Visualization Quotes

The only time you fail is when you fall down and stay down.

When you connect to the silence within you, that is when you can make sense of the disturbance going on around you.

The true measure of success is how many times you can bounce back from failure.

Visualize this thing you want. See it, feel it, believe in it. Make your mental blueprint and begin.

Scott glanced at his watch but didn't register what it said. The notion of time had become as absurd as the quietly glowing trees.

Death is not an event in life: we do not live to experience death. If we take eternity to mean not infinite temporal duration but timelessness, then eternal life belongs to those who live in the present. Our life has no end in the way in which our visual field has no limits.

Our way of thinking creates good or bad outcomes.

Happy people produce. Bored people consume.

Judgment is a negative frequency.

When your back is to the wall and you are facing fear head on, the only way is forward and through it.

A shaft of moonlight illuminated a row of sentinel silver birch in a phosphorescent glow, appearing almost ethereal in the relative surrounding gloom. Boris had stopped again, his silhouette a stark black juxtaposition against the background of illuminated branches.

The man who cannot visualize a horse galloping on a tomato is an idiot.

The stars up close to the moon were pale; they got brighter and braver the farther they got out of the circle of light ruled by the giant moon

Success will be within your reach only when you start reaching out for it.

A picture means I know where I was every minute. That's why I take pictures. It's a visual diary.

Before you can successfully make friends with others, first you have to become your own friend.

I should feel the air move against me, and feel the things I touched, instead of having only to look at them. I'm sure life is all wrong because it has become much too visual - we can neither hear nor feel nor understand, we can only see. I'm sure that is entirely wrong.

Look at things not as they are, but as they can be. Visualization adds value to everything. A big thinker always visualizes what can be done in the future. He isn't stuck with the present

The owner of the Post Office was called Maurice. A sixtyish-year-old with a large red nose that was pebble-dashed with broken capillaries, and a smooth bald head with a fuzz of grey hair around the side like the tide mark on a dirty bath. He had a gruff manner, distrusting eyes and a cough like kicked gravel.

No matter how small you start, always dream big.

It sometimes takes a state of solitude to bring to mind the real power of companionship.

You done with work? Yep, at home waiting for you. Now that's a nice visual... Prepare yourself, I'm taking bread out of the oven. Don't tease me woman...zucchini? Cranberry orange. Mmmm... No woman has ever done breakfast bread foreplay the way you do. Ha! When you coming? Can't. Drive. Straight. Can we have one conversation when you're not twelve? Sorry, I'll be there in 30 Perfect, that will give me time to frost my buns. Pardon me? Oh, didn't I tell you? I also made cinnamon rolls. Be there in 25.

Fair enough, that's what most people look for to begin with, but money can be a sliding scale, the more you have, the more you want, the more you need,' McBlane said as he sharpened the ash on the tip of his cigar into a point against the rim of the ashtray. It gave him the appearance of wielding a dagger as he gestured with his cigar holding hand.

It seems to me that the natural world is the greatest source of excitement; the greatest source of visual beauty; the greatest source of intellectual interest. It is the greatest source of so much in life that makes life worth living.

If the onset of wrinkles in middle age were referred to as laughter lines, then to look at him, Scott thought, Twinkle's life must have been hilarious. He had sharp eyes that often seemed to visually contradict the lack of intelligence that could be derived from listening to him talk. There might not be a lot to respect in Twinkle, but Scott liked him. He just didn't want to end up like him.

Happiness is something we reap from the seeds we sow. Plant misery seeds and that us what you reap.

Confronting the worst-case scenario saps it of much of its anxiety-inducing power. Happiness reached via positive thinking can be fleeting and brittle, negative visualization generates a vastly more dependable calm.

When I am lonely for boys it’s their bodies I miss. I study their hands lifting the cigarettes in the darkness of the movie theaters, the slope of a shoulder, the angle of a hip. Looking at them sideways, I examine them in different lights. My love for them is visual: that is the part of them I would like to possess. Don’t move, I think. Stay like that, let me have that.

Ordinary people believe only in the possible. Extraordinary people visualize not what is possible or probable, but rather what is impossible. And by visualizing the impossible, they begin to see it as possible

In the shop window you have promptly identified the cover with the title you were looking for. Following this visual trail, you have forced your way through the shop past the thick barricade of Books You Haven't Read, which are frowning at you from the tables and shelves, trying to cow you...And thus you pass the outer girdle of ramparts, but then you are attacked by the infantry of Books That If You Had More Than One Life You Would Certainly Also Read But Unfortunately Your Days Are Numbered. With a rapid maneuver you bypass them and move into the phalanxes of the Books You Mean To Read But There Are Others You Must Read First, the Books Too Expensive Now And You'll Wait Till They're Remaindered, the Books ditto When They Come Out in Paperback, Books You Can Borrow From Somebody, Books That Everybody's Read So It's As If You Had Read Them, Too.

I can't read fiction without visualizing every scene. The result is it becomes a series of pictures rather than a book.

Scott could feel the contents of his stomach flip over and over on themselves. He turned to the side and retched, frothy yellow bile spilled out onto the newspaper covered floor, filling the room with the putrid stench of previously ingested alcohol. 'Look's like someone can't hold their drink,' McBlane said, and Dominic and Shugg laughed. Scott was still staring at the steam rising from his evacuated stomach contents as he heard the hammer fall. The dull crack of bone splintering under its weight.

When you fail, that is when you get closer to success.

Doing the tough things sets winners apart from losers.

Death? Why all this fuss about death? Use your imagination, try to visualize a world without death! Death is the essential condition to life, not an evil.

Men are visually aroused by women's bodies and less sensitive to their arousal by women's personalities because they are trained early into that response, while women are less visually aroused and more emotionally aroused because that is their training. This asymmetry in sexual education maintains men's power in the myth: They look at women's bodies, evaluate, move on; their own bodies are not looked at, evaluated, and taken or passed over. But there is no "rock called gender" responsible for that; it can change so that real mutuality--an equal gaze, equal vulnerability, equal desire--brings heterosexual men and women together.

The quality you most admire in a man? Courage moral and physical: 'anima'—the ability to think like a woman. Also a sense of the absurd. The quality you most admire in a woman? Courage moral and physical: “anima”—the ability to visualize the mind and need of a man. Also a sense of the absurd.

You must learn to take a step back and visualize the whole piece. If you focus only on the thread given to you, you lose sight of what it can become.

If you think you can then you can.

To write is to forget. Literature is the most agreeable way of ignoring life. Music soothes, the visual arts exhilarates, the performing arts (such as acting and dance) entertain. Literature, however, retreats from life by turning in into slumber. The other arts make no such retreat— some because they use visible and hence vital formulas, others because they live from human life itself. This isn't the case with literature. Literature simulates life. A novel is a story of what never was, a play is a novel without narration. A poem is the expression of ideas or feelings a language no one uses, because no one talks in verse.

Meditate, Visualize and Create your own reality and the universe will simply reflect back to you.

When you visualized a man or a woman carefully, you could always begin to feel pity . . . that was a quality God's image carried with it . . . when you saw the lines at the corners of the eyes, the shape of the mouth, how the hair grew, it was impossible to hate. Hate was just a failure of imagination.

When hope is fleeting, stop for a moment and visualize, in a sky of silver, the crescent of a lavender moon. Imagine it -- delicate, slim, precise, like a paper-thin slice from a cabochon jewel. It may not be very useful, but it is beautiful. And sometimes it is enough.

People don’t see things and hear things as objectively as they might think. The visual and auditory information that enters the mind is distorted by experiences, thoughts, circumstances, wild fancies, prejudices, preferences, knowledge, awareness, and countless other workings of the mind.

I reached and grabbed ahold of the garden rake that was leaned up against the tree, when suddenly I felt my heart begin to race and I began to feel dizzy as my visual field became black. That is the last thing I recall before awakening to find myself lying on the ground in the front yard, with the handle of the rake resting on my chest.

She could just pack up and leave, but she does not visualize what's beyond ahead.

- But Abraham, you mean I'm supposed to make stuff up !?!? - You are creators, you make stuff up all the time!

Emotion is ‘recognition’. When treasured moments are identified in the jungle of our personal history during a visual or aural encounter, we capture magic sparks from our past, arousing flashes of insight and revealing an inner flare. These instants of recognition may kindle enthralling emotion and fulfilling inspiration. (“Those journeys of love”)

A plan is a real thing, and things projected are experienced. A plan once made and visualized becomes reality along with other realities—never to be destroyed but easily to be attacked.

Just trying to get a visual of you on the beach in Spain… How's that working out for you? Pretty spiffy. Spiffy? Did you just say spiffy? I typed it actually. You got something against spiffy?

All incidents which we experience are warily interpreted and translated in the dark chamber of our mind. They inspire us how to behave, how to think, how to act and prompt our predilections and our way of visualizing the world. The mind opens itself then to welcome the enchantments of life or to tear up destructive thinking patterns. The brain becomes truly a precious resilient partner. ( "Camera obscura of the mind" )

Typography is the craft of endowing human language with a durable visual form.

Don’t try to visualize the great mass audience. There is no such audience—every reader is a different person.

He stood staring into the wood for a minute, then said: "What is it about the English countryside — why is the beauty so much more than visual? Why does it touch one so?" He sounded faintly sad. Perhaps he finds beauty saddening — I do myself sometimes. Once when I was quite little I asked father why this was and he explained that it was due to our knowledge of beauty's evanescence, which reminds us that we ourselves shall die. Then he said I was probably too young to understand him; but I understood perfectly.

I like living, breathing better than working...my art is that of living. Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral, it's a sort of constant euphoria.

Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea.

Their presence and attitude remind me of Raffe. He would fit in. It’s easy to visualize him sitting in the booth with that group, drinking and laughing with the gang. Well, the laughing part takes a little imagination, but I’m sure he’s capable of it.

Set your goal free into the universe. Visualize it.

Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.

Standing before her was the eleven-feet tall by fifteen-feet wide masterpiece, encased in a modern steel frame and protected behind glass.

Backlock, a poet blind from his birth, could describe visual objects with accuracy; Professor Sanderson, who was also blind, gave excellent lectures on color, and taught others the theory of ideas which they had and he had not. In the social sphere these gifted ones are mostly women; they can watch a world which they never saw, and estimate forces of which they have only heard. We call it intuition.

I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don't remember how I got into the movie, but it continues to entertain me.

I’m just a visual thinker – that’s all. Pictures instead of words. No big deal.

So you should be able to see them clearly in your imagination. We always find it easier to visualize what we fear; it's what keeps us afraid of the dark." -Virginia Dare.

A human being always acts and feels and performs in accordance with what he imagines to be true about himself and his environment...For imagination sets the goal ‘picture’ which our automatic mechanism works on. We act, or fail to act, not because of ‘will,’ as is so commonly believed, but because of imagination.

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.

When you are truly stunning, gorgeous and beautiful, you won’t have to prove that to anyone visually.

There is nothing around me but money, money, money.

In art, religion, and politics the respect must be mutual, no matter how violent the disagreement.

Even if you find him. Even if he didn't leave you on purpose, he can't possibly live up to the person you've built him into." It's not like the thought hasn't occurred to me. I get that the chances of finding him are small, but the chances of finding him as I remember him are even smaller. But I just keep going back to what my dad always says, about how when you lose something, you have to visualize the last place you had it. And I found―and then lost―so many things in Paris.

Above all else show the data.

You only have control over three things in your life—the thoughts you think, the images you visualize, and the actions you take (your behavior).

Persistent people are able to visualize the idea of light at the end of the tunnel when others can't see it

extreme visual clarity, tunnel vision, diminished sound, and the sense that time is slowing down. this is how the human body reacts to extreme stress.

None of your knowledge, your reading, your connections will be of any use here: two legs suffice, and big eyes to see with. Walk alone, across mountains or through forests. You are nobody to the hills or the thick boughs heavy with greenery. You are no longer a role, or a status, not even an individual, but a body, a body that feels sharp stones on the paths, the caress of long grass and the freshness of the wind. When you walk, the world has neither present nor future: nothing but the cycle of mornings and evenings. Always the same thing to do all day: walk. But the walker who marvels while walking (the blue of the rocks in a July evening light, the silvery green of olive leaves at noon, the violet morning hills) has no past, no plans, no experience. He has within him the eternal child. While walking I am but a simple gaze.

If the statistics are boring, then you've got the wrong numbers.

The written word, obviously, is very inward, and when we're reading, we're thinking. It's a sort of spiritual, meditative activity. When we're looking at visual objects, I think our eyes are obviously directed outward, so there's not as much reflective time. And it's the reflectiveness and the spiritual inwardness about reading that appeals to me.

There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: "honey-colored skin," "thin arms," "brown bobbed hair," "long lashes," "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).

Who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame

Intuition comes in several forms: - a sudden flash of insight, visual or auditory - a predictive dream - a spinal shiver of recognition as something is occurring or told to you - a sense of knowing something already - a sense of deja vu - a snapshot image of a future scene or event - knowledge, perspective or understanding divined from tools which respond to the subconscious mind

The individual member of the social community often receives his information via visual, symbolic channels.” I went back and forth over it, and translated. You know what it means? “People read.

Just as you can pick out the voice of a loved one in the tumult of a noisy room, or spot your child's smile in a sea of faces, intimate connection allows recognition in an all-too-often anonymous world. This sense of connection arises from a special kind of discrimination, a search image that comes from a long time spent looking and listening. Intimacy gives us a different way of seeing, when visual acuity is not enough.

It was a fine thing indeed, Luna thought, being eleven. She loved the symmetry of it, and the lack of symmetry. Eleven was a number that was visually even, but functionally not - it looked one way and behaved in quite another. Just like most eleven-year-olds, or so she assumed.

Abby must have been the one who found the safe house, because Townsend didn't like it. "The building across the street is under construction," he snarled as soon as we'd carried our bags inside. "The elevator has key card access, and I've hacked into the surveillance cameras from every system on the block," Abby argued. "We have a three-hundred-sixty-degree visual." "Excellent." Townsend dropped his bag. "Now the circle can see us from every angle." "Don't mind Agent Townsend, girls," Abby told us. "He's a glass-half-empty kind of spy." "Also known as the good kind," he countered. Abby huffed.

I couldn't even think about wanting to be something else; I wouldn't let myself visualize another life. But I wrote because I couldn't stop. It was a release, a mental exercise, a way of keeping sane.

If you want him to do it, you've got to change the picture of the world inside his head.

Rather than being so ready to jump into action to get the things that you want, we say think them into being; see them, visualize them, and expect them—and they will be.

We always attract into our lives whatever we think about most, believe most strongly, expect on the deepest level, and imagine most vividly.

To make the world a better place, see the world as a better place.

There's something fascinating about seeing something you don't like at first but directly know you will love—in time. People are that way, all through life. You come against a personality, and it questions yours. You shy away but know there are gratifying secrets there, and the half-open door is often more exciting than the wide.

There he is, a woman's living, breathing fantasy, doing his slow, cocky turn, spiky black hair, darkly tanned chest, dimpled smile-killer smile-all in the package of Remington Tate. He's perfection itself, and a new surge of hormones sweeps through me as I do what the rest of the crowd does and take in his visual, so blatantly on display in those low riding boxing shorts and so strikingly sexy, he becomes the center of my attention. The center. Of my. World.

Aunt Prue was holding one of the squirrels in her hand, while it sucked ferociously on the end of the dropper. 'And once a day, we have ta clean their little private parts with a Q-tip, so they'll learn ta clean themselves.' That was a visual I didn't need. 'How could you possibly know that?' 'We looked it up on the E-nternet.' Aunt Mercy smiled proudly. I couldn't imagine how my aunts knew anything about the Internet. The Sisters didn't even own a toaster oven. 'How did you get on the Internet?' 'Thelma took us ta the library and Miss Marian helped us. They have computers over there. Did you know that?

Simplicity isn’t just a visual style. It’s not just minimalism or the absence of clutter. It involves digging through the depth of the complexity. To be truly simple, you have to go really deep.

The cold stream of visual impressions failed him now as if the eye were a cup that overflowed and let the rest run down its china walls unrecorded.

Through imagination, we can visualize the uncredited worlds of potential that lie within us.

Doctors don’t seem to realize that most of us are perfectly content not having to visualize ourselves as animated bags of skin filled with obscene glop.

I tried to visualize my jealousy as a yellowy-brown cloud boiling around inside me, then going out through my nose like smoke and turning into a stone and falling down into the ground. That did work a little. But in my visualization a plant covered with poison berries would grow out of the stone, whether I wanted it to or not.

I mean, if 10 years from now, when you are doing something quick and dirty, you suddenly visualize that I am looking over your shoulders and say to yourself "Dijkstra would not have liked this", well, that would be enough immortality for me.

A corpse doesn't need you to remember it. In fact, it doesn't need anything anymore-it's more than happy to lie there and rot away. It is you who needs the corpse. Looking at the body you understand the person is gone, no longer an active player in the game of life. Looking at the body you see yourself, and you know that you, too, will die. The visual is a call to self-awareness. It is the beginning of wisdom.

Art doesn’t give rise to anything in us that isn’t already there. It simply stirs our curious consciousness and sparks a fire that illuminates who we have always wanted to be.

Decide what you want. Believe you can have it. Believe you deserve it and believe it’s possible for you. And then close your eyes and every day for several minutes, and visualize having what you already want, feeling the feelings of already having it. Come out of that and focus on what you’re grateful for already, and really enjoy it. Then go into your day and release it to the Universe and trust that the Universe will figure out how to manifest it. “Jack Canfield

Another mystery of the brain is that it will always choose what is familiar over what is unfamiliar. By visualizing my own future success, I was making this success familiar to my brain. Intention is a funny thing, and whatever the brain puts its intention on is what it sees.

On the single strand of wire strung to bring our house electricity, grackles and starlings neatly punctuated an invisible sentence.

Photography is simultaneously and instantaneously the recognition of a fact and the rigorous organization of visually perceived forms that express and signify that fact

Without enthusiasm then what we have surrounded ourselves with becomes worthless.

But now, by saying what his future was going to be like, he had created it. A plan is a real thing, and things projected are experienced. A plan once made and visualized becomes a along with other realities-never to be destroyed but easily to be attacked.

There are many ways that I have hurt and harmed others, have betrayed or abandoned them, caused them suffering, knowingly or unknowingly, out of my pain, fear, anger, and confusion. Let yourself remember and visualize the ways you have hurt others. See the pain you have caused out of your own fear and confusion. Feel your own sorrow and regret. Sense that finally you can release this burden and ask for forgiveness. Take as much time as you need to picture each memory that still burdens your heart. And then as each person comes to mind, gently say: I ask for your forgiveness, I ask for your forgiveness.

I visualized myself pulling on my mental thinking cap, jamming it down around my ears as I had taught myself to do. It was a tall, conical wizard's model, covered with chemical equations and formulae: a cornucopia of ideas.

I visualize a day when tridents and pentagrams are thrust into the sky from church roofs instead of crosses. I have a legacy to fulfill, and it will be fulfilled.

But since the thing that happened I don't think I've had an emotion that wasn't the visual equivalent of a wet blanket crumpled on the floor.

Taking initiative pays off. It is hard to visualize someone as a leader if she is always waiting to be told what to do.

A picture is truly worth a thousand words and in that single frame, I realized the power that images have, not only catching a fraction of a second, but truly pausing time, pausing my thoughts, and the swirling chaos in my brain.

People have tried to tell us that women aren’t as visual as men. To which, I respond: “Um, have you heard of Pinterest? Because YES WE ARE.

Ang comedy natin, puro slapstick. Ang horror natin, puro visual. I'm sensing a pattern here

What man sees depends both upon what he looks at and also upon what his previous visual-conception experience has taught him to see.

Graphical excellence is that which gives to the viewer the greatest number of ideas in the shortest time with the least ink in the smallest space.

And in the bloodlit dark behind his eyes, silver phosphenes boiled in from the edge of space, hypnagogic images jerking past like a film compiled of random frames. Symbols, figures, faces, a blurred, fragmented mandala of visual information.

Every moment of your life is infinitely creative and the universe is endlessly bountiful. Just put forth a clear enough request, and everything your heart truly desires must come to you.

Myths, whether in written or visual form, serve a vital role of asking unanswerable questions and providing unquestionable answers. Most of us, most of the time, have a low tolerance for ambiguity and uncertainty. We want to reduce the cognitive dissonance of not knowing by filling the gaps with answers. Traditionally, religious myths have served that role, but today — the age of science — science fiction is our mythology.

In reading we must become creators. Once the child has learned to read alone, and can pick up a book without illustrations, he must become a creator, imagining the setting of the story, visualizing the characters, seeing facial expressions, hearing the inflection of voices. The author and the reader "know" each other; they meet on the bridge of words.

In the shop window you have promptly identified the cover with the title you were looking for. Following this visual trail, you have forced your way through the shop past the thick barricade of Books You Haven't Read, which were frowning at you from the tables and shelves, trying to cow you. But you know you must never allow yourself to be awed, that among them there extend for acres and acres the Books You Needn't Read, the Books Made For Purposes Other Than Reading, Books Read Even Before You Open Them Since They Belong To The Category Of Books Read Before Being Written. And thus you pass the outer girdle of ramparts, but then you are attacked by the infantry of the Books That If You Had More Than One Life You Would Certainly Also Read But Unfortunately Your Days Are Numbered. With a rapid maneuver you bypass them and move into the phalanxes of the Books You Mean To Read But There Are Others You Must Read First, the Books Too Expensive Now And You'll Wait Till They're Remaindered, the Books ditto When They Come Out In Paperback, Books You Can Borrow From Somebody, Books That Everybody's Read So It's As If You Had Read Them, Too. Eluding these assaults, you come up beneath the towers of the fortress, where other troops are holding out: the Books You've Been Planning To Read For Ages, the Books You've Been Hunting For Years Without Success, the Books Dealing With Something You're Working On At The Moment, the Books You Want To Own So They'll Be Handy Just In Case, the Books You Could Put Aside Maybe To Read This Summer, the Books You Need To Go With Other Books On Your Shelves, the Books That Fill You With Sudden, Inexplicable Curiosity, Not Easily Justified, Now you have been able to reduce the countless embattled troops to an array that is, to be sure, very large but still calculable in a finite number; but this relative relief is then undermined by the ambush of the Books Read Long Ago Which It's Now Time To Reread and the Books You've Always Pretended To Have Read And Now It's Time To Sit Down And Really Read Them.

In this lifetime we are like Superman who must remain disguised as the nerdy newspaper journalist Clark Kent, or Harry Potter and his friends who are not allowed to do magic while they are on holiday, away from Hogwarts School of Witchcraft and Wizardry... but even Harry Potter and Clark Kent get to tap into their ‘special powers’ once in a while, especially when the going gets tough.

At a certain point, an eating disorder ceases to be "about" any one thing. It stops being about your family, or your culture. Very simply, it becomes an addiction not only emotionally but also chemically. And it becomes a crusade. If you are honest with yourself, you stop believing that anyone could "make" you do such a thing— who, your parents? They want you to starve to death? Not likely. Your environment? It couldn't careless. You are also doing it for yourself. It is a shortcut to something many women without an eating disorder have gotten: respect and power. It is a visual temper tantrum. You are making an ineffective statement about this and that, a grotesque, self-defeating mockery of cultural standards of beauty, societal misogyny. It is a blow to your parents, at whom you are pissed. And it is so very seductive. It is so reassuring, so all-consuming, so entertaining. At first.

think you’re emotionally compromised right now.” That was … that was so completely not true. Stupid humans. Sure, I’d had an emotional breakdown with the whole evisceration thing, but I was fine now, despite the drop in performance reliability. Absolutely fine. And I had to kill the rest of the Targets in the extremely painful ways I’d been visualizing.

There was a beauty in the trash of the alleys which I had never noticed before; my vision seemed sharpened, rather than impaired. As I walked along it seemed to me that the flattened beer cans and papers and weeds and junk mail had been arranged by the wind into patterns; these patterns, when I scrutinized them, lay distributed so as to comprise a visual language.

I think the beauty industry is responsible for some of the worst ugliness we see around us in our visual environment, and the worst, most false aesthetic ideal, which is the ideal of consumerism.

Everything we draw into our life is a mirror of our thought patterns and beliefs. In a way, we can control the outcome of our future just by thinking more positively and visualizing only the things we want for ourselves.

Anatomists today would be hard put to identify the brain of a visual artist, a writer or a mathematician - but they would recognize the brain of a professional musician without moment's hesitation.

Days of slow walking are very long: they make you live longer, because you have allowed every hour, every minute, every second to breathe, to deepen, instead of filling them up by straining the joints…

I'd heard that if you saw a Reaper, you saw what you expected to see, what you thought the agents of Death would look like. Personally, I wanted to see little, fuzzy pink bunnies, but apparently my subconscious visualized tall, scary, and skeletal. My subconscious and I needed to have a long talk.

Over the last forty years, many educators, decision-makers, and even some parents have come to regard the arts as peripheral, and let’s face it, frivolous—especially the visual arts, with their connotation of ”the starving artist” and the mistaken concept of necessary talent

I love the way words and pictures work together on a page. I have also noticed how when wise words have visuals added to them, they seem to travel further online, like paper aeroplanes catching an updraught.

culture comes into play at precisely the point where biological individuals become subjects, and that what lies between the two is not some automatically constituted ‘natural’ process of socialization but much more complex processes of formation

[Slitscan's audience] is best visualized as a vicious, lazy, profoundly ignorant, perpetually hungry organism craving the warm god-flesh of the anointed. Personally I like to imagine something the size of a baby hippo, the color of a week-old boiled potato, that lives by itself, in the dark, in a double-wide on the outskirts of Topeka. It's covered with eyes and it sweats constantly. The sweat runs into those eyes and makes them sting. It has no mouth, Laney, no genitals, and can only express its mute extremes of murderous rage and infantile desire by changing the channels on a universal remote. Or by voting in presidential elections.

Annabel was, like the writer, of mixed parentage: half-English, half-Dutch, in her case. I remember her features far less distinctly today than I did a few years ago, before I knew Lolita. There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: "honey-colored skin," "thin arms," "brown bobbed hair," "long lashes," "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).

I do not forget that my voice is but one voice, my experience a mere drop in the sea, my knowledge no greater than the visual field in a microscope, my mind's eye a mirror that reflects a small concern of the world, and my ideas - a subjective confession.

I visualize myself winning the Olympic Pentathlon, inventing a phone that can be controlled by brain waves, or doing the laundry. I do not actually DO these things, but I see myself doing them, and that is almost MORE satisfying, because I am also lying down.

That it doesn’t strike us at all when we look around us, move about in space, feel our own bodies, etc. etc., shows how natural these things are to us. We do not notice that we see space perspectivally or that our visual field is in some sense blurred towards the edges. It doesn’t strike us and never can strike us because it is the way we perceive. We never give it a thought and it’s impossible we should, since there is nothing that contrasts with the form of our world.What I wanted to say is it’s strange that those who ascribe reality only to things and not to our ideas move about so unquestioningly in the world as idea and never long to escape from it.

My optimism and confidence come not from feeling I'm luckier than other mortals, and they sure don't come from visualizing victory. They're the result of a lifetime spent visualizing defeat and figuring out how to prevent it. Like most astronauts, I'm pretty sure that I can deal with what life throws at me because I've thought about what to do if things go wrong, as well as right. That's the power of negative thinking.

There is no mystery in this association of woods and otherworlds, for as anyone who has walked the woods knows, they are places of correspondence, of call and answer. Visual affinities of color, relief and texture abound. A fallen branch echoes the deltoid form of a streambed into which it has come to rest. Chrome yellow autumn elm leaves find their color rhyme in the eye-ring of the blackbird. Different aspects of the forest link unexpectedly with each other, and so it is that within the stories, different times and worlds can be joined.

6.4311 Der Tod ist kein Ereignis des Lebens. Den Tod erlebt man nicht. Wenn man unter Ewigkeit nicht unendliche Zeitdauer, sondern Unzeitlichkeit versteht, dann lebt der ewig, der in der Gegenwart lebt. Unser Leben ist ebenso endlos, wie unser Gesichtsfeld grenzenlos ist. 6.4311 Death is not an event of life. Death is not lived through. If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present. Our life is endless in the way that our visual field is without limit.

Walking around, even on a bad day, I would see things – I mean just the things that were in front of me. People’s faces, the weather, traffic. The smell of petrol from the garage, the feeling of being rained on, completely ordinary things. And in that way even the bad days were good, because I felt them and remembered feeling them. There was something delicate about living like that – like I was an instrument and the world touched me and reverberated inside me. After a couple of months, I started to miss days. Sometimes I would fall asleep without remembering to write anything, but then other nights I’d open the book and not know what to write – I wouldn’t be able to think of anything at all. When I did make entries, they were increasingly verbal and abstract: song titles, or quotes from novels, or text messages from friends. By spring I couldn’t keep it up anymore. I started to put the diary away for weeks at a time – it was just a cheap black notebook I got at work – and then eventually I’d take it back out to look at the entries from the previous year. At that point, I found it impossible to imagine ever feeling again as I had apparently once felt about rain or flowers. It wasn’t just that I failed to be delighted by sensory experiences – it was that I didn’t actually seem to have them anymore. I would walk to work or go out for groceries or whatever and by the time I came home again I wouldn’t be able to remember seeing or hearing anything distinctive at all. I suppose I was seeing but not looking – the visual world just came to me flat, like a catalogue of information. I never looked at things anymore, in the way I had before.

It is tempting to write the history of technology through products: the wheel; the microscope; the airplane; the Internet. But it is more illuminating to write the history of technology through transitions: linear motion to circular motion; visual space to subvisual space; motion on land to motion on air; physical connectivity to virtual connectivity.

What do I know about God and the purpose of life? I know that this world exists. That I am placed in it like my eye in its visual field. That something about it is problematic, which we call its meaning. This meaning does not lie in it but outside of it. That life is the world. That my will penetrates the world. That my will is good or evil. Therefore that good and evil are somehow connected with the meaning of the world.The meaning of life, i.e. the meaning of the world, we can call God. And connect with this the comparison of God to a father.

That’s a well-thought out layout,” Caldenia said. “But why pink marble?” She waved at the ceiling. “Pink marble, white ceiling, golden accents… With the electric lighting it will turn into this ghastly orange.” “I had one chance to impress the Arbiter and I had to improvise.” Caldenia arched one eyebrow. “I saw it in a movie once,” I explained. “It was easy to visualize.” “Was it a movie for adults?” “It had a talking candelabra who was friends with a grumpy clock.” “I see.

Things used to be, now they not anything but us is who we are disguising ourselves as secret lovers we've become public enemies we walk away like strangers in the street gone for eternity we erased one another so far from where we came with so much of everything, how do we leave with nothing lack of visual empathy equates the meaning of L-O-V-E hatred and attitude tear us entirely

Sometimes I come to hate people because they can’t see where I am. I’ve gone empty, completely empty and all they see is the visual form: my arms and legs, my face, my height and posture, the sounds that come from my throat. But I’m fucking empty. The person I was just one year ago no longer exists, drifts spinning slowly into the ether somewhere way back there.

When I can’t sleep, I think about the transparent glass box that is still stirring with life even in the darkness of night. That pristine aquarium is still operating like clockwork. As I visualize the scene, the sounds of the store reverberate in my eardrums and lull me to sleep.

Had she insight, could she have pierced the barriers of her highly selective, insular world, she may have discovered that all her life she had been with a visual defect which had gone unnoticed and neglected by herself and by those closest to her: she was born color blind.

There is an impression abroad that literary folk are fast readers. Wine tasters are not heavy drinkers. Literary people read slowly because they sample the complex dimensions and flavors of words and phrases. They strive for totality not lineality. They are well aware that the words on the page have to be decanted with the utmost skill. Those who imagine they read only for "content" are illusioned.

Women’s bodies are so often under the purview of men, whether it’s our reproductive organs, our sexuality, our weight, our manner of dress. There is a freedom found in decomposition, a body rendered messy, chaotic, and wild. I relish this image when visualizing what will become of my future corpse.

The word “autism” still conveys a fixed and dreadful meaning to most people—they visualize a child mute, rocking, screaming, inaccessible, cut off from human contact. And we almost always speak of autistic children, never of autistic adults, as if such children never grew up, or were somehow mysteriously spirited off the planet, out of society.

When I was young it was impossible for me to talk to people. Now I can stand in front of three thousand people without any notes, any preconception of what I’m going to say, even without visual material, and I can look at everyone in the audience and talk for two hours easily. What happened? Art happened.

Now, I know some women have issues with their bodies. Maybe you've got a little extra junk in the trunk? Get over it. Doesn't matter. Naked kicks Modest's ass every single time. Men are visual. We wouldn't be fucking you if we didn't want to look at you. You can write that down if you like.

It’s the age-old concept of like attracts like, or the law of attraction. You get back what you put out, so you might as well think positively, focus on visualizing what you want instead of getting distracted by what you don’t want, and send the universe your good intentions so that it can send them right back.

In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its phantasy on to the female form which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness.

I'm extremely profane, unconsciously so, when I see something great for the first time; I don't know why, but beauty and profanity are related to me in the same way. It may be that I want to think of art in the vernacular, but I have no control over what comes out of my mouth when my eyes take in great beauty...it might just be the reason I avoid going to museums with elderly ladies.

They say a man's inspiration is visual, but for a woman, it's the narrative. Abandon both the narrative and the visual. Close your eyes, measure your breath. Dead weight is sloughed off, dust swept away, forms dissolve into one atmosphere. The rib cage opens, the lungs fill, the breast rises. Waves sweep up the body on their swell, rocking it rhythmically. Feet planted, the back arches, the pelvis reaches forward. Oxygen kindles a flame, sprawling through the belly, and gathering in a warm blaze. The hand reaches to meet the sensation. Calligraphy spills from the inkwell. Open your eyes, sharpen your focus, and exclaim: There are no separations.

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.

The hallmarks of a potentially successful copywriter include: Obsessive curiosity about products, people and advertising. A sense of humor. A habit of hard work. The ability to write interesting prose for printed media, and natural dialogue for television. The ability to think visually. Television commercials depend more on pictures than words. The ambition to write better campaigns than anyone has ever written before.

I take a few breaths to calm myself, step back, and lift Buttercup by the scruff of the neck. 'I should have drowned you when I had the chance.' His ears flatten and he raises a paw. I hiss before he gets a chance, which seems to annoy him a little, since he considers hissing his own personal sound of contempt. In retaliation, he gives a helpless kitten mew that brings my sister immediately to his defense. 'Oh, Katniss, don't tease him,' she says, folding him back in her arms. 'He's already so upset.' The idea that I've wounded the brute's tiny cat feelings just invites further taunting. But Prim's genuinely distressed for him. So instead, I visualize Buttercup's fur lining a pair of gloves, an image that has helped me deal with him over the years.

That's when I saw you, really saw you for the first time. I didn't intend to look at you, it just happened. It was like those pictures, you know, those optical illusions. You can gaze at them forever and see only one thing. Then when you relax your eyes for just a moment, another picture magically appears. The funny thing with that kind of visual trick it that it's really hard to go back to seeing the original picture once you've seen the new one.

Think of negative speech as verbal pollution. And that's what I've been doing: visualizing insults and gossip as a dark cloud, maybe one with some sulfur dioxide. Once you've belched it out, you can't take it back. As grandma said, if you don't have anything nice to say, don't say anything at all. The interesting this is, the less often I vocalize my negative thoughts, the fewer negative thoughts I cook up in the first place.

While all doctors treat diseases, neurosurgeons work in the crucible of identity: every operation on the brain is, by necessity, a manipulation of the substance of our selves, and every conversation with a patient undergoing brain surgery cannot help but confront this fact. In addition, to the patient and family, the brain surgery is usually the most dramatic event they have ever faced and, as such, has the impact of any major life event. At those critical junctures, the question is not simply whether to live or die but what kind of life is worth living. Would you trade your ability - or your mother's - to talk for a few extra months of mute life? The expansion of your visual blind spot in exchange for eliminating the small possibility of a fatal brain hemorrhage? Your right hand's function to stop seizures? How much neurologic suffering would you let your child endure before saying that death is preferable? Because the brain mediates our experience of the world, any neurosurgical problem forces a patient and family, ideally with a doctor as a guide, to answer this question: What makes life meaningful enough to go on living?

The man who never weakens when things are against him will grow stronger and stronger until all things will delight to be for him. He will finally have all the strength he may desire or need. Be always strong and you will always be stronger.Picture in your mind your own best idea of what a strong, well-developed individuality would necessarily be, and then think of yourself as becoming more and more like that picture. In this connection it is well to remember that we gradually grow into the likeness of that which we think of the most. Therefore, if you have a very clear idea of a highly developed individuality, and think a great deal of that individuality with a strong, positive desire to develop such an individuality, you will gradually and surely move towards that lofty ideal.

The symptomatology of PTSD. In PTSD a traumatic event is not remembered and relegated to one's past in the same way as other life events. Trauma continues to intrude with visual, auditory, and/or other somatic reality on the lives of its victims. Again and again they relieve the life-threatening experiences they suffered, reacting in mind and body as though such events were still occurring. PTSD is a complex psychobiological condition.

A word about my personal philosophy. It is anchored in optimism. It must be, for optimism brings with it hope, a future with a purpose, and therefore, a will to fight for a better world. Without this optimism, there is no reason to carry on. If we think of the struggle as aclimb up a mountain, then we must visualize a mountain with no top. We see a top, but when we finall yreach it, the overcast rises and we find ourselves merely on a bluff. The mountain continues on up. Now we see the "real" top ahead of us, and strive for it, only to find we've reached another bluff, the top still above us. And so it goes on, interminably. Knowing that the mountain has no top, that it is a perpetual quest from plateau to plateau, the question arises, "Why the struggle, the conflict, the heartbreak, the danger, the sacrifice. Why the constant climb?" Our answer is the same as that which a real mountain climber gives when he is asked why he does what he does. "Because it's there." Because life is there ahead of you and either one tests oneself in its challenges or huddles in the valleys of a dreamless day-to-day existence whose only purpose is the preservation of a illusory security and safety. The latter is what the vast majority of people choose to do, fearing the adventure into the known. Paradocically, they give up the dream of what may lie ahead on the heighs of tomorrow for a perpetual nightmare - an endless succession of days fearing the loss of a tenuous security.

[Patricia Greenfield] concluded that “every medium develops some cognitive skills at the expense of others.” Our growing use of the Net and other screen-based technologies has led to the “widespread and sophisticated development of visual-spatial skills.” We can, for example, rotate objects in our minds better than we used to be able to. But our “new strengths in visual-spatial intelligence” go hand in hand with a weakening of our capacities for the kind of “deep processing” that underpins “mindful knowledge acquisition, inductive analysis, critical thinking, imagination, and reflection.

The eastern sky was red as coals in a forge, lighting up the flats along the river. Dew had wet the million needles of the chaparral, and when the rim of the sun edged over the horizon the chaparral seemed to be spotted with diamonds. A bush in the backyard was filled with little rainbows as the sun touched the dew. It was tribute enough to sunup that it could make even chaparral bushes look beautiful, Augustus thought, and he watched the process happily, knowing it would only last a few minutes. The sun spread reddish-gold light through the shining bushes, among which a few goats wandered, bleating. Even when the sun rose above the low bluffs to the south, a layer of light lingered for a bit at the level of the chaparral, as if independent of its source. The the sun lifted clear, like an immense coin. The dew quickly died, and the light that filled the bushes like red dirt dispersed, leaving clear, slightly bluish air. It was good reading light by then, so Augustus applied himself for a few minutes to the Prophets. He was not overly religious, but he did consider himself a fair prophet and liked to study the styles of his predecessors. They were mostly too long-winded, in his view, and he made no effort to read them verse for verse—he just had a look here and there, while the biscuits were browning.

That’s how I approach just about everything. I spend my life getting ready to play “Rocket Man.” I picture the most demanding challenge; I visualize what I would need to know how to do to meet it; then I practice until I reach a level of competence where I’m comfortable that I’ll be able to perform. It’s what I’ve always done, ever since I decided I wanted to be an astronaut in 1969, and that conscious, methodical approach to preparation is the main reason I got to Houston. I never stopped getting ready. Just in case.

Perception requires imagination because the data people encounter in their lives are never complete and always equivocal. For example, most people consider that the greatest evidence of an event one can obtain is to see it with their own eyes, and in a court of law little is held in more esteem than eyewitness testimony. Yet if you asked to display for a court a video of the same quality as the unprocessed data catptured on the retina of a human eye, the judge might wonder what you were tryig to put over. For one thing, the view will have a blind spot where the optic nerve attaches to the retina. Moreover, the only part of our field of vision with good resolution is a narrow area of about 1 degree of visual angle around the retina’s center, an area the width of our thumb as it looks when held at arm’s length. Outside that region, resolution drops off sharply. To compensate, we constantly move our eyes to bring the sharper region to bear on different portions of the scene we wish to observe. And so the pattern of raw data sent to the brain is a shaky, badly pixilated picture with a hole in it. Fortunately the brain processes the data, combining input from both eyes, filling in gaps on the assumption that the visual properties of neighboring locations are similar and interpolating. The result - at least until age, injury, disease, or an excess of mai tais takes its toll - is a happy human being suffering from the compelling illusion that his or her vision is sharp and clear. We also use our imagination and take shortcuts to fill gaps in patterns of nonvisual data. As with visual input, we draw conclusions and make judgments based on uncertain and incomplete information, and we conclude, when we are done analyzing the patterns, that out “picture” is clear and accurate. But is it?

There are objects made up of two sense elements, one visual, the other auditory—the colour of a sunrise and the distant call of a bird. Other objects are made up of many elements—the sun, the water against the swimmer's chest, the vague quivering pink which one sees when the eyes are closed, the feeling of being swept away by a river or by sleep. These second degree objects can be combined with others; using certain abbreviations, the process is practically an infinite one. There are famous poems made up of one enormous word, a word which in truth forms a poetic object, the creation of the writer. The fact that no one believes that nouns refer to an actual reality means, paradoxically enough, that there is no limit to the numbers of them.

For each visual input, it takes a tiny but perceptible amount of time—about two hundred milliseconds, one-fifth of a second—for the information to travel along the optic nerves and into the brain to be processed and interpreted. One-fifth of a second is not a trivial span of time when a rapid response is required—to step back from an oncoming car, say, or to avoid a blow to the head. To help us deal better with this fractional lag, the brain does a truly extraordinary thing: it continuously forecasts what the world will be like a fifth of a second from now, and that is what it gives us as the present. That means that we never see the world as it is at this very instant, but rather as it will be a fraction of a moment in the future. We spend our whole lives, in other words, living in a world that doesn’t quite exist yet.

I have come more and more to the belief that we owe our arts a thousand times what we are paying them. We support our cigarette factories, soap manufacturers, beauticians, all the luxury and pleasure businesses of our over-indulged civilization, but we pay our painters an average wage... and yet when the future digs us from the past they won't care how we smell, what we smoke, or if we bathed. All they’ll know of us will be our architecture, our paintings, sculpture, poems, laws, philosophy, drama, our pottery and fabrics, the things which our hands made and our minds thought up - oh, the machines they’ll dig up too, but perhaps they’ll point to them as our destruction, the wheels that drove us down to death.

I love the inconvenience the same way that I sneakingly love a bad cold: the irresistible disruption to mundane life, forcing you to stop for a while and step outside your normal habits. I love the visual transformation it brings about, that recolouring of the world into sparkling white, the way that the rules change so that everybody says hello as they pass. I love what it does to the light, the purplish clouds that loom before it descends, and the way it announces itself from behind your curtains in the morning, glowing a diffuse whiteness that can only mean snow. Heading out in a snowstorm to catch the flakes on my gloves, I love the feeling of it fresh underfoot. I am rarely childlike and playful except in snow. It swings me into reverse gear.

We all have blind spots in our knowledge and opinions. The bad news is that they can leave us blind to our blindness, which gives us false confidence in our judgment and prevents us from rethinking. The good news is that with the right kind of confidence, we can learn to see ourselves more clearly and update our views. In driver’s training we were taught to identify our visual blind spots and eliminate them with the help of mirrors and sensors. In life, since our minds don’t come equipped with those tools, we need to learn to recognize our cognitive blind spots and revise our thinking accordingly.

Didn't you have some big deal last night?" Peabody asked her. "Yeah, in East Washington. Roarke had this dinner / dance thing for some fancy charity. Save the moles or something. Enough food to feed every sidewalk sleeper on the Lower East Side for a year." "Gee, that's tough on you. I bet you had to get all dressed up in some beautiful gown, shuttle down on Roarke's private transpo, and choke down champagne." Eve only lifted a brow at Peabody's dust-dry tone. "Yeah, that's about it." They both knew the glamorous side of Eve's life since Roarke had come into it was both a puzzlement and a frustration to her. "And then I had to dance with Roarke. A lot." "Was he wearing a tux?" Peabody had seen Roarke in a tux. The image of it was etched in her mind like acid on glass. "Oh yeah." Until, Eve mused, they'd gotten home and she'd ripped it off of him. He looked every bit as good out of a tux as in one. "Man." Peabody closed her eyes, indulged herself with a visualization technique she'd learned at her Free-Ager parents' knees. "Man," she repeated. "You know, a lot of women would get pissed off at having their husband star in their aide's purient little fantasies." "But you're bigger than that, Lieutenant. I like that about you.

But I'm... How can I... No hand, no visual sensor, humongous landing gear... Are those supposed to be my feet?" " Well, no. It's supposed to be landing gear." "Oh, what's become of me? I'm hideous!" "Now hold on just a minute there, Miss disembodied voice." Throne strode into the engine room and crossed his arms. "What do you mean 'hideous'?" "Who's that? Who's speaking?" "I am Captain Carswell Thorne, the owner of this fine ship and I will not stand to have her insulted in my presence!" Cinder rolled her eyes. "Captain Carswell Thorne?" "That's right." A brief silence, "My net search is finding only Cadet Carswell Thorne." "That's him." Said Cinder Another silence as the heat in the engine room rose. "You're rather handsome, Captain" "And you my fine lady, are the most gorgeous ship in these skies, and don't let anyone tell you other wise." "Iko, are you intentionally blushing?" "But am I really pretty? Even as a ship?" "The prettiest.

At those critical junctures, the question is not simply whether to live or die but what kind of life is worth living. Would you trade your ability--or your mother's--to talk for a few extra months of mute life? The expansion of your visual blind spot in exchange for the small possibility of a fatal brain hemorrhage? Your right hand's function to stop seizures? How much neurological suffering would you let your child endure before saying that death is preferable? Because the brain mediates our experience of the world, any neurosurgical problem forces a patient, and family, ideally with a doctor as a guide, to answer this question: What makes life meaningful enough to go on living?

Music is a complete evocation – like a smell. It can bring an entire memory and feeling back to you in a rush. Much more complete than even a photograph. You allow yourself a certain visual distance with photos – not music. It envelopes you – there’s no way to escape it. It’s a great test of sensitivity – the degree of reaction to music. I use it all the time. I call it my ‘Music Test.’ People today don’t want to hear the truth. They’re really afraid of tranquility and silence – they’re afraid they might begin to understand their own motivations too well. They keep a steady stream of noise going to protect themselves, to build a wall against the truth. Like African natives, beating on their drums, rattling their gourds, shaking the bells to scare off evil spirits. As long as there’s enough noise, there’s nothing to fear – or hear. But they will listen. Times are changing.

You never answered," he said. "You got the hots for me, or not?" His dark eyes lit up with a smile. Squaring her shoulders, Holiday started talking. "Della assumed I might have the hots for you. And you know what they say about assuming, right?" “It makes an ass out of you and me," Della answered, and gave Kylie the elbow. "Get it. A.S.S.U.M.E." Holiday cut her eyes to Della in visual reprimand, then started walking away. She got three steps and swung back around. "Are you coming?" she snapped at Burnett. "You didn't ask me to," He answered. "Well, I assumed you would know I needed to discuss what happened." He arched one dark brow upward. "And what did you just about assuming?

We have a bad habit of seeing books as sort of cheaply made movies where the words do nothing but create visual narratives in our heads. So too often what passes for literary criticism is "I couldn't picture that guy", or "I liked that part", or "this part shouldn't have happened." That is, we've left language so far behind that sometimes we judge quality solely based on a story's actions. So we can appreciate a novel that constructs its conflicts primarily through plot - the layered ambiguity of a fatal car accident caused by a vehicle owned by Gatsby but driven by someone else, for instance. But in this image-drenched world, sometimes we struggle to appreciate and celebrate books where the quality arises not exclusively from plot but also from the language itself.

On a long flight, after periods of crisis and many hours of fatigue, mind and body may become disunited until at times they seem completely different elements, as though the body were only a home with which the mind has been associated but by no means bound. Consciousness grows independent of the ordinary senses. You see without assistance from the eyes, over distances beyond the visual horizon. There are moments when existence appears independent even of the mind. The importance of physical desire and immediate surroundings is submerged in the apprehension of universal values. For unmeasurable periods, I seem divorced from my body, as though I were an awareness spreading out through space, over the earth and into the heavens, unhampered by time or substance, free from the gravitation that binds to heavy human problems of the world. My body requires no attention. It's not hungry. It's neither warm or cold. It's resigned to being left undisturbed. Why have I troubled to bring it here? I might better have left it back at Long Island or St. Louis, while the weightless element that has lived within it flashes through the skies and views the planet. This essential consciousness needs no body for its travels. It needs no plane, no engine, no instruments, only the release from flesh which circumstances I've gone through make possible. Then what am I – the body substance which I can see with my eyes and feel with my hands? Or am I this realization, this greater understanding which dwells within it, yet expands through the universe outside; a part of all existence, powerless but without need for power; immersed in solitude, yet in contact with all creation? There are moments when the two appear inseparable, and others when they could be cut apart by the merest flash of light. While my hand is on the stick, my feet on the rudder, and my eyes on the compass, this consciousness, like a winged messenger, goes out to visit the waves below, testing the warmth of water, the speed of wind, the thickness of intervening clouds. It goes north to the glacial coasts of Greenland, over the horizon to the edge of dawn, ahead to Ireland, England, and the continent of Europe, away through space to the moon and stars, always returning, unwillingly, to the mortal duty of seeing that the limbs and muscles have attended their routine while it was gone.

In the age of Facebook and Instagram you can observe this myth-making process more clearly than ever before, because some of it has been outsourced from the mind to the computer. It is fascinating and terrifying to behold people who spend countless hours constructing and embellishing a perfect self online, becoming attached to their own creation, and mistaking it for the truth about themselves.20 That’s how a family holiday fraught with traffic jams, petty squabbles and tense silences becomes a collection of beautiful panoramas, perfect dinners and smiling faces; 99 per cent of what we experience never becomes part of the story of the self. It is particularly noteworthy that our fantasy self tends to be very visual, whereas our actual experiences are corporeal. In the fantasy, you observe a scene in your mind’s eye or on the computer screen. You see yourself standing on a tropical beach, the blue sea behind you, a big smile on your face, one hand holding a cocktail, the other arm around your lover’s waist. Paradise. What the picture does not show is the annoying fly that bites your leg, the cramped feeling in your stomach from eating that rotten fish soup, the tension in your jaw as you fake a big smile, and the ugly fight the happy couple had five minutes ago. If we could only feel what the people in the photos felt while taking them! Hence if you really want to understand yourself, you should not identify with your Facebook account or with the inner story of the self. Instead, you should observe the actual flow of body and mind. You will see thoughts, emotions and desires appear and disappear without much reason and without any command from you, just as different winds blow from this or that direction and mess up your hair. And just as you are not the winds, so also you are not the jumble of thoughts, emotions and desires you experience, and you are certainly not the sanitised story you tell about them with hindsight. You experience all of them, but you don’t control them, you don’t own them, and you are not them. People ask ‘Who am I?’ and expect to be told a story. The first thing you need to know about yourself, is that you are not a story.

At this moment, in this place, the shifting action potential in my neurons cascade into certain arrangements, patterns, thoughts; they flow down my spine, branch into my arms, my fingers, until muscles twitch and thought is translated into motion; mechanical levers are pressed; electrons are rearranged; marks are made on paper. At another time, in another place, light strikes the marks, reflects into a pair of high-precision optical instruments sculpted by nature after billions of years of random mutations; upside-down images are formed against two screens made up of millions of light-sensitive cells, which translate light into electrical pulses that go up the optic nerves, cross the chiasm, down the optic tracts, and into the visual cortex, where the pulses are reassembled into letters, punctuation marks, words, sentences, vehicles, tenors, thoughts. The entire system seems fragile, preposterous, science fictional.

With the industrial proliferation of visual and audiovisual prostheses and unrestrained use of instantaneous-transmission equipment from earliest childhood onwards, we now routinely see the encoding of increasingly elaborate mental images together with a steady decline in retention rates and recall. In other words we are looking at the rapid collapse of mnemonic consolidation. This collapse seems only natural, if one remembers a contrario that seeing, and its spatio-temporal organization, precede gesture and speech and their coordination in knowing, recognizing, making known (as images of our thoughts), our thoughts themselves and cognitive functions, which are never ever passive.

The acceptance of woman as object of the desiring male gaze in the visual arts is so universal that for a woman to question or draw attention to this fact is to invite derision, to reveal herself as one who does not understand the sophisticated strategies of high culture and takes art "too literally," and is therefore unable to respond to aesthetic discourses. This is of course maintained within a world - a cultural and academic world - which is dominated by male power and, often unconscious, patriarchal attitudes. In Utopia - that is to say, in a world in which the power structure was such that both men and women equally could be represented clothed or unclothed in a variety of poses and positions without any subconscious implications of dominance or submission - in a world of total and, so to speak, unconscious equality, the female nude would not be problematic. In our world, it is.

In April 2017, a confidential document is leaked that reveals Facebook is offering advertisers the opportunity to target thirteen-to-seventeen-year-olds across its platforms, including Instagram, during moments of psychological vulnerability when they feel “worthless,” “insecure,” “stressed,” “defeated,” “anxious,” “stupid,” “useless,” and “like a failure.” Or to target them when they’re worried about their bodies and thinking of losing weight. Basically, when a teen is in a fragile emotional state. Facebook’s advertising team had made this presentation for an Australian client that explains that Instagram and Facebook monitor teenagers’ posts, photos, interactions, conversations with friends, visual communications, and internet activity on and off Facebook’s platforms and use this data to target young people when they’re vulnerable. In addition to the moments of vulnerability listed, Facebook finds moments when teenagers are concerned with “body confidence” and “working out & losing weight.

Do not despise your inner world. That is the first and most general piece of advice I would offer… Our society is very outward-looking, very taken up with the latest new object, the latest piece of gossip, the latest opportunity for self-assertion and status. But we all begin our lives as helpless babies, dependent on others for comfort, food, and survival itself. And even though we develop a degree of mastery and independence, we always remain alarmingly weak and incomplete, dependent on others and on an uncertain world for whatever we are able to achieve. As we grow, we all develop a wide range of emotions responding to this predicament: fear that bad things will happen and that we will be powerless to ward them off; love for those who help and support us; grief when a loved one is lost; hope for good things in the future; anger when someone else damages something we care about. Our emotional life maps our incompleteness: A creature without any needs would never have reasons for fear, or grief, or hope, or anger. But for that very reason we are often ashamed of our emotions, and of the relations of need and dependency bound up with them. Perhaps males, in our society, are especially likely to be ashamed of being incomplete and dependent, because a dominant image of masculinity tells them that they should be self-sufficient and dominant. So people flee from their inner world of feeling, and from articulate mastery of their own emotional experiences. The current psychological literature on the life of boys in America indicates that a large proportion of boys are quite unable to talk about how they feel and how others feel — because they have learned to be ashamed of feelings and needs, and to push them underground. But that means that they don’t know how to deal with their own emotions, or to communicate them to others. When they are frightened, they don’t know how to say it, or even to become fully aware of it. Often they turn their own fear into aggression. Often, too, this lack of a rich inner life catapults them into depression in later life. We are all going to encounter illness, loss, and aging, and we’re not well prepared for these inevitable events by a culture that directs us to think of externals only, and to measure ourselves in terms of our possessions of externals. What is the remedy of these ills? A kind of self-love that does not shrink from the needy and incomplete parts of the self, but accepts those with interest and curiosity, and tries to develop a language with which to talk about needs and feelings. Storytelling plays a big role in the process of development. As we tell stories about the lives of others, we learn how to imagine what another creature might feel in response to various events. At the same time, we identify with the other creature and learn something about ourselves. As we grow older, we encounter more and more complex stories — in literature, film, visual art, music — that give us a richer and more subtle grasp of human emotions and of our own inner world. So my second piece of advice, closely related to the first, is: Read a lot of stories, listen to a lot of music, and think about what the stories you encounter mean for your own life and lives of those you love. In that way, you will not be alone with an empty self; you will have a newly rich life with yourself, and enhanced possibilities of real communication with others.

I know we agree that civilisation is presently in its decadent declining phase, and that lurid ugliness is the predominant visual feature of modern life. Cars are ugly, buildings are ugly, mass-produced disposable consumer goods are unspeakably ugly. The air we breathe is toxic, the water we drink is full of microplastics, and our food is contaminated by cancerous Teflon chemicals. Our quality of life is in decline, and along with it, the quality of aesthetic experience available to us. The contemporary novel is (with very few exceptions) irrelevant; mainstream cinema is family-friendly nightmare porn funded by car companies and the US Department of Defense; and visual art is primarily a commodity market for oligarchs. It is hard in these circumstances not to feel that modern living compares poorly with the old ways of life, which have come to represent something more substantial, more connected to the essence of the human condition.

I think of Krishna and his deep blue eyes. It is said, in the hidden scriptures in India, that to focus on the eyes of the Lord is the highest spiritual practice a human being can proform. It's suppose to be equal to the greatest act of charity, which Jesus describes in the Bible as sacrificing one's life to save the life of another. The Vedas, the Bible, it's true, they overlap a lot. Maybe gazing into Krishna's eyes... Pain...Pain...Pain... Is equal to Christ's sacrifice. I'm only suffering this pain to protect John. It doesn't matter that he won't see me. I still love him, I will always love him. And in this exquisitely agonizing moment, I realize he refused to see me because he wanted to force me to see him inside. Ah, that's the key! This practice of visualizing that I'm staring into Krishna's blue eyes, I've done it before. But this is the first time I see him staring back at me! The Agony comes, and it does not get transformed into bliss. If anything it is worse than before. Except for one thing. The pain does not obliterate my sense of "I." I'm still Sita, the last vampire.

If you don't make a conscious effort to visualize, who you are and what you want to become in life, then you empower other people and circumstances to shape your journey by default. Your silence makes you reactive vs. proactive. God will bring people in your life that can take you on many different journeys that will bring about different outcomes to your life mission. However, if you are not proactive and define your dreams you will never know where “you” need to be and who needs to be with you to fulfill what God is asking you to do. Your life is your own. You must define your dreams, not live someone else’s vision of a good life. What is it that God is asking you to do with the talents and hobbies you enjoy? What were you blessed with a desire for? A good life is one spent in the service of helping others. Find a life partner that will help you reach God’s highest potential—service to humanity, service to his Kingdom, service to building others up. Also, begin any choice with the end in mind. This means to begin each day with a clear vision of your desired direction. It is not enough to live a passive life of religious devotion. God asked you to do more than worship. He has called you to serve, not to be a servant to other people’s dreams. You and only you know where your heart must travel. God brings you storms in life to wake you up. Don’t see it as his disappointment, but as his parental love for you. Life was not meant to stay the same. If someone truly loves you they will never take you away from God’s plan, they will only magnify it.

Like other kinds of intelligence, the storyteller's is partly natural, partly trained. It is composed of several qualities, most of which, in normal people, are signs of either immaturity or incivility: wit (a tendency to make irreverent connections); obstinacy and a tendency toward churlishness (a refusal to believe what all sensible people know is true); childishness (an apparent lack of mental focus and serious life purpose, a fondness for daydreaming and telling pointless lies, a lack of proper respect, mischievousness, an unseemly propensity for crying over nothing); a marked tendency toward oral or anal fixation or both (the oral manifested by excessive eating, drinking, smoking, and chattering; the anal by nervous cleanliness and neatness coupled with a weird fascination with dirty jokes); remarkable powers of eidetic recall, or visual memory (a usual feature of early adolescence and mental retardation); a strange admixture of shameless playfulness and embarrassing earnestness, the latter often heightened by irrationally intense feelings for or against religion; patience like a cat's; a criminal streak of cunning; psychological instability; recklessness, impulsiveness, and improvidence; and finally, an inexplicable and incurable addiction to stories, written or oral, bad or good.

We are not great connoisseurs of the two twilights. We miss the dawning, exclusably enough, by sleeping through it, and are as much strangers to the shadowless welling-up of day as to the hesitant return of consciousness in our slowly waking selves. But our obliviousness to evening twilight is less understandable. Why do we almost daily ignore a spectacle (and I do not mean sunset but rather the hour, more or less, afterward) that has a thousand tonalities, that alters and extends reality, that offers, more beautifully than anything man-made, a visual metaphor or peace? To say that it catches us at busy or tired moments won't do; for in temperate latitudes it varies by hours from solstice to solstice. Instead I suspect that we shun twilight because if offers two things which, as insecurely rational beings, we would rather not appreciate: the vision of irrevocable cosmic change (indeed, change into darkness), and a sense of deep ambiguity—of objects seeming to be more, less, other than we think them to be. We are noontime and midnight people, and such devoted camp-followers of certainly that we cannot endure seeing it mocked and undermined by nature. There is a brief period of twilight of which I am especially fond, little more than a moment, when I see what seems to be color without light, followed by another brief period of light without color. The earlier period, like a dawn of night, calls up such sights as at all other times are hidden, wistful half-formless presences neither of day nor night, that draw up with them similar presences in the mind.

Politicians in our times feed their clichés to television, where even those who wish to disagree repeat them. Television purports to challenge political language by conveying images, but the succession from one frame to another can hinder a sense of resolution. Everything happens fast, but nothing actually happens. Each story on televised news is ”breaking” until it is displaced by the next one. So we are hit by wave upon wave but never see the ocean. The effort to define the shape and significance of events requires words and concepts that elude us when we are entranced by visual stimuli. Watching televised news is sometimes little more than looking at someone who is also looking at a picture. We take this collective trance to be normal. We have slowly fallen into it. More than half a century ago, the classic novels of totalitarianism warned of the domination of screens, the suppression of books, the narrowing of vocabularies, and the associated difficulties of thought. In Ray Bradbury’s Fahrenheit 451, published in 1953, firemen find and burn books while most citizens watch interactive television. In George Orwell’s 1984, published in 1949, books are banned and television is two-way, allowing the government to observe citizens at all times. In 1984, the language of visual media is highly constrained, to starve the public of the concepts needed to think about the present, remember the past, and consider the future. One of the regime’s projects is to limit the language further by eliminating ever more words with each edition of the official dictionary. Staring at screens is perhaps unavoidable, but the two-dimensional world makes little sense unless we can draw upon a mental armory that we have developed somewhere else. When we repeat the same words and phrases that appear in the daily media, we accept the absence of a larger framework. To have such a framework requires more concepts, and having more concepts requires reading. So get the screens out of your room and surround yourself with books. The characters in Orwell’s and Bradbury’s books could not do this—but we still can.

Walking causes a repetitive, spontaneous poetry to rise naturally to the lips, words as simple as the sound of footsteps on the road. There also seems to be an echo of walking in the practice of two choruses singing a psalm in alternate verses, each on a single note, a practice that makes it possible to chant and listen by turns. Its main effect is one of repetition and alternation that St Ambrose compared to the sound of the sea: when a gentle surf is breaking quietly on the shore the regularity of the sound doesn’t break the silence, but structures it and renders it audible. Psalmody in the same way, in the to-and-fro of alternating responses, produces (Ambrose said) a happy tranquillity in the soul. The echoing chants, the ebb and flow of waves recall the alternating movement of walking legs: not to shatter but to make the world’s presence palpable and keep time with it. And just as Claudel said that sound renders silence accessible and useful, it ought to be said that walking renders presence accessible and useful.

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.

We want lovers, friends, recruits, soldiers, and affiliations that support who we are. People, individuals, believe in themselves, want to survive, and on a Darwinistic level at least, want to have more, of ourselves. Initially, this is a visual choice. The where, what, when, and who…to our why. Upon closer inspection, which is the upfall of the politically correct culture of today, we learn to measure people on the competence of their values that we most value. When we do this, the politics of gender, race, and slanderous slang take a back seat to the importance of the values we share. The more we travel, the more we realize how similar our human needs are. We want to be loved, have a family, community, have something to look forward to. These basic needs are present in all socioeconomic and cultural civilizations. I have seen many tribes in the deserts of Northern Africa who, with nine children and no electricity, had more joy, love, honor, and laughter than the majority of the most materially rich people I’ve ever met. We have the choice to love, befriend, recruit, call to arms, associate, and support who we believe in, and more importantly, who, we believe, believes in us.

He had no document but his memory; the training he had acquired with each added hexameter gave him a discipline unsuspected by those who set down and forget temporary, incomplete paragraphs. He was not working for posterity or even for God, whose literary tastes were unknown to him. Meticulously, motionlessly, secretly, he wrought in time his lofty, invisible labyrinth. He worked the third act over twice. He eliminated certain symbols as over-obvious, such as the repeated striking of the clock, the music. Nothing hurried him. He omitted, he condensed, he amplified. In certain instances he came back to the original version. He came to feel affection for the courtyard, the barracks; one of the faces before him modified his conception of Roemerstadt's character. He discovered that the wearying cacophonies that bothered Flaubert so much are mere visual superstitions, weakness and limitation of the written word, not the spoken...He concluded his drama. He had only the problem of a single phrase. He found it. The drop of water slid down his cheek. He opened his mouth in a maddened cry, moved his face, dropped under the quadruple blast.

So here we are, in the family planning aisle with a cart full of sports drinks and our hands full of . . . “Trojans, Ramses, Magnum . . . Jeez, these are worse than names for muscle cars,” Jase observes, sliding his finger along the display. “They do sound sorta, well, forceful.” I flip over the box I’m holding to read the instructions. Jase glances up to smile at me. “Don’t worry, Sam. It’s just us.” “I don’t get what half these descriptions mean . . . What’s a vibrating ring?” “Sounds like the part that breaks on the washing machine. What’s extra-sensitive? That sounds like how we describe George.” I’m giggling. “Okay, would that be better or worse than ‘ultimate feeling’—and look—there’s ‘shared pleasure’ condoms and ‘her pleasure’ condoms. But there’s no ‘his pleasure.’” “I’m pretty sure that comes with the territory,” Jase says dryly. “Put down those Technicolor ones. No freaking way.” “But blue’s my favorite color,” I say, batting my eyelashes at him. “Put them down. The glow-in-the-dark ones too. Jesus. Why do they even make those?” “For the visually impaired?” I ask, reshelving the boxes. We move to the checkout line. “Enjoy the rest of your evening,” the clerk calls as we leave. “Do you think he knew?” I ask. “You’re blushing again,” Jase mutters absently. “Did who know what?” “The sales guy. Why we were buying these?” A smile pulls at the corners of his mouth. “Of course not. I’m sure it never occurred to him that we were actually buying birth control for ourselves. I bet he thought it was a . . . a . . . housewarming gift.” Okay, I’m ridiculous. “Or party favors,” I laugh. “Or”—he scrutinized the receipt—“supplies for a really expensive water balloon fight.” “Visual aids for health class?” I slip my hand into the back pocket of Jase’s jeans. “Or little raincoats for . . .” He pauses, stumped. “Barbie dolls,” I suggest. “G.I. Joes,” he corrects, and slips his free hand into the back pocket of my jeans, bumping his hip against mine as we head back to the car.