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+The Project Gutenberg EBook of Applied Psychology: Making Your Own World, by 
+Warren Hilton
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Applied Psychology: Making Your Own World
+       Being the Second of a Series of Twelve Volumes on the
+       Applications of Psychology to the Problems of Personal and
+       Business Efficiency
+
+Author: Warren Hilton
+
+Release Date: March 19, 2009 [EBook #28359]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK APPLIED PSYCHOLOGY ***
+
+
+
+
+Produced by Bryan Ness, C. St. Charleskindt, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+
+
+
+
+Applied Psychology
+
+MAKING
+YOUR OWN WORLD
+
+_Being the Second of a Series of
+Twelve Volumes on the Applications
+of Psychology to the Problems of
+Personal and Business
+Efficiency_
+
+BY
+WARREN HILTON, A.B., L.L.B.
+FOUNDER OF THE SOCIETY OF APPLIED PSYCHOLOGY
+
+
+
+
+ISSUED UNDER THE AUSPICES OF
+THE LITERARY DIGEST
+FOR
+The Society of Applied Psychology
+NEW YORK AND LONDON
+1920
+
+
+
+
+COPYRIGHT 1914
+BY THE APPLIED PSYCHOLOGY PRESS
+SAN FRANCISCO
+
+
+
+
+CONTENTS
+
+
+  Chapter                                                       Page
+
+    I. THE TWO FUNDAMENTAL PROCESSES OF MIND
+
+       MIND AS A MEANS TO ATTAINMENT                              3
+       THREE POSTULATES FOR THIS COURSE                           4
+       EXPERIENCE AND ABSTRACTIONS                                5
+       PRIMARY MENTAL OPERATIONS                                  6
+
+   II. SENSATIONS AND OUR PERCEPTION OF THEM
+
+       MIND'S SOURCE OF SUPPLIES                                  9
+       DOES MATTER EXIST?                                        10
+       FIRST-HAND KNOWLEDGE                                      11
+       SECOND-HAND KNOWLEDGE                                     12
+       ETHERIC VIBRATIONS AS CAUSING SENSATIONS                  13
+       THE ROAD TO PERCEPTION                                    14
+       THE PLACE WHERE SENSATION OCCURS                          15
+       LABORATORY PROOF OF SENSE-PERCEPTIVE PROCESS              16
+       REACTION-TIME                                             17
+       THE HUMAN TELEPHONE                                       18
+       THE LIVING TELEGRAPH                                      19
+       THE SIX STEPS TO REACTION                                 20
+       UNOPENED MENTAL MAIL                                      21
+       SELECTIVE PROCESS THAT DETERMINES CONDUCT                 22
+       IN TUNE WITH LIFE-INTEREST                                23
+       PRACTICAL ASPECTS OF PERCEPTION PROCESS                   24
+
+  III. SENSORY ILLUSIONS AND SUGGESTIONS FOR THEIR USE
+
+       UNRELIABILITY OF SENSE-ORGANS                             27
+       BEING AND SEEMING                                         29
+       USE OF ILLUSIONS IN BUSINESS                              31
+       MAKING AN ARTICLE LOOK BIG                                32
+       TESTING THE CONFIDENTIAL MAN                              33
+       TESTS FOR CREDULITY                                       34
+       WHAT COLORS LOOK NEAREST                                  35
+       TESTING THE RANGE OF ATTENTION                            36
+       A GUIDE TO OCCUPATIONAL SELECTION                         37
+       TEST FOR ATTENTION TO DETAILS                             38
+       OTHER BUSINESS APPLICATIONS                               39
+
+   IV. INWARDNESS OF ENVIRONMENT
+
+       FACTORS OF SUCCESS OR FAILURE                             43
+       SHOULD SEEING BE BELIEVING?                               44
+       HEARING THE LIGHTNING                                     46
+       IMPORTANCE OF THE MENTAL MAKE-UP                          47
+       UNREALITY OF "THE REAL"                                   48
+       "THINGS" AND THEIR MENTAL DUPLICATES                      49
+       EFFECT OF CLOSING ONE'S EYES                              50
+       IF MATTER WERE ANNIHILATED                                51
+       IF MIND WERE ANNIHILATED                                  52
+       AS MANY WORLDS AS MINDS                                   53
+
+    V. ESSENTIAL LAW OF PRACTICAL SELF-MASTERY
+
+       OPTION AND OPPORTUNITY                                    57
+       PRE-ARRANGING YOUR CONSCIOUSNESS                          58
+       HOW TO DEFINITELY SELECT ITS ELEMENTS                     59
+       AN INFALLIBLE RECIPE FOR SELF-POSSESSION                  60
+       USING "UNSEEN EAR PROTECTORS"                             61
+       HOW TO AVOID WORRY, MELANCHOLY                            62
+       PUTTING CIRCUMSTANCES UNDER FOOT                          63
+       RUNNING YOUR MENTAL FACTORY                               64
+       ACQUIRING MENTAL BALANCE                                  65
+       DISSIPATING MENTAL SPECTERS                               66
+       HOW TO CONTROL YOUR DESTINY                               67
+
+
+
+
+CHAPTER I
+
+THE TWO FUNDAMENTAL PROCESSES OF MIND
+
+
+[Sidenote: _Mind as a Means to Achievement_]
+
+In the preceding book, "Psychology and Achievement," we established
+the truth of two propositions:
+
+I. _All human achievement comes about through bodily activity._
+
+II. _All bodily activity is caused, controlled and directed by the
+mind._
+
+To these two fundamental propositions we now append a third, which
+needs no proof, but follows as a natural and logical conclusion from
+the other two:
+
+III. _The Mind is the instrument you must employ for the
+accomplishment of any purpose._
+
+[Sidenote: _Three Postulates for this Course_]
+
+With these three fundamental propositions as postulates, it will be
+the end and aim of this Course of Reading to develop plain, simple
+and specific methods and directions for the most efficient use of
+the mind in the attainment of practical ends.
+
+_To comprehend these mental methods and to make use of them in
+business affairs you must thoroughly understand the two fundamental
+processes of the mind._
+
+These two fundamental processes are the Sense-Perceptive Process and
+the Judicial Process.
+
+The Sense-Perceptive Process is the process by which knowledge is
+acquired through the senses. Knowledge is the result of experience
+and all human experience is made up of sense-perceptions.
+
+[Sidenote: _Experience and Abstractions_]
+
+The Judicial Process is the reasoning and reflective process. It is
+the purely "intellectual" type of mental operation. It deals wholly
+in abstractions. Abstractions are constructed out of past experiences.
+
+Consequently, the Sense-Perceptive Process furnishes the raw
+material, sense-perceptions or experience, for the machinery of
+the Judicial Process to work with.
+
+[Sidenote: _Primary Mental Operations_]
+
+In this book we shall give you a clear idea of the Sense-Perceptive
+Process and show you some of the ways in which an understanding of
+this process will be useful to you in everyday affairs. The
+succeeding book will explain the Judicial Process.
+
+
+
+
+CHAPTER II
+
+SENSATIONS AND OUR PERCEPTION OF THEM
+
+
+[Sidenote: _Mind's Source of Supplies_]
+
+Whatever you know or think you know, of the external world comes
+to you through some one of your five primary senses, sight, hearing,
+touch, taste and smell, or some one of the secondary senses, such
+as the muscular sense and the sense of heat and cold.
+
+The impressions you receive in this way may be true or they may be
+false. They may constitute absolute knowledge or they may be merely
+mistaken impressions. Yet, such as they are, they constitute all the
+information you have or can have concerning the world about you.
+
+[Sidenote: _Does Matter Exist?_]
+
+Philosophers have been wrangling for some thousands of years as
+to whether we have any real and absolute knowledge, as to whether
+matter actually does or does not exist, as to the reliability or
+unreliability of the impressions we receive through the senses.
+But there is one thing that all scientific men are agreed upon,
+and that is that such knowledge as we do possess comes to us by
+way of perception through the organs of sense.
+
+If you have never given much thought to this subject, you have
+naturally assumed that you have direct knowledge of all the
+material things that you _seem_ to perceive about you. It has
+never occurred to you that there are intervening physical agencies
+that you ought to take into account.
+
+[Sidenote: _First-Hand Knowledge_]
+
+When you look up at the clock, you instinctively feel that there is
+nothing interposed between it and your mind that is conscious of it.
+You seem to feel that your mind reaches out and envelops it.
+
+As a matter of fact, your sense impression of that bit of furniture
+must filter through a great number of intervening physical agencies
+before you can become conscious of it.
+
+Direct perception of an outside reality is impossible.
+
+[Sidenote: _Second-Hand Knowledge_]
+
+Before you can become aware of any object there must first arise
+between it and your mind a chain of countless distinct physical
+events.
+
+Modern science tells us that light is due to undulations or
+wave-like vibrations of the ether, sound to those of the air, etc.
+These vibrations are transmitted from one particle of ether or air
+to another, and so from the thing perceived to the body of man.
+
+Think, then, what crisscross of air currents and confusion of ether
+vibrations, what myriad of physical events, must intervene between
+any distant object and your own body before sensations come and
+bring a consciousness of that object's existence!
+
+Nor can you be sure, even after any particular vibration has
+reached the surface of your body, that it will reach your mind
+unaltered and intact!
+
+[Sidenote: _Etheric Vibrations as Causing Sensations_]
+
+What goes on in the body itself is made clear by your knowledge
+of the cellular structure of man.
+
+You know that you have a system of nerves centering in the brain
+and with countless ramifications throughout the structural tissues
+of the body.
+
+You know that part of these nerves are sensory nerves and part of
+them are motor nerves. You know that the sensory nerves convey to
+the brain the impressions received from the outer world and that
+the motor nerves relay this information to the rest of the body
+coupled with commands for appropriate muscular action.
+
+[Illustration: DIAGRAM SHOWING THE FOUR CHIEF ASSOCIATION CENTERS
+OF THE HUMAN BRAIN]
+
+[Sidenote: _The Road to Perception_]
+
+The outer end of every sensory nerve exposes a sensitive bit of
+gray matter. These sensitive, impression-receiving ends constitute
+together what is called the "sensorium" of the body.
+
+When vibrations of light or sound impinge upon the sensorium, they
+are relayed from nerve cell to nerve cell until they reach the
+central brain. Then it is, and not until then, that sensations and
+perceptions occur.
+
+Consider, now, the infinitesimal size of a nerve cell and you will
+have some conception of the number of hands through which the
+message must pass before it is received by the central office.
+
+Many of our sensations, especially those of touch, seem to occur
+on the periphery of the body--that is to say, at that part of the
+exposed surface of the body which is apparently affected. If your
+finger is crushed in a door, the sensation of the blow and the pain
+all seem to occur in the finger itself.
+
+[Sidenote: _The Place Where Sensation Occurs_]
+
+As a matter of fact, this is not the case, for if one of your arms
+should be amputated, you would still feel a tingling in the fingers
+of the amputated arm. Thus has arisen a superstition that leads many
+people to bury any part of the body lost in this way, thinking that
+they will never be entirely relieved of pain until the absent member
+is finally at rest.
+
+Of course, the fact is that you would only _seem_ to have feeling
+in the amputated arm. The sensation would really occur in the central
+brain tissue as the organ of the governing intelligence, the organ
+of consciousness.
+
+[Sidenote: _Laboratory Proof of Sense-Perceptive Process_]
+
+And you may set it down as an established principle that _all states
+of consciousness, whether seemingly localized on the surface of the
+body or not, are connected with the brain as the dominant center_.
+
+The facts we have been recounting have been established by the
+experiments of physiological psychology. Thus, the work of the
+laboratory has shown that between the moment when a sense vibration
+reaches the body and the moment when sensation occurs a measurable
+interval of time intervenes.
+
+If your eyes were to be blindfolded and your hand unexpectedly
+pricked with a white-hot needle, the time that would elapse before
+you could jerk your hand away could be readily measured in fractions
+of a second with appropriate instruments.
+
+[Sidenote: _Reaction Time_]
+
+This interval is known as _reaction-time_. It varies greatly with
+different persons. During this reaction-time, the cell or cells
+attacked upon the surface of the hand have conveyed news of the
+assault through numberless intermediate sensory nerve cells to
+the brain. The brain in turn has sent out its mandate through the
+appropriate motor nerve cells to all the muscle and other cells
+surrounding the injured cell, commanding them to remove it from
+the point of danger.
+
+The work of the nervous system in dealing with the ether vibrations
+that are constantly impinging upon the surface of the body has been
+likened to that of the transmitter, connecting wire and receiver
+of a telephone. Air-waves striking against the transmitter of the
+telephone awaken a similar vibratory movement in the transmitter
+itself. This movement is passed along the wire to the receiver,
+which vibrates responsively and imparts a corresponding wave-like
+motion to the air.
+
+[Sidenote: _The Human Telephone_]
+
+These air-waves when heard are what we call _sound_.
+
+In the same way, air-waves striking the ear are communicated by
+the auditory nerve to the brain, where they awaken a corresponding
+sensation of sound. But these waves must be vibrating at between
+30 and 20,000 times a second. If they are vibrating so slowly or
+so rapidly as not to come within this range, we cannot hear them.
+
+[Sidenote: _The Living Telegraph_]
+
+This process is by no means a mechanical affair. On the contrary,
+it is a series of _mental_ acts. Every cell in the living telegraph
+must receive the message and transmit it. _Every cell_ must
+exercise a form of intelligence, from the auditory cell reporting
+a sound-wave or the skin cell reporting an injury to the muscle
+cells that ultimately receive and understand a message directing
+them to remove the part from danger.
+
+Reaction-time, so called, is thus occupied by cellular action in
+the form of _mental_ processes intervening between the nerve-ends
+and the brain center, in much the same way that light and sound
+vibrations intervene between the object perceived and the surface
+of the body.
+
+[Sidenote: _The Six Steps to Reaction_]
+
+For even the simplest of sense-perceptions we have, then, this
+sequence of events: first, the object perceived; second, the series
+of vibrations of ether particles intervening between the object
+and the body; third, the impression upon the surface of the body;
+fourth, the series of mental processes, cell after cell, in the
+nerve filaments leading to the brain; fifth, when these impressions
+or messages have reached the brain, a determination of what is to
+be done; and, sixth, a transmission by cellular action of a new
+message that will awaken some response in the muscular tissues.
+
+[Sidenote: _Unopened Mental Mail_]
+
+This process is completely carried out, however, in only
+comparatively few instances. The vast majority of sense-impressions
+awaken no reaction. They are registered in the mind, but they are
+not perceived. We are not conscious of them. They form a part, not
+of consciousness, but of subconsciousness. They are messages that
+reach the mind but are laid aside like unopened mail because they
+possess no present interest.
+
+Wherever and however you may be placed, you are always and
+everywhere immersed in a flood of etheric vibrations. Light, sound
+and tactual vibrations press upon you from every side. At a busy
+corner of a city street these vibrations rise to a tumultuous
+fortissimo; in the hush of a night upon the plains they sink to
+pianissimo. Yet at every moment of your day or night they are there
+in greater or less degree, titillating the unsleeping nerve-ends of
+the sensorium.
+
+[Sidenote: _Selective Process that Determines Conduct_]
+
+Your mind cannot take time to make all these sense-impressions the
+subject of conscious thought. It can trouble itself only with those
+that bear in some way upon your interests in life.
+
+_Your mind is like the receiving apparatus of the wireless telegraph
+which picks from the air those particular vibrations to which it is
+attuned. Your mind is selective. It is discriminating. It seizes
+upon those few sensory images that are related to your interests in
+life and thrusts them forward to be consciously perceived and acted
+upon. All others it diverts into a subconscious reservoir of
+temporary oblivion._
+
+[Sidenote: _In Tune with Life-Interest_]
+
+You will have a clearer understanding of the sense-perceptive
+processes and a more vital realization of the practical significance
+of these facts when you consider how they affect your knowledge of
+material things and your conception of the external world.
+
+This subject possesses two distinct aspects.
+
+One aspect has to do with the inability of the sense-organs to
+record the facts of the outer world with perfect precision. These
+organs are the result of untold ages of evolution, and, generally
+speaking, have become wonderfully efficient, but they display
+surprising inaccuracies. These inaccuracies are called Sensory
+Illusions.
+
+[Sidenote: _Practical Aspects of Perception Process_]
+
+The other aspect of the Sense-Perceptive Process has to do with the
+mental interpretation of environment.
+
+Both these aspects are distinctly practical.
+
+You should know something of the weaknesses and deficiencies of the
+sense-perceptive organs, because all your efforts at influencing
+other men are directed at their organs of sense.
+
+You should understand the relationship between your mind and your
+environment, since they are the two principal factors in your
+working life.
+
+
+
+
+CHAPTER III
+
+SENSORY ILLUSIONS AND SUGGESTIONS FOR THEIR USE
+
+
+[Sidenote: _Unreliability of Sense-Organs_]
+
+Figure 1 shows two lines of equal length, yet the vertical line will
+to most persons seem longer than the horizontal one.
+
+[Illustration: FIG. 1.]
+
+In Figure 2 the lines A and B are of the same length, yet the lower
+seems much longer.
+
+[Illustration: FIG. 2.]
+
+Those things look smallest over which the eye moves with least
+resistance.
+
+In Figure 3, the distance from A to B looks longer than the distance
+from B to C because of the time we involuntarily take to notice each
+dot, yet the distances are equal.
+
+[Illustration: FIG. 3.]
+
+[Sidenote: _Being and Seeming_]
+
+For the same reason, the hatchet line (A-B) appears longer than
+the unbroken line (C-D) in Figure 4, and the lines E and F appear
+longer than the space (G) between them, although all are of equal
+length.
+
+[Illustration: FIG. 4.]
+
+Filled spaces look larger than empty ones because the eye
+unconsciously stops to look over the different parts of the filled
+area, and we base our estimate upon the extent of the eye movements
+necessary to take in the whole field. Thus the filled square in
+Figure 5 looks larger than the empty one, though they are of equal
+size.
+
+[Illustration: FIG. 5.]
+
+White objects appear much larger than black ones. A white square
+looks larger than a black one. It is said that cattle buyers who
+are sometimes compelled to guess at the weight of animals have
+learned to discount their estimate on white animals and increase
+it on black ones to make allowances for the optical illusion.
+
+[Illustration: THIS MAN AND THIS BOY ARE OF EQUAL HEIGHT, BUT
+ASSOCIATION OF IDEAS MAKES THE MAN LOOK MUCH THE LARGER]
+
+[Sidenote: _Use of Illusions in Business_]
+
+The dressmaker and tailor are careful not to array stout persons
+in checks and plaids, but try to convey an impression of sylph-like
+slenderness through the use of vertical lines. On the other hand,
+you have doubtless noticed in recent years the checkerboard and
+plaid-covered boxes used by certain manufacturers of food products
+and others to make their packages look larger than they really are.
+
+The advertiser who understands sensory illusions gives an impression
+of bigness to the picture of an article by the artful use of lines
+and contrasting figures. If his advertisement shows a picture of a
+building to which he wishes to give the impression of bigness, he
+adds contrasting figures such as those of tiny men and women so that
+the unknown may be measured by the known. If he shows a picture of a
+cigar, he places the cigar vertically, because he knows that it will
+look longer that way than if placed horizontally.
+
+[Sidenote: _Making an Article Look Big_]
+
+A subtle method of conveying an idea of bigness is by placing
+numbers on odd-shaped cards or blocks, or on any blank white space.
+The object or space containing the figures always appears larger
+than the corresponding space without the figures.
+
+This fact has been made the basis of a psychological experiment to
+determine the extent to which a subject's judgment is influenced by
+suggestion. To perform this experiment cut bits of pasteboard into
+pairs of squares, circles, stars and octagons and write numbers
+of two figures each, say 25, 50, 34, 87, etc., upon the different
+pieces. Tell the subject to be tested to pick out the forms that are
+largest. The susceptible person who is not trained to discriminate
+closely will pick out of each pair the card that has the largest
+number upon it.
+
+[Sidenote: _Testing the Confidential Man_]
+
+This test can be made one of a series used in examining applicants
+for commercial positions. It can also be used to discover the
+weakness of certain employees, such as buyers, secretaries and
+others who are entrusted with secrets and commissions requiring
+discretion, and who must be proof against the deceptions practiced
+by salesmen, promoters and others with seductive propositions.
+
+[Sidenote: _Tests for Credulity_]
+
+This examination can be carried still further to test the subject's
+credulity or power of discrimination. What is known as the "force
+card" test was originally devised by a magician, but has been
+adopted in experimental psychology. Take a pack of cards and shuffle
+them loosely in the two hands, making some one card, say the ace of
+spades, especially prominent. The subject is told to "take a card."
+The suggestive influence of the proffered card will cause nine
+persons out of ten to pick out that particular card.
+
+Turning from illusions of suggestion, shape and size, another field
+of peculiar sensory illusions is found in color aberration. Some
+colors look closer than others. For instance, paint an object red
+and it seems nearer than it would if painted green.
+
+[Sidenote: _What Colors Look Nearest_]
+
+Aside from the obvious uses to which these sense-illusions can be
+put, they form the basis for a number of psychological experiments
+to test the abilities of persons in many ways. Here is a test which
+deals with the range of attention. If you desire to discover the
+capacity of any person to pay attention to unfamiliar questions or
+subjects which might at some future time have great importance, try
+this test. Have a piece of pasteboard cut into squares, circles,
+triangles, halfmoons, stars and other forms. Then write upon each
+piece some such word as hat, coat, ball or bat. The objects are
+then placed under a cloth cover and the subject to be examined is
+told to concentrate his attention on the shapes alone, paying no
+attention to the words. The cloth is lifted for five seconds and
+then replaced. The subject is then told to draw with a pencil the
+different shapes and such _words_ as he may chance to remember. The
+experiment should then be repeated, with the injunction to pay no
+attention to the shapes but to remember as many words as possible,
+and write them down on such _forms_ as he may happen to recall.
+
+[Sidenote: _Testing the Range of Attention_]
+
+Of course, the real object is to determine whether the subject will
+see more than he is told, or whether he is a mere automaton. The
+result will tell whether his attention is of the narrow or broad
+type. If it be narrow, he will see only the forms in the first case
+and no words, and in the second case he will remember the words but
+be unable to recall the shape of the pieces of cardboard.
+
+[Sidenote: _A Guide to Occupational Selection_]
+
+His breadth of attention will be shown by the number of correct
+forms and words combined which he is able to remember in both cases.
+In other words, this will measure his ability to pay attention to
+more than one thing at a time.
+
+Other things being equal, the narrow type of attention belongs to
+a man fitted for work as a bookkeeper or mechanic, while the broad
+type of attention fits one for work as a foreman or superintendent
+or, lacking executive ability, for work requiring the supervision
+of mechanical operations widely separated in space.
+
+[Sidenote: _Test for Attention to Details_]
+
+The ordinary man sees but one thing at a time, while the exceptional
+man sees many things at every glance and is prepared to remember and
+act upon them in emergency.
+
+Having determined a person's scope of attention, you may want
+to test his accuracy in details as compared with other men. To
+conduct such an experiment dictate a statement which will form one
+typewritten letterhead sheet. This statement should comprise facts
+and figures about your business of which the subjects to be tested
+are supposed to have accurate knowledge. After this original page is
+written, have your typist write out another set of sheets in which
+there are a large number of errors both in spelling and figures.
+Then have each of the persons to be examined go through one of these
+sheets and cross out all the wrong letters or figures. Time this
+operation. The man who does it in the quickest time and overlooks
+the fewest errors, naturally ranks highest in speed and accuracy
+of work.
+
+[Sidenote: _Other Business Applications_]
+
+Look into your own business and you will undoubtedly find some
+department, whether it be store decoration, office furnishing,
+window dressing, advertising, landscape work or architecture, in
+which a systematic application of a knowledge of sensory illusions
+will produce good results.
+
+
+
+
+CHAPTER IV
+
+INWARDNESS OF ENVIRONMENT
+
+
+[Sidenote: _Factors of Success or Failure_]
+
+The aspect of the sense-perceptive process that deals with the
+relation of mind to environment is of greatest practical value.
+
+Look at this subject for a moment and you will see that the world
+in which you live and work is a world of your own making. All the
+factors of success or failure are factors of your own choosing and
+creation.
+
+If there is anything in the world you feel sure of, it is that you
+can depend upon the "evidence of your own senses," eyes, ears,
+nose, etc. You rest serene in the conviction that your senses
+picture the world to you exactly as it is. It is a common saying
+that "Seeing is believing."
+
+[Sidenote: _Should Seeing Be Believing?_]
+
+Yet how can you be sure that any object in the external world is
+actually what your sense-perceptions report it to be?
+
+You have learned that a countless number of physical agencies must
+intervene before your mind can receive an impression or message
+through any of the senses.
+
+Under these conditions you cannot be sure that your impression of
+a green lamp-shade, for instance, comes through the same sort of
+etheric and cellular activities that convey a picture of the same
+lamp-shade to the brain of another. If the physical agencies through
+which your sense-impressions of the lamp-shade filter are not
+identical with the agencies through which they pass to the other
+person's brain, then your mental picture and his mental picture
+cannot be the same. You can never be sure that what both you and
+another may describe as green may not create an entirely different
+impression in your mind from the impression it creates in his.
+
+Other facts add to your uncertainty. Thus, _the same stimulus_
+acting on _different organs_ of sense will produce _different
+sensations_. A blow upon the eye will cause you to "see stars"; a
+similar _blow_ upon the ear will cause you to _hear_ an explosive
+sound. In other words, the vibratory effect of a _touch_ on eye
+or ear is the same as that of _light_ or _sound_ vibrations.
+
+[Sidenote: _Hearing the Lightning_]
+
+The notion you may form of any object in the outer world depends
+solely upon what part of your brain happens to be connected with
+that particular nerve-end that receives an impression from the
+object.
+
+You _see_ the sun without being able to _hear_ it because the only
+nerve-ends tuned to vibrate in harmony with the ether-waves set in
+action by the sun are nerve-ends that are connected with the brain
+center devoted to sight. "If," says Professor James, "we could
+splice the outer extremities of our optic nerves to our ears,
+and those of our auditory nerves to our eyes, we should hear the
+lightning and see the thunder, see the symphony and hear the
+conductor's movements."
+
+[Sidenote: _Importance of the Mental Make-Up_]
+
+In other words, the kind of impressions we receive from the world
+about us, the sort of mental pictures we form concerning it, in fact
+the character of the outer world, the nature of the environment in
+which our lives are cast--_all these things depend for each one of
+us simply upon how he happens to be put together, simply upon his
+individual mental make-up_.
+
+There is another way of examining into the intervening agencies that
+influence our mental conception of the material world about us.
+
+[Sidenote: _Unreality of "The Real"_]
+
+Look at the table or any other familiar object in the room in which
+you are sitting. Has it ever occurred to you that this object may
+have no existence apart from your mental impression of it? Have you
+ever realized that no object ever has been or ever could be known
+to exist unless there was an individual mind present to note its
+existence?
+
+If you have never given much thought to questions of this kind,
+you will be tempted to answer boldly that the table is obviously a
+reality, that you have a direct intuitive knowledge of it, and that
+you can at once assure yourself of its existence by looking at it
+or touching it. You will conceive your perception of the table as
+a sort of projection of your mind comfortably enfolding the table
+within itself.
+
+[Sidenote: _"Things" and their Mental Duplicates_]
+
+But perception is obviously only a state of mind. Can it, then, go
+outside of the mind to meet the table or even "hover in midair like
+a bridge between the two"? If you perceive the table, must not your
+perception of it exist wholly within your own mind? If, then, the
+table has any existence outside of and apart from your perception
+of it, then the table and your mental image of the table are two
+separate and distinct things.
+
+In other words, you are on the horns of a dilemma. If you insist
+that the table exists _outside_ of your mind, you must admit that
+your knowledge of it is not direct, immediate and intuitive, but
+_indirect_ and representative, because of intervening physical
+agencies, and that the only thing directly known is the _mental
+impression_ of the table. On the other hand, if you insist that your
+knowledge of the table is direct, immediate and intuitive you must
+admit that the table is only a mental image, a mental reality, if it
+is any sort of reality at all, and that it has no existence outside
+of the mind.
+
+[Sidenote: _Effect of Closing One's Eyes_]
+
+You may easily convince yourself that the table you directly
+perceive can be nothing other than a mental picture. How? Simply
+close your eyes. It has now ceased to exist. What has ceased to
+exist? The external table of wood and glue and bolts? By no means.
+Simply its mental duplicate. And by alternately opening and closing
+your eyes, you can successively create and destroy this mental
+duplicate.
+
+[Sidenote: _If Matter Were Annihilated_]
+
+Clearly, then, the table of which you are directly and immediately
+conscious when your eyes are open is always this _mental duplicate_,
+this aggregate of color, form, size and touch _impressions_; while
+the real table, the physical table, may be something other than the
+one of which you are directly aware. This other thing, this physical
+table, whatever it is, can never be directly known, if indeed it has
+any existence, a fact that many distinguished philosophers have had
+the courage to deny.
+
+Imagine, then, for a moment that everything except mind should
+suddenly cease to exist, but that your sense-perceptions--that is
+to say, your perception of sensory impressions--were to continue to
+follow one another as before. Would not the physical world be for
+you just exactly what it is today, and would you not have the same
+reasons for believing in its existence that you now have?
+
+[Sidenote: _If Mind Were Annihilated_]
+
+And, conversely, if the world of matter were to go on, but all
+mental images, all perception of sense-impressions, were to come
+to an end, would not all matter be annihilated for you when your
+perceptions ceased?
+
+_It is obvious that the world is not the same for all of us; but
+that it is for each one of us simply the world of his individual
+perceptions._
+
+[Sidenote: _As Many Worlds as Minds_]
+
+The whole subject of sense-impressions, sensation and perception
+may, therefore, be looked at from the standpoint of the mind as an
+active influence, as well as from the standpoint of outside objects
+as the exciting causes of sense-impressions.
+
+
+
+
+CHAPTER V
+
+ESSENTIAL LAW OF PRACTICAL SELF-MASTERY
+
+
+[Sidenote: _Option and Opportunity_]
+
+_External objects excite sensory impressions, but the perception of
+them is purely at the option of the mind._
+
+This is of the greatest practical importance. Consider its
+consequences. It means that sense-impressions and your perception of
+them are two very different things. It means that sense-impressions
+may throng in upon you as they will. They are the work of external
+stimuli impressing themselves upon the sensorium as upon a
+mechanical register. You are helpless to discriminate among them.
+You cannot accept some and exclude others. You are a perambulating
+dry plate upon which outside objects produce their images.
+
+[Sidenote: _Prearranging Your Consciousness_]
+
+But, and this is a vital distinction, perception is an act of the
+mind. It is initiated from within. It permits you to discriminate
+among sensations in the sense that you may dwell upon some and
+ignore others. It enables you to definitely select, if you will,
+the elements that shall make up the content of your consciousness.
+
+_Perception as an independent mental process thus enables you to
+predetermine what elements of passing sensory experience may be made
+the basis of your conscious judgments and of your feelings and
+emotions._
+
+[Sidenote: _How to Definitely Selects its Elements_]
+
+Bear this in mind when you think of your environment and its
+supposed influence upon your life. Remember that your environment
+is no hard-and-fast thing, an aggregate of physical realities. Your
+environment, so far as it affects your judgment and your conduct,
+is made up, not of physical realities, but of mental pictures.
+
+_Your environment is within you._ Get this conclusion clearly in
+your mind.
+
+Hold fast to the point of view that, _Environment, the environment
+that influences your conduct and your life, is not a chance massing
+of outward circumstances, but is the product of your own mind_.
+
+[Sidenote: _An Infallible Recipe for Self-Possession_]
+
+Think what this means to you. It means that by deliberately
+selecting for attention only those sense-impressions, those elements
+of consciousness, that can serve your purpose, you can free yourself
+from all distractions and make peaceful progress in the midst of
+turmoil.
+
+[Sidenote: _Using "Unseen Ear Protectors"_]
+
+"In the busiest part of New York, a broker occupied a desk in a
+room with six other men who had many visitors constantly moving
+about and talking. The gentleman was at first so sensitive to
+disturbances that he accomplished almost nothing during business
+hours, and returned home every evening with a severe headache. One
+day a man of impressive personality and extremely calm demeanor
+entered the office, and noticing the agitated broker, smilingly
+said: 'I see that you are disturbed by the noise made by your
+neighbors in the conduct of their affairs; pardon me if I leave
+with you an infallible recipe for peace in the midst of commotion:
+_Hear only what you will to hear_.' With this terse counsel he
+quietly bade the astonished listener adieu. After his visitor
+had departed, the nervous man felt unaccountably calm, and was
+constrained to meditate upon his friend's advice, and no sooner
+did he seek to put it into practical use than he learned for the
+first time that it was his rightful prerogative to use unseen ear
+protectors as well as to employ his ears. Six or seven weeks
+elapsed before he saw his mysterious visitor again, and by that
+time he had so successfully practiced the simple though forceful
+injunction, that he had reached a point in self-control where the
+Babel of tongues about him no longer reached his consciousness."
+
+[Sidenote: _How to Avoid Worry, Melancholy_]
+
+Herein lies a remedy for worry, with its sleepless nights and
+kindred torments; for melancholy and despair, with their train of
+physical and financial disaster.
+
+How? Simply by shutting off the flow of disagreeable thoughts and
+substituting others that are pleasant and refreshing.
+
+You are master. You can change the setting of your mental stage
+from portentous gloom to sun-lit assurance. You can concentrate your
+thought upon the useful, the helpful and the cheerful, ignore the
+useless and annoying, and make your life a life of hope and joy, of
+promise and fulfilment.
+
+[Sidenote: _Putting Circumstances Under Foot_]
+
+You will not question the statement that what you do with your life
+is the combined result of heredity and environment. At the same time
+you doubtless possess a more or less hazy belief in the freedom of
+your own will.
+
+The chances are that in any previous reflections on this subject you
+have magnified the influence of outside agencies and wondered just
+how a man could make himself the master rather than the victim of
+circumstances.
+
+You now realize that your environment is an environment of thought,
+that your material universe is a thing your own making, and that
+you can mold it as you will simply by the intelligent control of
+your own thinking.
+
+[Sidenote: _Running Your Mental Factory_]
+
+In Book I. you learned that--
+
+I. _All human achievement comes about through bodily activity._
+
+II. _All bodily activity is caused, controlled and directed by the
+mind._
+
+In this volume you have added to these propositions a third, namely:
+
+III. _The mind is the instrument you must employ for the
+accomplishment of any purpose._
+
+Acting on this third postulate, you have begun the consideration
+of primary mental operations with a view to evolving methods and
+devices for the scientific and systematic employment of the mind
+in the attainment of success. You have concluded your study of
+the first of the two fundamental processes of the mind, the
+Sense-Perceptive Process, and have learned to distinguish between
+seeing or hearing or feeling on the one hand and perceiving on
+the other.
+
+[Sidenote: _Acquiring Mental Balance_]
+
+Realizing this distinction and applying it to your daily life,
+you can at once set to work to acquire mental poise and practical
+self-mastery, the essence of personal efficiency.
+
+There never has been a moment in all your life when sense-impressions
+were not pouring in upon you from every side, tending to disturb
+and annoy you and interfere with your concentration and progress.
+Heretofore you have struggled blindly with these distracting
+influences, not knowing the elements with which you had to deal
+nor how to deal with them.
+
+[Sidenote: _Dissipating Mental Specters_]
+
+But the mask has been torn from the specter of distraction, and
+hereafter when irrelevant sights, sounds and other sensations
+threaten to interrupt your work, just stop a moment and consider.
+So far as you and your actual knowledge are concerned, nothing
+exists in substance and reality outside your mental picture of it.
+So far as you and your actual knowledge are concerned, all matter
+is simply thought, and you have never doubted your ability to
+dismiss a thought. It is for you, then, here and now, to decide
+whether you will harbor sensory pictures that impede your progress
+and allow them to harass and dominate you and interfere with the
+achievement of your ambition, or whether you will ignore these
+intruders and thereby annihilate them.
+
+[Sidenote: _How to Control Your Destiny_]
+
+Success is a variable term. In the last analysis, it means simply
+getting the thing that _you_ want to have.
+
+Whether you succeed or fail depends altogether upon your own
+attitude toward the external facts of life.
+
+You have within you a living Force against which all the world is
+powerless. You have only to know it and to learn how to use it.
+
+Learn the lesson of your own powers, the secret of controlling the
+selective and creative energy within you, and you can bring any
+project to the goal of accomplishment.
+
+In the closing volumes of this _Course_ we shall instruct you in
+practical methods by which the selection of those elements of
+experience that are helpful may be made absolutely automatic.
+
+
+
+
+Transcriber's Note:
+
+Some illustrations have been moved from their original positions,
+so as to be nearer to their corresponding text, or for ease of
+navigation around paragraphs.
+
+Duplicate chapter headers have been removed from the text version
+of this ebook and hidden in the HTML version.
+
+The word 'prearranging' appears both with and without a hyphen.
+This variance matches the original text.
+
+
+
+
+
+End of the Project Gutenberg EBook of Applied Psychology: Making Your Own
+World, by Warren Hilton
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