For many, what they see on television becomes more true than what they see with their eyes in the external world. But this is not so, for one must never forget that every television and has been edited. The viewer does not see the event. He sees in edited form of the event. It is not the event which is seen, but an edited symbol or an edited image of the event. An aura and illusion of objectivity and truth is built up, which could not be totally the case, even if the people shooting the film were completely neutral.

Toward the end of Carmel's life, the perception of super talls shifted dramatically, thanks largely to televised NBA games, By 1975, pretty much everyone had seen super tall people on TV, in the context of being celebrated in front of sold-out basketball arenas. This new frame of reference could not have been more positive. By 1995 Shaquille O'Neal was known as The Man of Steel, not the Traveling Human Giant. The idea of super tall people as freaks was replaced by the idea of super tall people as amazing athletes.

Internal mental experience is not the product of a photographic process. Internal reality is in fact constructed by the brain as it interacts with the environment in the present, in the context of its past experiences and expectancies of the future. At the level of perceptual categorizations, we have reached a land of mental representations quite distant from the layers of the world just inches away from their place inside the skull. This is the reason why each of us experiences a unique way of minding the world. (pp. 166-167)

We open our eyes and we think we're seeing the whole world out there. But what has become clear—and really just in the last few centuries—is that when you look at the electro-magnetic spectrum we are seeing less than 1/10 Billionth of the information that's riding on there. So we call that visible light. But everything else passing through our bodies is completely invisible to us.Even though we accept the reality that's presented to us, we're really only seeing a little window of what's happening.

When we're in the story, when we're part of it, we can't know the outcome. It's only later that we think we can see what the story was. But do we ever really know? And does anybody else, perhaps, coming along a little later, does anybody else really care? ... History is written by the survivors, but what is that history? That's the point I was trying to make just now. We don't know what the story is when we're in it, and even after we tell it we're not sure. Because the story doesn't end.

An ordinary mirror is silvered at the back but the window of the night train has darkness behind the glass. My face and the faces of other travellers were now mirrored on this darkness in a succession of stillnesses. Consider this, said the darkness: any motion at any speed is a succession of stillnesses; any section through an action will show just such a plane of stillness as this dark window in which your seeking face is mirrored. And in each plane of stillness is the moment of clarity that makes you responsible for what you do.

The wide world was changing, and she wanted a different place in it.Not just wanted, but felt she deserved. If the world didn't owe her a living, as her mother repeatedly warned her, it owed her a break. She had a strong sense that a better, more exciting, more rewarding life than that which had been the lot of her parents and grandparents was hers by right. In this she was guilty of nothing more serious than the arrogance of youth, from which every generation suffers and by which it distinguishes itself from the preceding one.

You're an intensely attractive woman. You do know that, don't you?" To her silence, he replied, "You'd believe me if you could see yourself.""I have seen myself. That's the snag, you see."He shook his head. "No, no. Not in a mirror. I know how mirrors work. They're all in league with the cosmetics trade. They tell a woman lies. Drawing her gaze from one imagined flaw to another, until all she sees is a constellation of imperfections. If you could get outside yourself, borrow my eyes for just an instant...There's only beauty.

Who gets to be the judge of reality? If it was deeply felt, believed, spoken about often or altered your life course, then it was real enough. Faith doesn't get the luxury of all those things one hundred percent of the time, but we call that normal behavior based on a gut feeling.” I said. I looked at his wife and she busted out laughing. Her husband was trying to catch invisible butterflies above his head—dementia. My patients teach me the most sobering of truths: Why wreck his smile. If I could see them, I would want to catch them too.

As I would soon learn myself, cleaning up what a parent leaves behind stirs up dust, both literal and metaphorical. It dredges up memories. You feel like you’re a kid again, poking around in your parents’ closet, only this time there’s no chance of getting in trouble, so you don’t have to be so sure that everything gets put back exactly where it was before you did your poking around. Still, you hope to find something, or maybe you fear finding something, that will completely change your conception of the parent you thought you knew.

Art has been wrecked by a complete consciousness of the universe which shews that the world is to each man only a rubbish-heap limned by his individual perception. It will be saved, if at all, by the next and last step of disillusion; the realisation that complete consciousness and truth are themselves valueless, and that to acquire any genuine artistic titillation we must artificially invent limitations of consciousness and feign a pattern of life common to all mankind--most naturally the simple old pattern which ancient and groping tradition first gave us.

Everything is interconnected. My readings of classical authors, who never speaks of sunsets, have made many sunsets intelligible to me, in all their colors. There is a relationship between syntactical competence, by which we distinguish the values of beings, sounds and shapes, and the capacity to perceive when the blue of the sky is actually green, and how much yellow is in the blue green of the sky. It comes down to the same thing - the capacity to distinguish and to discriminate. There is no enduring emotion without syntax. Immortality depends of the grammarians.

One of the seats of emotion and memory in the brain is the amygdala, he explained. When something threatens your life, this area seems to kick into overdrive, recording every last detail of the experience. The more detailed the memory, the longer the moment seems to last. "This explains why we think that time speeds up when we grow older," Eagleman said--why childhood summers seem to go on forever, while old age slips by while we’re dozing. The more familiar the world becomes, the less information your brain writes down, and the more quickly time seems to pass.

There is no single thing... that is so cut and dried that one cannot attend to its secret whisper which says 'I am more than just my appearance'. If each object quivers with readiness to imply something other than itself, if each perception is a word in a poem dense with connotations, then the poet's selection of any given subject of speculation will become... a means of attuning himself to the rhythms and harmonies of reality at large. ... The notion of a network of correspondence is not an outmoded Romantic illusion: it represents a crucial intuition...

It had belonged to that idea of the exasperated consciousness of his victim to become a real test for him; since he had quite put it to himself from the first that, oh distinctly! he could "cultivate" his whole perception. He had felt it as above all open to cultivation--which indeed was but another name for his manner of spending his time. He was bringing it on, bringing it to perfection, by practice; in consequence of which it had grown so fine that he was now aware of impressions, attestations of his general postulate, that couldn't have broken upon him at once.