Mental Associations Quotes

Lulled in the countless chambers of the brain, our thoughts are linked by many a hidden chain; awake but one, and in, what myriads rise!

The influence exercised over the human mind by apt analogies is and has always been immense. Whether they translate an established truth into simple language or whether they adventurously aspire to reveal the unknown, they are among the most formidable weapons of the rhetorician.

What it boils down to is that when you say the word Las Vegas it means something. You could say New York City and it doesn't really mean anything. When you say a word like Bangkok, in my mind it means something. There's not a lot of cities where the world literally brings a picture to your mind.

In all aspects of life... we define our reality in terms of metaphors and then proceed to act on the basis of the metaphors. We draw inferences, set goals, make commitments, and execute plans, all on the basis of how we in part structure our experience, consciously and unconsciously, by means of metaphor.

The sight of a cage is only frightening to the bird that has once been caught.

Our minds do unusual things sometimes, Tamara. When we’re looking for things it takes it upon itself to go down its own route. All we can do is follow

Individual words, sounds, squiggles on paper with no meanings other than those with which our imagination can clothe them.

To the thinker, the most trifling external object often suggests ideas, which, like Homer's chain, extend, link after link, from earth to heaven.

Comics is different than writing because when you draw something you are trying to visualize it and you are trying to put yourself in that space. And when you're drawing something, all sorts of associations come up in my mind that I never would have thought of otherwise.

When you get an idea into your head you find it in everything.

She kept asking herself whether, if he had looked cleaner, she might have been more concerned; whether, on some subliminal level, she had confused his obvious signs of neglect with street-smartness, toughness and resilience.

It is astonishing how many mental operations we can explain when we have once grasped the principles of association

The gist of the matter is this: Every impression that comes in from without, be it a sentence which we hear, an object of vision, or an effluvium which assails our nose, no sooner enters our consciousness than it is drafted off in some determinate direction or other, making connection with the other materials already there, and finally producing what we call our reaction. The particular connections it strikes into are determined by our past experiences and the 'associations' of the present sort of impression with them.

Some scientists find, or so it seems, that they get their best ideas when smoking; others by drinking coffee or whisky. Thus there is no reason why I should not admit that some may get their ideas by observing, or by repeating observations.

Creativity comes from the part of the brain that is veritable soup of experiences, memories and influences. We really don't like to start questioning exactly where it comes from, in case it stops coming.

Some memorizers arbitrarily associate each playing card with a familiar person or object, so that the king of clubs is represented by, say, Tony Danza. The grand masters associate each card with a person, an action, or an object so that every group of three cards can be converted into a sentence.

The intellectual evolution of the race consists in an increase in the number, delicacy, complexity, permanence and speed of formation of such associations.

Alternative descriptions of the same reality evoke different emotions and different associations.

The images evoked by words being independent of their sense, they vary from age to age and from people to people, the formulas remaining identical. Certain transitory images are attached to certain words: the word is merely as it were the button of an electric bell that calls them up.

I actually take images of things and put them up around the wall and in a room. I set a room aside. It might be colors, it might be animals, or energy and words. And I'll just leave it there, so it begins to work on my subconscious when I think about the character. Which gives me some latitude to be really flexible and spontaneous but within the context of the character and the world of the character without having to think about it. Or I'll look at something or read something and let it work on my subconscious mind.

Great art must proceed to precision and brevity. It presupposes the alert mind of an educated listener who, in a singleact of thinking, includes with every concept all associations pertaining to the complex.

In all the houses keys to memorizing objects and feelings had been written. But the system demanded so much vigilance and moral strength that many succumbed to the spell of an imaginary reality, one invented by themselves, which was less practical for them but more comforting.