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diff --git a/28359-h/28359-h.htm b/28359-h/28359-h.htm new file mode 100644 index 0000000..bbbd8ac --- /dev/null +++ b/28359-h/28359-h.htm @@ -0,0 +1,2641 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Applied Psychology: Making Your Own World, by Warren Hilton, A.B., L.L.B. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + + /* Body Attributes */ + + body { + margin-left: 18%; + margin-right: 18%; + max-width: 40em; + } + + /* All Headings Centered */ + + h1 { + text-align: center; + margin-top: 1.5em; + margin-bottom: 1em; + clear: both; + } + + h2 { + text-align: center; + margin-top: 1.5em; + margin-bottom: 1em; + clear: both; + } + + .subhead { text-align: center; font-size: 125%; padding-bottom: 2em; } + + /* Paragraphs */ + + p { + margin-top: 1em; + text-align: justify; + margin-bottom: 1em; + } + + /* Horizontal Lines and Thought Breaks */ + + hr.major { + width: 55%; + color: silver; + margin-top: 3em; + margin-right: auto; + margin-bottom: 3em; + margin-left: auto; + clear: both; + } + + hr.spacer { + width: 0%; + visibility: hidden; + margin-bottom: 1em; + clear: both; + } + + hr.bigspacer { + width: 0%; + visibility: hidden; + margin-bottom: 4em; + clear: both; + } + + /* Page Numbers */ + + .nopagenum { display: none } + + .pagenum { + position: absolute; + right: 8%; + font-size: 90%; + font-weight: normal; + font-style: normal; + text-align: center; + color: silver; + } + + /* Font Attributes */ + + .size125 { font-size: 125%; } + .size90 { font-size: 90%; } + .size75 { font-size: 75%; } + .size70 { font-size: 70%; } + .size60 { font-size: 60%; } + + .smcap { font-variant: small-caps; } + .ital { font-style: italic; } + .u { text-decoration: underline; } + .ff { font-family: "Georgia", "Times New Roman", serif; font-weight: bold; } + .hidden { display: none; } /* hide duplicate chapter headers */ + + /* Layout Attributes */ + + .center { text-align: center; } + + .narr { margin: auto; max-width: 18em; text-align: center; } + + /* Table of Contents */ + + table { margin-left: auto; margin-right: auto; } + + td.toc1 { text-align: right; + font-size: 105%; + padding-top: 1em; + padding-right: 0.5em; + padding-bottom: 1em; + padding-left: 0.5em; } + + td.tocblank { text-align: right; } + + td.toc2 { text-align: left; + font-size: 105%; + padding-left: 0.5em; + padding-right: 0.5em; } + + td.toc3 { text-align: right; + font-size: 105%; + padding-left: 0.5em; + padding-right: 0.5em; } + + /* Sidenotes */ + + .sidenote { + width: 8em; + font-size: 90%; + color: black; + background: #eeeeee; + border: dashed 1px; + padding-top: .5em; + padding-right: .5em; + padding-bottom: .5em; + padding-left: .5em; + margin-top: 1em; + margin-left: 1em; + float: right; + clear: right; + } + + /* Images */ + + .caption { + font-weight: bold; + font-variant: small-caps; + } + + .figcenter { + padding: 1em; + margin: auto; + text-align: center; + } + + .figdeco { margin: auto; } + + /* Drop Cap Text */ + + .dropcap:first-letter { + font-size: 200%; font-style: normal; + padding-top: 0.1em; + margin-left: 0em; margin-right: 0.2em; + font-weight: bold; float: left; width: auto; + } + + /* Transcriber's Note and Corrections */ + + .tnote { border: dashed 1px; + padding: 1em; + margin-top: 3em; + margin-right: 10%; + margin-bottom: 3em; + margin-left: 10%; + page-break-after: always; } + + .tnote p { text-indent: 0; margin-top: .5em; font-size: 90%; } + + .tnote h3 { text-indent: 0; text-align: left; font-size: 100%; + font-style: normal; font-weight: bold; } + +--> +/* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +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: ISO-8859-1 + +*** 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.) + + + + + + +</pre> + + +<hr class="major" /> + +<h1><span class="u size60 ff">Applied Psychology</span> +<br /> +<br /> +MAKING +<br /> +YOUR OWN WORLD</h1> + +<div class="center"> +<div style="line-height: 1.5em;"> + +<div class="size125 ital narr"> +Being the Second of a Series of Twelve Volumes on the Applications +of Psychology to the Problems of Personal and Business Efficiency +</div> + +<hr class="spacer" /> + +<span class="size75">BY</span> +<br /> +WARREN HILTON, A.B., L.L.B. +<br /> +<span class="size75">FOUNDER OF THE SOCIETY OF APPLIED PSYCHOLOGY</span> + +<hr class="bigspacer" /> + +<span class="size70">ISSUED UNDER THE AUSPICES OF</span> +<br /> +<span class="size90">THE LITERARY DIGEST</span> +<br /> +<span class="size70">FOR</span> +<br /> +<span class="ff">The Society of Applied Psychology</span> +<br /> +<span class="size90">NEW YORK AND LONDON</span> +<br /> +1920 + +</div> +</div> + +<hr class="major" /> + +<div class="center size75"> +<div style="line-height: 1.5em;"> +COPYRIGHT 1914 +<br /> +BY THE APPLIED PSYCHOLOGY PRESS +<br /> +SAN FRANCISCO +</div> +</div> + +<hr class="major" /> + +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> + +<div class="center"> +<table summary="Table of Contents"> + +<tr> +<td class="toc1"> +Chapter +</td> +<td class="blank"> + +</td> +<td class="toc3"> +Page +</td> +</tr> + +<tr> +<td class="toc1"> +I. +</td> +<td class="toc2"> +<a href="#Chapter_I">THE TWO FUNDAMENTAL PROCESSES OF MIND</a> +</td> +<td class="toc3"> + +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +MIND AS A MEANS TO ATTAINMENT +</td> +<td class="toc3"> +<a href="#Page_3">3</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +THREE POSTULATES FOR THIS COURSE +</td> +<td class="toc3"> +<a href="#Page_4">4</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +EXPERIENCE AND ABSTRACTIONS +</td> +<td class="toc3"> +<a href="#Page_5">5</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +PRIMARY MENTAL OPERATIONS +</td> +<td class="toc3"> +<a href="#Page_6">6</a> +</td> +</tr> + +<tr> +<td class="toc1"> +II. +</td> +<td class="toc2"> +<a href="#Chapter_II">SENSATIONS AND OUR PERCEPTION OF THEM</a> +</td> +<td class="toc3"> + +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +MIND'S SOURCE OF SUPPLIES +</td> +<td class="toc3"> +<a href="#Page_9">9</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +DOES MATTER EXIST? +</td> +<td class="toc3"> +<a href="#Page_10">10</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +FIRST-HAND KNOWLEDGE +</td> +<td class="toc3"> +<a href="#Page_11">11</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +SECOND-HAND KNOWLEDGE +</td> +<td class="toc3"> +<a href="#Page_12">12</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +ETHERIC VIBRATIONS AS CAUSING SENSATIONS +</td> +<td class="toc3"> +<a href="#Page_13">13</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +THE ROAD TO PERCEPTION +</td> +<td class="toc3"> +<a href="#Page_14">14</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +THE PLACE WHERE SENSATION OCCURS +</td> +<td class="toc3"> +<a href="#Page_15">15</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +LABORATORY PROOF OF SENSE-PERCEPTIVE PROCESS +</td> +<td class="toc3"> +<a href="#Page_16">16</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +REACTION-TIME +</td> +<td class="toc3"> +<a href="#Page_17">17</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +THE HUMAN TELEPHONE +</td> +<td class="toc3"> +<a href="#Page_18">18</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +THE LIVING TELEGRAPH +</td> +<td class="toc3"> +<a href="#Page_19">19</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +THE SIX STEPS TO REACTION +</td> +<td class="toc3"> +<a href="#Page_20">20</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +UNOPENED MENTAL MAIL +</td> +<td class="toc3"> +<a href="#Page_21">21</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +SELECTIVE PROCESS THAT DETERMINES CONDUCT +</td> +<td class="toc3"> +<a href="#Page_22">22</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +IN TUNE WITH LIFE-INTEREST +</td> +<td class="toc3"> +<a href="#Page_23">23</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +PRACTICAL ASPECTS OF PERCEPTION PROCESS +</td> +<td class="toc3"> +<a href="#Page_24">24</a> +</td> +</tr> + +<tr> +<td class="toc1"> +III. +</td> +<td class="toc2"> +<a href="#Chapter_III">SENSORY ILLUSIONS AND SUGGESTIONS FOR THEIR USE</a> +</td> +<td class="toc3"> + +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +UNRELIABILITY OF SENSE-ORGANS +</td> +<td class="toc3"> +<a href="#Page_27">27</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +BEING AND SEEMING +</td> +<td class="toc3"> +<a href="#Page_29">29</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +USE OF ILLUSIONS IN BUSINESS +</td> +<td class="toc3"> +<a href="#Page_31">31</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +MAKING AN ARTICLE LOOK BIG +</td> +<td class="toc3"> +<a href="#Page_32">32</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +TESTING THE CONFIDENTIAL MAN +</td> +<td class="toc3"> +<a href="#Page_33">33</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +TESTS FOR CREDULITY +</td> +<td class="toc3"> +<a href="#Page_34">34</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +WHAT COLORS LOOK NEAREST +</td> +<td class="toc3"> +<a href="#Page_35">35</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +TESTING THE RANGE OF ATTENTION +</td> +<td class="toc3"> +<a href="#Page_36">36</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +A GUIDE TO OCCUPATIONAL SELECTION +</td> +<td class="toc3"> +<a href="#Page_37">37</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +TEST FOR ATTENTION TO DETAILS +</td> +<td class="toc3"> +<a href="#Page_38">38</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +OTHER BUSINESS APPLICATIONS +</td> +<td class="toc3"> +<a href="#Page_39">39</a> +</td> +</tr> + +<tr> +<td class="toc1"> +IV. +</td> +<td class="toc2"> +<a href="#Chapter_IV">INWARDNESS OF ENVIRONMENT</a> +</td> +<td class="toc3"> + +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +FACTORS OF SUCCESS OR FAILURE +</td> +<td class="toc3"> +<a href="#Page_43">43</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +SHOULD SEEING BE BELIEVING? +</td> +<td class="toc3"> +<a href="#Page_44">44</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +HEARING THE LIGHTNING +</td> +<td class="toc3"> +<a href="#Page_46">46</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +IMPORTANCE OF THE MENTAL MAKE-UP +</td> +<td class="toc3"> +<a href="#Page_47">47</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +UNREALITY OF "THE REAL" +</td> +<td class="toc3"> +<a href="#Page_48">48</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +"THINGS" AND THEIR MENTAL DUPLICATES +</td> +<td class="toc3"> +<a href="#Page_49">49</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +EFFECT OF CLOSING ONE'S EYES +</td> +<td class="toc3"> +<a href="#Page_50">50</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +IF MATTER WERE ANNIHILATED +</td> +<td class="toc3"> +<a href="#Page_51">51</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +IF MIND WERE ANNIHILATED +</td> +<td class="toc3"> +<a href="#Page_52">52</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +AS MANY WORLDS AS MINDS +</td> +<td class="toc3"> +<a href="#Page_53">53</a> +</td> +</tr> + +<tr> +<td class="toc1"> +V. +</td> +<td class="toc2"> +<a href="#Chapter_V">ESSENTIAL LAW OF PRACTICAL SELF-MASTERY</a> +</td> +<td class="toc3"> + +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +OPTION AND OPPORTUNITY +</td> +<td class="toc3"> +<a href="#Page_57">57</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +PRE-ARRANGING YOUR CONSCIOUSNESS +</td> +<td class="toc3"> +<a href="#Page_58">58</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +HOW TO DEFINITELY SELECT ITS ELEMENTS +</td> +<td class="toc3"> +<a href="#Page_59">59</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +AN INFALLIBLE RECIPE FOR SELF-POSSESSION +</td> +<td class="toc3"> +<a href="#Page_60">60</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +USING "UNSEEN EAR PROTECTORS" +</td> +<td class="toc3"> +<a href="#Page_61">61</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +HOW TO AVOID WORRY, MELANCHOLY +</td> +<td class="toc3"> +<a href="#Page_62">62</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +PUTTING CIRCUMSTANCES UNDER FOOT +</td> +<td class="toc3"> +<a href="#Page_63">63</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +RUNNING YOUR MENTAL FACTORY +</td> +<td class="toc3"> +<a href="#Page_64">64</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +ACQUIRING MENTAL BALANCE +</td> +<td class="toc3"> +<a href="#Page_65">65</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +DISSIPATING MENTAL SPECTERS +</td> +<td class="toc3"> +<a href="#Page_66">66</a> +</td> +</tr> + +<tr> +<td class="tocblank"> + +</td> +<td class="toc2"> +HOW TO CONTROL YOUR DESTINY +</td> +<td class="toc3"> +<a href="#Page_67">67</a> +</td> +</tr> + +</table> +</div> + +<hr class="major" /> + +<div class="hidden"> +<!-- Page 1 --> + +<span class="nopagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span> + +<div>THE TWO FUNDAMENTAL PROCESSES OF MIND</div> + +<!-- Page 2 --> + +<span class="nopagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> +</div> + +<div> +<!-- Page 3 --> + +<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> +<a name="Chapter_I" id="Chapter_I"></a> +</div> + +<div class="figdeco" style="width: 475px;"> +<img src="images/deco.jpg" width="475" height="110" alt="Decorative Border" /> +</div> + +<h2><span class="smcap">Chapter I</span></h2> + +<div class="subhead">THE TWO FUNDAMENTAL PROCESSES OF MIND</div> + +<div class="sidenote"><i>Mind as a Means to Achievement</i></div> + +<p class="dropcap">In the preceding book, "Psychology and Achievement," we established +the truth of two propositions:</p> + +<p>I. <i>All human achievement comes about through bodily activity.</i></p> + +<p>II. <i>All bodily activity is caused, controlled and directed by the +mind.</i></p> + +<p>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:</p> + +<div> +<!-- Page 4 --> + +<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> +</div> + +<p>III. <i>The Mind is the instrument you must employ for the +accomplishment of any purpose.</i></p> + +<div class="sidenote"><i>Three Postulates for this Course</i></div> + +<p>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.</p> + +<p><i>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.</i></p> + +<p>These two fundamental processes are the Sense-Perceptive Process and +the Judicial Process.</p> + +<p>The Sense-Perceptive Process is the process + +<!-- Page 5 --> + +<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> +by which knowledge is +acquired through the senses. Knowledge is the result of experience +and all human experience is made up of sense-perceptions.</p> + +<div class="sidenote"><i>Experience and Abstractions</i></div> + +<p>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.</p> + +<p>Consequently, the Sense-Perceptive Process furnishes the raw +material, sense-perceptions or experience, for the machinery of the +Judicial Process to work with.</p> + +<div class="sidenote"><i>Primary Mental Operations</i></div> + +<p>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 + +<!-- Page 6 --> + +<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> +understanding of +this process will be useful to you in everyday affairs. The +succeeding book will explain the Judicial Process.</p> + +<div class="hidden"> +<!-- Page 7 --> + +<span class="nopagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> + +<div>SENSATIONS AND OUR PERCEPTION OF THEM</div> + +<!-- Page 8 --> + +<span class="nopagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> +</div> + +<hr class="major" /> + +<div> +<!-- Page 9 --> + +<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> +<a name="Chapter_II" id="Chapter_II"></a> +</div> + +<div class="figdeco" style="width: 475px;"> +<img src="images/deco.jpg" width="475" height="110" alt="Decorative Border" /> +</div> + +<h2><span class="smcap">Chapter II</span></h2> + +<div class="subhead">SENSATIONS AND OUR PERCEPTION OF THEM</div> + +<div class="sidenote"><i>Mind's Source of Supplies</i></div> + +<p class="dropcap">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.</p> + +<p>The impressions you receive in this way may be true or they may be +false. They may constitute absolute knowledge + +<!-- Page 10 --> + +<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> +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.</p> + +<div class="sidenote"><i>Does Matter Exist?</i></div> + +<p>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.</p> + +<p>If you have never given much thought to this subject, you have +naturally + +<!-- Page 11 --> + +<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> +assumed that you have direct knowledge of all the +material things that you <i>seem</i> to perceive about you. It has never +occurred to you that there are intervening physical agencies that +you ought to take into account.</p> + +<div class="sidenote"><i>First-Hand Knowledge</i></div> + +<p>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.</p> + +<p>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.</p> + +<p>Direct perception of an outside reality is impossible.</p> + +<div> +<!-- Page 12 --> + +<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> +</div> + +<div class="sidenote"><i>Second-Hand Knowledge</i></div> + +<p>Before you can become aware of any object there must first arise +between it and your mind a chain of countless distinct physical +events.</p> + +<p>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.</p> + +<p>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!</p> + +<p>Nor can you be sure, even after any particular + +<!-- Page 13 --> + +<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> +vibration has +reached the surface of your body, that it will reach your mind +unaltered and intact!</p> + +<div class="sidenote"><i>Etheric Vibrations as Causing Sensations</i></div> + +<p>What goes on in the body itself is made clear by your knowledge of +the cellular structure of man.</p> + +<p>You know that you have a system of nerves centering in the brain and +with countless ramifications throughout the structural tissues of +the body.</p> + +<p>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.</p> + +<div class="figcenter" style="width: 420px;"> +<img src="images/assn_centers_p13.jpg" width="420" height="590" alt="DIAGRAM +SHOWING THE FOUR CHIEF ASSOCIATION CENTERS OF THE HUMAN BRAIN" /> +<span class="caption">DIAGRAM SHOWING THE FOUR CHIEF ASSOCIATION CENTERS OF +THE HUMAN BRAIN</span> +</div> + +<div> +<!-- Page 14 --> + +<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> +</div> + +<div class="sidenote"><i>The Road to Perception</i></div> + +<p>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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>Many of our sensations, especially those of touch, seem to occur on +the periphery + +<!-- Page 15 --> + +<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> +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.</p> + +<div class="sidenote"><i>The Place Where Sensation Occurs</i></div> + +<p>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.</p> + +<p>Of course, the fact is that you would only <i>seem</i> to have feeling in +the amputated arm. The sensation would really occur + +<!-- Page 16 --> + +<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> +in the central +brain tissue as the organ of the governing intelligence, the organ +of consciousness.</p> + +<div class="sidenote"><i>Laboratory Proof of Sense-Perceptive Process</i></div> + +<p>And you may set it down as an established principle that <i>all states +of consciousness, whether seemingly localized on the surface of the +body or not, are connected with the brain as the dominant center</i>.</p> + +<p>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.</p> + +<p>If your eyes were to be blindfolded and your hand unexpectedly +pricked with + +<!-- Page 17 --> + +<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> +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.</p> + +<div class="sidenote"><i>Reaction Time</i></div> + +<p>This interval is known as <i>reaction-time</i>. 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.</p> + +<p>The work of the nervous system in dealing + +<!-- Page 18 --> + +<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> +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.</p> + +<div class="sidenote"><i>The Human Telephone</i></div> + +<p>These air-waves when heard are what we call <i>sound</i>.</p> + +<p>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 + +<!-- Page 19 --> + +<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> +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.</p> + +<div class="sidenote"><i>The Living Telegraph</i></div> + +<p>This process is by no means a mechanical affair. On the contrary, it +is a series of <i>mental</i> acts. Every cell in the living telegraph +must receive the message and transmit it. <i>Every cell</i> 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.</p> + +<p>Reaction-time, so called, is thus occupied by cellular action in the +form of <i>mental</i> processes intervening between the + +<!-- Page 20 --> + +<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> +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.</p> + +<div class="sidenote"><i>The Six Steps to Reaction</i></div> + +<p>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.</p> + +<div> +<!-- Page 21 --> + +<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> +</div> + +<div class="sidenote"><i>Unopened Mental Mail</i></div> + +<p>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.</p> + +<p>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; + +<!-- Page 22 --> + +<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> +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.</p> + +<div class="sidenote"><i>Selective Process that Determines Conduct</i></div> + +<p>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.</p> + +<p><i>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 + +<!-- Page 23 --> + +<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> +perceived and acted +upon. All others it diverts into a subconscious reservoir of +temporary oblivion.</i></p> + +<div class="sidenote"><i>In Tune with Life-Interest</i></div> + +<p>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.</p> + +<p>This subject possesses two distinct aspects.</p> + +<p>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. + +<!-- Page 24 --> + +<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> +These inaccuracies are called Sensory +Illusions.</p> + +<div class="sidenote"><i>Practical Aspects of Perception Process</i></div> + +<p>The other aspect of the Sense-Perceptive Process has to do with the +mental interpretation of environment.</p> + +<p>Both these aspects are distinctly practical.</p> + +<p>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.</p> + +<p>You should understand the relationship between your mind and your +environment, since they are the two principal factors in your +working life.</p> + +<div class="hidden"> +<!-- Page 25 --> + +<span class="nopagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> + +<div>SENSORY ILLUSIONS AND SUGGESTIONS FOR THEIR USE</div> + +<!-- Page 26 --> + +<span class="nopagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> +</div> + +<hr class="major" /> + +<div> +<!-- Page 27 --> + +<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> +<a name="Chapter_III" id="Chapter_III"></a> +</div> + +<div class="figdeco" style="width: 475px;"> +<img src="images/deco.jpg" width="475" height="110" alt="Decorative Border" /> +</div> + +<h2><span class="smcap">Chapter III</span></h2> + +<div class="subhead">SENSORY ILLUSIONS AND SUGGESTIONS FOR THEIR USE</div> + +<div class="sidenote"><i>Unreliability of Sense-Organs</i></div> + +<p class="dropcap">Figure 1 shows two lines of equal length, yet the vertical line will +to most persons seem longer than the horizontal one.</p> + +<div class="figcenter" style="width: 350px;"> +<img src="images/fig_1.png" width="350" height="300" alt="Fig. 1." /> +<span class="caption">Fig. 1.</span> +</div> + +<div> +<!-- Page 28 --> + +<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> +</div> + +<p>In Figure 2 the lines A and B are of the same length, yet the lower +seems much longer.</p> + +<div class="figcenter" style="width: 425px;"> +<img src="images/fig_2.png" width="425" height="170" alt="Fig. 2." /> +<span class="caption">Fig. 2.</span> +</div> + +<p>Those things look smallest over which the eye moves with least +resistance.</p> + +<p>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.</p> + +<div class="figcenter" style="width: 425px;"> +<img src="images/fig_3.png" width="425" height="80" alt="Fig. 3." /> +<span class="caption">Fig. 3.</span> +</div> + +<div> +<!-- Page 29 --> + +<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> +</div> + +<div class="sidenote"><i>Being and Seeming</i></div> + +<p>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.</p> + +<div class="figcenter" style="width: 610px;"> +<img src="images/fig_4.png" width="610" height="185" alt="Fig. 4." /> +<span class="caption">Fig. 4.</span> +</div> + +<p>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 + +<!-- Page 30 --> + +<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> +the filled square in +Figure 5 looks larger than the empty one, though they are of equal +size.</p> + +<div class="figcenter" style="width: 650px;"> +<img src="images/fig_5.png" width="650" height="305" alt="Fig. 5." /> +<span class="caption">Fig. 5.</span> +</div> + +<p>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 + +<!-- Page 31 --> + +<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> +ones to make allowances for the optical illusion.</p> + +<div class="figcenter" style="width: 365px;"> +<img src="images/manboy_p30.jpg" width="365" height="600" alt="THIS MAN AND +THIS BOY ARE OF EQUAL HEIGHT, BUT ASSOCIATION OF IDEAS MAKES THE MAN LOOK MUCH THE LARGER" /> +<span class="caption">THIS MAN AND THIS BOY ARE OF EQUAL HEIGHT, BUT +ASSOCIATION OF IDEAS MAKES THE MAN LOOK MUCH THE LARGER</span> +</div> + +<div class="sidenote"><i>Use of Illusions in Business</i></div> + +<p>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.</p> + +<p>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 + +<!-- Page 32 --> + +<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> +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.</p> + +<div class="sidenote"><i>Making an Article Look Big</i></div> + +<p>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.</p> + +<p>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 + +<!-- Page 33 --> + +<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> +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.</p> + +<div class="sidenote"><i>Testing the Confidential Man</i></div> + +<p>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 + +<!-- Page 34 --> + +<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> +deceptions practiced +by salesmen, promoters and others with seductive propositions.</p> + +<div class="sidenote"><i>Tests for Credulity</i></div> + +<p>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.</p> + +<p>Turning from illusions of suggestion, shape and size, another field +of peculiar sensory + +<!-- Page 35 --> + +<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> +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.</p> + +<div class="sidenote"><i>What Colors Look Nearest</i></div> + +<p>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 + +<!-- Page 36 --> + +<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> +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 <i>words</i> 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 <i>forms</i> as he may happen to recall.</p> + +<div class="sidenote"><i>Testing the Range of Attention</i></div> + +<p>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 + +<!-- Page 37 --> + +<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> +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.</p> + +<div class="sidenote"><i>A Guide to Occupational Selection</i></div> + +<p>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.</p> + +<p>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 + +<!-- Page 38 --> + +<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> +work requiring the supervision +of mechanical operations widely separated in space.</p> + +<div class="sidenote"><i>Test for Attention to Details</i></div> + +<p>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.</p> + +<p>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 + +<!-- Page 39 --> + +<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> +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.</p> + +<div class="sidenote"><i>Other Business Applications</i></div> + +<p>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.</p> + +<div class="hidden"> +<!-- Page 41 --> + +<span class="nopagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span> + +<div>INWARDNESS OF ENVIRONMENT</div> + +<!-- Page 42 --> + +<span class="nopagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> +</div> + +<hr class="major" /> + +<div> +<!-- Page 43 --> + +<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> +<a name="Chapter_IV" id="Chapter_IV"></a> +</div> + +<div class="figdeco" style="width: 475px;"> +<img src="images/deco.jpg" width="475" height="110" alt="Decorative Border" /> +</div> + +<h2><span class="smcap">Chapter IV</span></h2> + +<div class="subhead">INWARDNESS OF ENVIRONMENT</div> + +<div class="sidenote"><i>Factors of Success or Failure</i></div> + +<p class="dropcap">The aspect of the sense-perceptive process that deals with the +relation of mind to environment is of greatest practical value.</p> + +<p>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.</p> + +<p>If there is anything in the world you feel sure of, it is that you +can depend upon + +<!-- Page 44 --> + +<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> +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."</p> + +<div class="sidenote"><i>Should Seeing Be Believing?</i></div> + +<p>Yet how can you be sure that any object in the external world is +actually what your sense-perceptions report it to be?</p> + +<p>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.</p> + +<p>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 + +<!-- Page 45 --> + +<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span> +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.</p> + +<p>Other facts add to your uncertainty. Thus, <i>the same stimulus</i> +acting on <i>different organs</i> of sense will produce <i>different +sensations</i>. A blow upon the eye will cause you to "see stars"; a +similar <i>blow</i> + +<!-- Page 46 --> + +<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> +upon the ear will cause you to <i>hear</i> an explosive +sound. In other words, the vibratory effect of a <i>touch</i> on eye or +ear is the same as that of <i>light</i> or <i>sound</i> vibrations.</p> + +<div class="sidenote"><i>Hearing the Lightning</i></div> + +<p>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.</p> + +<p>You <i>see</i> the sun without being able to <i>hear</i> 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 + +<!-- Page 47 --> + +<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> +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."</p> + +<div class="sidenote"><i>Importance of the Mental Make-Up</i></div> + +<p>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—<i>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</i>.</p> + +<p>There is another way of examining into the intervening agencies that +influence our mental conception of the material world about us.</p> + +<div> +<!-- Page 48 --> + +<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> +</div> + +<div class="sidenote"><i>Unreality of "The Real"</i></div> + +<p>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?</p> + +<p>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 + +<!-- Page 49 --> + +<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> +of your mind comfortably enfolding the table +within itself.</p> + +<div class="sidenote"><i>"Things" and their Mental Duplicates</i></div> + +<p>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.</p> + +<p>In other words, you are on the horns of a dilemma. If you insist +that the table exists <i>outside</i> of your mind, you must admit that +your knowledge of it is not direct, immediate and intuitive, but +<i>indirect</i> + +<!-- Page 50 --> + +<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> +and representative, because of intervening physical +agencies, and that the only thing directly known is the <i>mental +impression</i> 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.</p> + +<div class="sidenote"><i>Effect of Closing One's Eyes</i></div> + +<p>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 + +<!-- Page 51 --> + +<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> +opening and closing +your eyes, you can successively create and destroy this mental +duplicate.</p> + +<div class="sidenote"><i>If Matter Were Annihilated</i></div> + +<p>Clearly, then, the table of which you are directly and immediately +conscious when your eyes are open is always this <i>mental duplicate</i>, +this aggregate of color, form, size and touch <i>impressions</i>; 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.</p> + +<p>Imagine, then, for a moment that everything except mind should +suddenly cease to exist, but that your sense-perceptions—that + +<!-- Page 52 --> + +<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span> +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?</p> + +<div class="sidenote"><i>If Mind Were Annihilated</i></div> + +<p>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?</p> + +<p><i>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.</i></p> + +<div class="sidenote"><i>As Many Worlds as Minds</i></div> + +<p>The whole subject of sense-impressions, + +<!-- Page 53 --> + +<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> +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.</p> + +<div class="hidden"> +<!-- Page 55 --> + +<span class="nopagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> + +<div>ESSENTIAL LAW OF PRACTICAL SELF-MASTERY</div> + +<!-- Page 56 --> + +<span class="nopagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> +</div> + +<hr class="major" /> + +<div> +<!-- Page 57 --> + +<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> +<a name="Chapter_V" id="Chapter_V"></a> +</div> + +<div class="figdeco" style="width: 475px;"> +<img src="images/deco.jpg" width="475" height="110" alt="Decorative Border" /> +</div> + +<h2><span class="smcap">Chapter V</span></h2> + +<div class="subhead">ESSENTIAL LAW OF PRACTICAL SELF-MASTERY</div> + +<div class="sidenote"><i>Option and Opportunity</i></div> + +<p class="dropcap"><i>External objects excite sensory impressions, but the perception of +them is purely at the option of the mind.</i></p> + +<p>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 + +<!-- Page 58 --> + +<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> +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.</p> + +<div class="sidenote"><i>Prearranging Your Consciousness</i></div> + +<p>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.</p> + +<p><i>Perception as an independent mental process thus enables you to +predetermine what elements of passing sensory experience may be made +the basis of your + +<!-- Page 59 --> + +<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> +conscious judgments and of your feelings and +emotions.</i></p> + +<div class="sidenote"><i>How to Definitely Selects its Elements</i></div> + +<p>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.</p> + +<p><i>Your environment is within you.</i> Get this conclusion clearly in +your mind.</p> + +<p>Hold fast to the point of view that, <i>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</i>.</p> + +<div> +<!-- Page 60 --> + +<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> +</div> + +<div class="sidenote"><i>An Infallible Recipe for Self-Possession</i></div> + +<p>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.</p> + +<div class="sidenote"><i>Using "Unseen Ear Protectors"</i></div> + +<p>"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 + +<!-- Page 61 --> + +<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> +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: <i>Hear only +what you will to hear</i>.' 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 + +<!-- Page 62 --> + +<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> +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."</p> + +<div class="sidenote"><i>How to Avoid Worry, Melancholy</i></div> + +<p>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.</p> + +<p>How? Simply by shutting off the flow of disagreeable thoughts and +substituting others that are pleasant and refreshing.</p> + +<p>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, + +<!-- Page 63 --> + +<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> +the helpful and the cheerful, ignore the +useless and annoying, and make your life a life of hope and joy, of +promise and fulfilment.</p> + +<div class="sidenote"><i>Putting Circumstances Under Foot</i></div> + +<p>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.</p> + +<p>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.</p> + +<p>You now realize that your environment is an environment of thought, +that your material universe is a thing your own + +<!-- Page 64 --> + +<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> +making, and that +you can mold it as you will simply by the intelligent control of +your own thinking.</p> + +<div class="sidenote"><i>Running Your Mental Factory</i></div> + +<p>In Book I. you learned that—</p> + +<p>I. <i>All human achievement comes about through bodily activity.</i></p> + +<p>II. <i>All bodily activity is caused, controlled and directed by the +mind.</i></p> + +<p>In this volume you have added to these propositions a third, namely:</p> + +<p>III. <i>The mind is the instrument you must employ for the +accomplishment of any purpose.</i></p> + +<p>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 + +<!-- Page 65 --> + +<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> +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.</p> + +<div class="sidenote"><i>Acquiring Mental Balance</i></div> + +<p>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.</p> + +<p>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 + +<!-- Page 66 --> + +<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> +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.</p> + +<div class="sidenote"><i>Dissipating Mental Specters</i></div> + +<p>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 + +<!-- Page 67 --> + +<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> +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.</p> + +<div class="sidenote"><i>How to Control Your Destiny</i></div> + +<p>Success is a variable term. In the last analysis, it means simply +getting the thing that <i>you</i> want to have.</p> + +<p>Whether you succeed or fail depends altogether upon your own +attitude toward the external facts of life.</p> + +<p>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.</p> + +<p>Learn the lesson of your own powers, the secret of controlling the +selective and creative energy within you, and you can + +<!-- Page 68 --> + +<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> +bring any +project to the goal of accomplishment.</p> + +<p>In the closing volumes of this <i>Course</i> we shall instruct you in +practical methods by which the selection of those elements of +experience that are helpful may be made absolutely automatic.</p> + +<hr class="major" /> + +<div class="tnote"> +<h3><a name="Transcribers_Note" id="Transcribers_Note"></a>Transcriber's Note:</h3> + +<p>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.</p> + +<p>Duplicate chapter headers have been removed from the text version +of this ebook and hidden in the HTML version.</p> + +<p>The word 'prearranging' appears both with and without a hyphen. +This variance matches the original text.</p> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Applied Psychology: Making Your Own +World, by Warren Hilton + +*** END OF THIS PROJECT GUTENBERG EBOOK APPLIED PSYCHOLOGY *** + +***** This file should be named 28359-h.htm or 28359-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/8/3/5/28359/ + +Produced by Bryan Ness, C. 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