All the above is, of course, a gross simplification. There are deeper reasons to travel - itches and tickles on the underbelly of the unconscious mind. We go where we need to go, and then try to figure out what we're doing there.
The process [of mass-media deception] has to be conscious, or it would not be carried out with sufficient precision, but it also has to be unconscious, or it would bring with it a feeling of falsity and hence of guilt.... To tell deliberate lies while genuinely believing in them, to forget any fact that has become inconvenient, and then, when it becomes necessary again, to draw it back from oblivion for just so long as it is needed, to deny the existence of objective reality and all the while to take account of the reality which one denies all this is indispensably necessary.
Acting isn't something you do. Instead of doing it, it occurs. If you're going to start with logic, you might as well give up. You can have conscious preparation, but you have unconscious results.
You have to draw on your unconscious when you make a film - you can't worry about whether it's costing a lot of money.
We have five senses in which we glory and which we recognize and celebrate, senses that constitute the sensible world for us. But there are other senses - secret senses, sixth senses, if you will - equally vital, but unrecognized, and unlauded ... unconscious, automatic.
A man's age is something impressive, it sums up his life: maturity reached slowly and against many obstacles, illnesses cured, griefs and despairs overcome, and unconscious risks taken; maturity formed through so many desires, hopes, regrets, forgotten things, loves. A man's age represents a fine cargo of experience and memories.
All that we can hope from these inspirations, which are the fruits of unconscious work, is to obtain points of departure for such calculations. As for the calculations themselves, they must be made in the second period of conscious work which follows the inspiration, and in which the results of the inspiration are verified and the consequences deduced.
The process of writing fiction is totally unconscious. It comes from what you are learning, as you live, from within. For me, all writing is a process of discovery. We are looking for the meaning of life. No matter where you are, there are conflicts and dramas everywhere. It is the process of what it means to be a human being; how you react and are reacted upon, these inward and outer pressures. If you are writing with a direct cause in mind, you are writing propaganda. It's fatal for a fiction writer.
My art is grounded in the belief of one universal energy which runs through everything: from insect to man, from man to spectre, from spectre to plant from plant to galaxy. My works are the irrigation veins of this universal fluid. Through them ascend the ancestral sap, the original beliefs, the primordial accumulations, the unconscious thoughts that animate the world
The creative union of the conscious with the unconscious is what one usually calls 'inspiration.'
A complex is a cluster of energy in the unconscious, charged by historic events, reinforced through repitition, embodying a fragment of our personality, and generating a programmed response and an implicit set of expectations.
Within every man and woman a secret is hidden, and as a photographer it is my task to reveal it if I can. The revelation, if it comes at all, will come in a small fraction of a second with an unconscious gesture, a gleam of the eye, a brief lifting of the mask that all humans wear to conceal their innermost selves from the world. In that fleeting interval of opportunity the photographer must act or lose his prize.
What people who don't write don't understand is that they think you make up the line consciously — but you don't. It proceeds from your unconscious. So it's the same surprise to you when it emerges as it is to the audience when the comic says it. I don't think of the joke and then say it. I say it and then realize what I've said. And I laugh at it, because I'm hearing it for the first time myself.
The world of gods and spirits is truly 'nothing but' the collective unconscious inside me.
How else could it have occurred to man to divide the cosmos, on the analogy of day and night, summer and winter, into a bright day-world and a dark night-world peopled with fabulous monsters, unless he had the prototype of such a division in himself, in the polarity between the conscious and the invisible and unknowable unconscious?
The darkness which clings to every personality is the door into the unconscious and the gateway of dreams, from which those two twilight figures, the shadow and the anima, step into our nightly visions or, remaining invisible, take possession of our ego-consciousness.
The unsatisfied yearning of the artist reaches back to the primordial image in the unconscious which is best fitted to compensate the inadequacy and one-sidedness of the present.
I hold the view that the alchemist’s hope of conjuring out of matter the philosophical gold, or the panacea, or the wonderful stone, was only in part an illusion, an effect of projection; for the rest it corresponded to certain psychic facts that are of great importance in the psychology of the unconscious. As is shown by the texts and their symbolism, the alchemist projected what I have called the process of individuation into the phenomena of chemical change.
Dreams are impartial, spontaneous products of the unconscious psyche, outside the control of the will. They are pure nature; they show us the unvarnished, natural truth, and are therefore fitted, as nothing else is, to give us back an attitude that accords with our basic human nature when our consciousness has strayed too far from its foundations and run into an impasse.
It is only through the psyche that we can establish that God acts upon us, but we are unable to distinguish whether these actions emanate from God or from the unconscious. We cannot tell whether God and the unconscious are two different entities. Both are border-line concepts for transcendental contents. But empirically it can be established, with a sufficient degree of probability, that there is in the unconscious an archetype of wholeness.
The God-image in man was not destroyed by the Fall but was only damaged and corrupted (“deformed”), and can be restored through God's grace. The scope of the integration is suggested by the descensus ad inferos, the descent of Christ's soul to hell, its work of redemption embracing even the dead. The psychological equivalent of this is the integration of the collective unconscious which forms an essential part of the individuation process.
The more one sees of human fate and the more one examines its secret springs of action, the more one is impressed by the strength of unconscious motives and by the limitations of free choice
The poets and philosophers before me discovered the unconscious; what I discovered was the scientific method by which the unconscious can be studied.
Psychoanalysis is essentially a theory of unconscious strivings, of resistance, of falsification of reality according to one's subjective needs and expectations.
Symbolic violence is violence wielded with tacit complicity between its victims and its agents, insofar as both remain unconscious of submitting to or wielding it.
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