The secret to Hitler's power is ... that his unconscious has exceptional access to his conscious and ... that he allows himself to be moved by it. [Others] have too much rationality, too much cerebrum to obey it [but] Hitler listens.
Hitler's unconscious seems to be female.
The greatest sin is to be unconscious.
I can't remember. . . . My character was sort of unconscious for it.
I use [Heraclitus' discovery of] enantiodromia for the emergence of the unconscious opposite in the course of time. This characteristic phenomenon practically always occurs when an extreme, onesided tendency dominates conscious life; in time an equally powerful counterposition is built up, which first inhibits the conscious performance and subsequently breaks through the conscious control.
Humor is laughing at what you haven't got when you ought to have it ... what you wish in your secret heart were not funny, but it is, and you must laugh. Humor is your own unconscious therapy. Like a welcome summer rain, humor may suddenly cleanse and cool the earth, the air, and you.
The movements of the eyes express the perpetual and unconscious courtesy of the parties.
Over the years, I've found one rule. It is the only one I give on those occasions when I talk about writing. A simple rule. If you tell yourself you are going to be at your desk tomorrow, you are by that declaration asking your unconscious to prepare the material. You are, in effect, contracting to pick up such valuables at a given time. Count on me, you are saying to a few forces below: I will be there to write.
Killing is decreed by law but nature loves eternal youth. Whatever she does, however unconscious and unfeeling the act, she seems to cry out: 'Quick! Quick! Quick!' And the more she destroys, the more she is renewed.
What magicians we are, turning darkness into light, transforming invisible atoms into dazzling theater of the world, pulling objects, (people as well as rabbits) out of secret microscopic closets, turning winter into summer, making a palmful of moments disappear through time's trap door. We learned the methods so long ago that they're unconscious, and we've hypnotized ourselves into believing that we're the audience, so I wonder where we served our apprenticeship. Under what master magicians did we learn to form reality so smoothly that we forgot to tell ourselves the secret?
The non-spatial nature of consciousness makes it possible for any apparently unconscious entity to be conscious, and vice versa.
The power of understanding symbols, i.e. of regarding everything about a sense-datum as irrelevant except a certain form that it embodies, is the most characteristic mental trait of mankind. It issues in an unconscious, spontaneous process of abstraction, which goes on all the time in the human mind: a process of recognizing the concept in any configuration given to experience, and forming a conception accordingly. That is the real sense of Aristotle's definition of Man as "the rational animal".
If... deceit is fundamental to animal communication, then there must be strong selection to spot deception and this ought, in turn, to select for a degree of self-deception, rendering some facts and motives unconscious so as not to betray - by the subtle signs of self-knowledge - the deception being practiced.' Thus, 'the conventional view that natural selection favors nervous systems which produce ever more accurate images of the world must be a very naive view of mental evolution.
The division of the psychical into what is conscious and what is unconscious is the fundamental premise of psycho-analysis; and it alone makes it possible for psycho-analysis to understand the pathological processes in mental life, which are as common as they are important, and to find a place for them in the framework of science.
Thinking in pictures is, therefore, only a very incomplete form of becoming conscious. In some way, too, it stands nearer to unconscious processes than does thinking in words, and it is unquestionably older than the latter both ontogenetically and phylogenetically.
At first the analysing physician could do no more than discover the unconscious material that was concealed from the patient, put it together, and, at the right moment, communicate it to him. Psychoanalysis was then first and foremost an art of interpreting. Since this did not solve the therapeutic problem, a further aim quickly came in view: to oblige the patient to confirm the analyst's construction from his own memory.
The unconscious - that is to say, the 'repressed' - offers no resistance whatever to the efforts of the treatment. Indeed, it itself has no other endeavour than to break through the pressure weighing down on it and force its way either to consciousness or to a discharge through some real action.
There is no doubt that the resistance of the conscious and unconscious ego operates under the sway of the pleasure principle: it seeks to avoid the unpleasure which would be produced by the liberation of the repressed.
This transmissibility of taboo is a reflection of the tendency, on which we have already remarked, for the unconscious instinct in the neurosis to shift constantly along associative paths on to new objects.
The opposition to teaching evolution is, of course, almost always given a religious reason. That may usually be its real basis, but I think it is often a mask, perhaps unconscious, for underlying anti-intellectualism or antiscientism.
I've fallen down crevasses, been bitten by snakes, been knocked unconscious, had various limbs broken and once, a heavy camera came plunging down which very nearly decapitated me.
Becoming conscious is of course a sacrilege against nature; it is as though you had robbed the unconscious of something. The nice thing about being a celebrity is that if you bore people they think it's their fault.
Make friends with your unconscious life. That's a great source of energy.
Psychoanalysis comes down to the process itself - the self, and life. I think I can say that I'm friends with the unconscious life, but I've never tried to make a painting directly from a dream.
All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements - order and surprise, intellect and imagination, conscious and unconscious. BOTH SIDES of the artist's personality must play their part.
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