you’re in a setting where you feel comfortable closing your eyes, I recommend that. If you’re not, pretend to use your cell phone for 10 to 60 seconds while visualizing yourself in action. (Keep in mind that you DO NOT want to look at the other person for more than a few seconds, because then you will likely begin to feel anxious and not want to approach.)   Next, imagine or visualize yourself walking toward the other person, and picture the facial expressions of both yourself and the other person. Are you smiling or excited to meet the person? What is his or her face saying to you? If it’s not how you want it, then erase that image and shift it to a desirable image–but start from the beginning again. Once it’s the way you want it, you’ve completed the first step.

Visualize and re-experience it completely in your mind.

1. Get a Story. If you don’t have a story, create one. Use the past, present, or future.  For example, if you could travel anywhere tomorrow where would you go?   2. Enjoy Your Story. Love it. If you don’t love it, then the listener won’t. Have fun with your story.   3. Add Emotion. Visualize…   4. Add Pauses. This heightens the tension and gives the audience time to listen, laugh, and/or respond, and adds suspense.   5. Use Body Language. You know it–your body often says more than your words, so use it!   6.  Use Your 5 Senses to Amplify the Story. How did it feel when you were looking at that crystal clear water?  What sounds were around you? The 5 senses bring the story to life!   7. Characterization. Bring your characters to life–what personality traits did they have?   8. Know the Audience. Are you talking to a bunch of children in grade school or are you talking to a stranger you just met in a bar? Relate to your audience.   9. Make Sure There is a Point to Your Story. Enough said! What is the bottom line?   10. Write Your Story and Cut It in Half. We’re all busy, so KISS–“Keep It Short and Simple

Eighty-nine percent of what people learn comes through visual stimulation, 10 percent through audible stimulation, and 1 percent through other senses. So

Hemisphere- Specific Stimulations (HSS) HSS can be done using a person’s visual, auditory or tactile channel. In order to stimulate the right hemisphere of the brain using tactile stimulation, several reading materials, like letters or shapes are presented on the right hand. Using the same method on the left hand will stimulate the left hemisphere.

A novel is designed to stimulate our minds and imagination without any visuals, other than the constructed text." "An author's job is to breath life into words for the reader. That is the core essence of what we do.

And someone might suggest that distraction is more and more the normal position of people when their work is set aside. Television techniques are increasingly designed to capture attention, rather than to provide a point of interest, and recent research12 has demonstrated the extent to which the normal channels of information gathering have been short-circuited by TV, producing widespread attention disorders and an addiction to visual stimulation. If this is leisure, many people say, let’s have less of it.

Looking at a plain wall is akin to staring blankly into space. We have a fundamental need for visual nourishment and stimulation in our homes, for our eyes to dance lightly over surfaces and not find them wanting.

and memorizing are actively worked out in the process of solving the cube. Sharpens visual and spatial analysis – Solving the cube requires one to visually analyze the spatial relationships between each piece of the cube so that they can determine their next moves. Improves concentration and attention to details – By constantly practicing to solve the cube, one can improve their resistance to external distractions and learn to focus better on what’s in their hands. Enhances memorization skills – To solve the cube using algorithms, one should be able to memorize the moves and notations exactly as specified and apply them without missing or forgetting one move. Stimulates quick-thinking – Cube solvers, especially speed-cubers, should be

Ty did his best to keep his eyes open, watching as he disappeared between Zane’s lips. He wanted nothing more than to come down Zane’s throat. It was barely a matter of minutes with the visual stimulation, and Ty was soon gasping and tugging at Zane’s hair in warning. Zane

Today is a day of practice. You are to combine the exercises of the past week in a way that works best for you. Here are some combinations for inspiration: Thinking about becoming an artist? Practice image meditation while breathing through your nostrils to help stimulate your mind and bring inspiration to you. Having trouble getting some sleep? Empty your mind using the balloon visualization technique while you practice circle breathing. Picture the balloon within your mind floating away, making sure to do it every time you exhale. Did someone do something to upset you? Find your center and breathe as deeply as you can while clearing your mind. Acknowledge all that you are feeling as you breathe, but dismiss feelings as soon as the thoughts occur.

Memory is subjected to a psychological process consisting of the recall of an event. When recalling an event from memory, distortion and selection of certain cues take place. When emphasis is placed on a cue, the cue becomes more and more dominant because of the positive feedback involved in the conditioning. The more sexually stimulating the fantasy becomes, the greater the likelihood that the progression to a masturbatory fantasy will occur. Consequently, through conditioning, it is the fantasy itself that becomes more and more erotically arousing. McGuire et al. (1965) offered a paraphilic case example to illuminate this fantasy progression. A 17-year-old male had witnessed a young girl changing clothes through an open window. He was initially stimulated by this encounter and subsequently took to masturbating while remembering the incident. With the passage of time, the memory of the actual event became vague. However, advertisements and shop window displays of women’s lingerie continually reminded him of the initial image. These visual cues were used as part of his fantasy and, through the course of 3 years, his sexual interests in women gradually and consistently changed to include an erotic fascination with female undergarments. To sustain his paraphilic fantasy, the man either bought or stole these items.

Smells can even help us carry out tasks, according to an experiment by Martin's colleague Alison Gould. In one experiment, subjects completed a tedious “visual vigilance task” in the presence of either no odor, an alerting (peppermint) smell, or a relaxing (bergamot) one. They did better with the peppermint. Another study showed that subjects performed an unchallenging task better when stimulated by an unpleasant smell —in this case, sour milk. A pleasant smell, that of an air freshener, helped them perform complex tasks better.

And at this point, self-stimulation of various sorts began: mental games, counting, fantasies, and, sooner or later, visual hallucinations—usually a “march” of hallucinations from simple

Thus the “brainy” economy designed to produce this happiness is a fantastic vicious circle which must either manufacture more and more pleasures or collapse—providing a constant titillation of the ears, eyes, and nerve ends with incessant streams of almost inescapable noise and visual distractions. The perfect “subject” for the aims of this economy is the person who continuously itches his ears with the radio, preferably using the portable kind which can go with him at all hours and in all places. His eyes flit without rest from television screen, to newspaper, to magazine, keeping him in a sort of orgasm-with-out-release through a series of teasing glimpses of shiny automobiles, shiny female bodies, and other sensuous surfaces, interspersed with such restorers of sensitivity—shock treatments—as “human interest” shots of criminals, mangled bodies, wrecked airplanes, prize fights, and burning buildings. The literature or discourse that goes along with this is similarly manufactured to tease without satisfaction, to replace every partial gratification with a new desire. For this stream of stimulants is designed to produce cravings for more and more of the same, though louder and faster, and these cravings drive us to do work which is of no interest save for the money it pays—to buy more lavish radios, sleeker automobiles, glossier magazines, and better television sets, all of which will somehow conspire to persuade us that happiness lies just around the corner if we will buy one more. Despite the immense hubbub and nervous strain, we are convinced that sleep is a waste of valuable time and continue to chase these fantasies far into the night. Animals spend much of their time dozing and idling pleasantly, but, because life is short, human beings must cram into the years the highest possible amount of consciousness, alertness, and chronic insomnia so as to be sure not to miss the last fragment of startling pleasure. It isn’t that the people who submit to this kind of thing are immoral. It isn’t that the people who provide it are wicked exploiters; most of them are of the same mind as the exploited, if only on a more expensive horse in this sorry-go-round. The real trouble is that they are all totally frustrated, for trying to please the brain is like trying to drink through your ears. Thus they are increasingly incapable of real pleasure, insensitive to the most acute and subtle joys of life which are in fact extremely common and simple.

And this brought me back to the problem of the localization of a percept. The fundamental idea of the theory as it was later published (Hebb, 1949) was that repeated exposure to a given sensory stimulation will organize an assembly, and the difficulty I have already referred to now became inescapable. A familiar object is recognizable at different distances, at different angles, and in different parts of the visual field—left, right, above or below the direction of vision. In each case, the retinal stimulation is different and so a different cortical excitation results. In each case, it seemed, a separate assembly would be required, amounting to a large number for each recognizable object and meaning that visual recognition would have to be separately learned for each direction, distance, and aspect of the object as seen. An improbable conclusion, to say the least. Regretfully, I saw that the idea would not work. It was too interesting to give up entirely, but I could not take it seriously. The

Any outstanding dramatic, musical, literary or visual work invariably draws upon powers far beyond our own to lift us onto a plane that is more imaginatively powerful, emotionally thrilling and intellectually stimulating than the mundane one we normally occupy.

Sexual abuse is any contact or interaction--visual, verbal, or psychological--between a child/adolescent and an adult when the child/adolescent is being used for the sexual stimulation of the perpetrator, or any other person.

2D animation design has gained immense popularity since when it was first introduced. Today it’s primarily deployed in 2D animation studios for creating advertisements, marketing videos, animated movies or cartoons, corporate presentations, and video games. Besides being adorable, 2D animations tend to capture audiences through their auditory, visual, and kinesthetic aspects. Information communicated to the viewers in a visual format is perceived far better since it stimulates different brain regions while simultaneously engaging multiple senses to enable the user to comprehend data more effectively. This deeper level of engagement also triggers the urge in users to share what they find attractive, thus, accounting for more prospects.

I’m a visual creature. I’m not sure how much shirtless stimulation I can take before I break in some way. That would be catastrophic.

God is with me; God is helping me; God is guiding me.” Spend several minutes each day visualizing His presence. Then practice believing that affirmation. Go about your business on the assumption that what you have affirmed and visualized is true. Affirm it, visualize it, believe it, and it will actualize itself. The release of power which this procedure stimulates will astonish you.

I'm an aesthete, I like arranging the body parts in a visually stimulating fashion that expresses my aspirations and higher ideals.

Tammet’s memory system is partly based on synesthesia: one type of sensory stimulation evokes the sensation of another, as when the visualization of a number or a letter evokes the visualization of a color or a taste.

Poisonous creatures are generally garish, sending visual signals to stay away from them. Their bright colors aren't meant to be relaxing. Objects with colors like that enter your field of vision, and hence your awareness, even if you aren't particularly paying attention to them. Small articles adorned with colors are certainly cute but larger items with bold colors will trigger visual fatigue and then boredom. You won't tire as quickly of objects that are easier on the eyes and less stimulating, and they can generally be used for longer periods of time.

These descending sensory pathways originate in the cortex, and their influence can either inhibit or facilitate the sensory input from any area of the body, greatly amplify or suppress altogether any given sensation. Sensory activity within the central nervous system is a Janus head, a two-way stream; signals originating in the brain have just as much to do with conscious sensation as do actual stimulations of the peripheral nerve endings. In fact, it is the descending paths which determine the sensitivity of any particular ascending pathway. The wide varieties of sexual response—among different individuals and within the same individual at different times—provide us with a clear example of this centrifugal influence upon incoming sensations: Depending upon past experiences and the present situation, the same stimulation of the genitals can produce intense ecstasy, bland and neutral sensations, or extreme discomfort. Orgasm can be immediate, or deferred indefinitely. And the imagination alone can produce constant engorgement, utter impotence, and all the degrees of arousal in between. The descending paths can color all kinds of sensory input to this degree. These pathways allow the mind to determine the active threshold for different sensory signals, and make it possible to focus attention upon a single source of input in the midst of many. It is difficult to imagine what practical use our sensory apparatus would be to us without such a mechanism. We would have no way of selecting a voice from all the other sounds around us, of locating specific objects within the swirl of visual impressions, or of retiring from our senses for contemplation and sleep. This centrifugal principle of selectivity is as vital to our appropriate responses to the world as is stimulation itself.

Perceptual motor therapy provides integrated movement experiences that remediate gross-motor, fine-motor, and visual discrimination problems. Activities, including sensory-input techniques, stimulate left/right brain communication to help the child interpret incoming information to the nervous system. Goals are to develop more mature patterns of response to specific stimuli, improve motor skills and balance, and stimulate alternate routes to memory and sequencing for those children who do not respond to the methods taught in the conventional classroom.

An occupational therapist will usually evaluate the child in her office. The evaluation is ordinarily a pleasant experience. While costs vary, expect to spend several hundred dollars. This will be money well spent, and it may be covered by health insurance. Here are some of the areas an OT investigates: Fine- and gross-motor developmental levels Visual-motor integration (doing puzzles or copying shapes) Visual discrimination Neuromuscular control (balance and posture) Responses to sensory stimulation (tactile, vestibular, and proprioceptive) Bilateral coordination Praxis (motor planning)

It has occurred to me that when one is raised in the absence of culture – without access to galleries and museums – one has to fill the void. I turned to books, album covers, magazines, slides and prints – anything visually stimulating that I could lay my hands on.

I can often be found in an art museum. Mostly I like being in a museum because I find visual art both absorbing and disorienting. I don’t know very much about painting. I have taken exactly one art history course, and I can’t draw a credible stick figure. I like being in a space where my senses are stimulated, indeed swamped, and where I don’t know enough to think my way out of the experience.

I believe that true art should challenge viewers intellectually, prompting them to engage in a deeper thought process. It shouldn't just be visually pleasing; it should compel people to question, reflect, and perhaps even reconsider their perspectives as well. Honest art goes beyond surface-level beauty to stimulate meaningful contemplation and dialogue.