"Symbolisms transform the experience into an· idea, and an idea into an image, so that the idea expressed by the image remains always active and unattainable and, even though expressed in all languages, remains unexpressible. Allegory transforms an experience into a concept and a concept into an image, but so that the concept remains always defined and expressible by the image." (Johann Wolfgang von Goethe, Maximen und Reflexionen., 1809-32)
"The imagination […] that reconciling and mediatory power, which incorporating the reason in images of the sense and organizing (as it were) the flux of the senses by the permanence and self-circling energies of the reason, gives birth to a system of symbols, harmonious in themselves, and consubstantial with the truths of which they are the conductors." (Samuel T Coleridge, "The Statesman's Manual", 1816)
"Here I am at the limit which God and nature has assigned to my individuality. I am compelled to depend upon word, language and image in the most precise sense, and am wholly unable to operate in any manner whatever with symbols and numbers which are easily intelligible to the most highly gifted minds." (Johann Wolfgang von Goethe, [Letter to Naumann] 1826)
"Simplicity of structure means organic unity, whether the organism be simple or complex; and hence in all times the emphasis which critics have laid upon Simplicity, though they have not unfrequently confounded it with narrowness of range. In like manner, as we said just now, when treating of diction they have overlooked the fact that the simplest must be that which best expresses the thought. Simplicity of diction is integrity of speech; that which admits of least equivocation, that which by the clearest verbal symbols most readily calls up in the reader's mind the images and feelings which the writer wishes to call up. Such diction may be concrete or abstract, familiar or technical; its simplicity is determined by the nature of the thought. We shall often be simpler in using abstract and technical terms." (George H Lewes, "The Principles of Success in Literature", 1865)
"The degree in which each mind habitually substitutes signs for images will be, CETERIS PARIBUS [with other conditions remaining the same], the degree in which it is liable to error. This is not contradicted by the fact that mathematical, astronomical, and physical reasonings may, when complex, be carried on more successfully by the employment of signs; because in these cases the signs themselves accurately represent the abstractness of the relations. Such sciences deal only with relations, and not with objects; hence greater simplification ensures greater accuracy. But no sooner do we quit this sphere of abstractions to enter that of concrete things, than the use of symbols becomes a source of weakness. Vigorous and effective minds habitually deal with concrete images." (George H Lewes, "The Principles of Success in Literature", 1865)
"Ideas are substitutions which require a secondary process when what is symbolized by them is translated into the images and experiences it replaces; and this secondary process is frequently not performed at all, generally only performed to a very small extent. Let anyone closely examine what has passed in his mind when he has constructed a chain of reasoning, and he will be surprised at the fewness and faintness of the images which have accompanied the ideas." (George H Lewes "Problems of Life and Mind", 1873)
"The leading characteristic of algebra is that of operation on relations. This also is the leading characteristic of Thought. Algebra cannot exist without values, nor Thought without Feelings. The operations are so many blank forms till the values are assigned. Words are vacant sounds, ideas are blank forms, unless they symbolize images and sensations which are their values. Nevertheless it is rigorously true, and of the greatest importance, that analysts carry on very extensive operations with blank forms, never pausing to supply the symbols with values until the calculation is completed; and ordinary men, no less than philosophers, carry on long trains of thought without pausing to translate their ideas (words) into images." (George H Lewes "Problems of Life and Mind", 1873)
"Thought is symbolical of Sensation as Algebra is of Arithmetic, and because it is symbolical, is very unlike what it symbolises. For one thing, sensations are always positive; in this resembling arithmetical quantities. A negative sensation is no more possible than a negative number. But ideas, like algebraic quantities, may be either positive or negative. However paradoxical the square of a negative quantity, the square root of an unknown quantity, nay, even in imaginary quantity, the student of Algebra finds these paradoxes to be valid operations. And the student of Philosophy finds analogous paradoxes in operations impossible in the sphere of Sense. Thus although it is impossible to feel non-existence, it is possible to think it; although it is impossible to frame an image of Infinity, we can, and do, form the idea, and reason on it with precision." (George H Lewes "Problems of Life and Mind", 1873)
"While all that we have is a relation of phenomena, a mental image, as such, in juxtaposition with or soldered to a sensation, we can not as yet have assertion or denial, a truth or a falsehood. We have mere reality, which is, but does not stand for anything, and which exists, but by no possibility could be true. […] the image is not a symbol or idea. It is itself a fact, or else the facts eject it. The real, as it appears to us in perception, connects the ideal suggestion with itself, or simply expels it from the world of reality. […] you possess explicit symbols all of which are universal and on the other side you have a mind which consists of mere individual impressions and images, grouped by the laws of a mechanical attraction." (Francis H Bradley, "Principles of Logic", 1883)
"The mechanism of thought consists in combinations, separations, and recombinations of representative images or symbols […] the object of thought is adaptation to environment." (Paul Carus, “Le probeme de la conscience du moi", 1893)
“We form ourselves images or symbols of external objects; and the form which we give them is such that the necessary consequents of the images in thought are always the images of the necessary consequents in nature of the things pictured." (Heinrich Hertz, 1894)
"The fundamental concepts of each science, the instruments with which it pro pounds its questions and formulates its solutions, are regarded no longer as passive images of something but as symbols created by the intellect itself." (Ernst Cassirer, "The Philosophy of Symbolic Forms", 1923)
"These symbols are so constituted that the necessary logical consequences of the image are always images of the necessary natural consequences of the imagined objects." (Ernst Cassirer, "The Philosophy of Symbolic Forms", 1923)
"When one analyzes the pre-conscious step to concepts, one always finds ideas which consist of 'symbolic images'. The first step to thinking is a painted vision of these inner pictures whose origin cannot be reduced only and firstly to the sensual perception but which are produced by an 'instinct to imagining' and which are re-produced by different individuals independently, i.e. collectively [...] But the archaic image is also the necessary predisposition and the source of a scientific attitude. To a total recognition belong also those images out of which have grown the rational concepts." (Wolfgang Pauli, [Letter to Markus Fierz] 1948)
"A symbol, therefore, may have no effect and indeed ordinarily will have no effect on the image of the immediate future around one. It does produce an effect, however, of what might be called the image of the image, on the image of the future, on the image of the past, on the image of the potential or even of the image of the possible."(Kenneth E Boulding, "The Image: Knowledge in life and society", 1956)
"By a symbol I do not mean an allegory or a sign, but an image that describes in the best possible way the dimly discerned nature of the spirit. A symbol does not define or explain; it points beyond itself to a meaning that is darkly divined yet still beyond our grasp, and cannot be adequately expressed in the familiar words of our language." (Carl G Jung, "The Structure And Dynamics Of The Psyche", 1960)
"This language controls by reducing the linguistic forms and symbols of reflection, abstraction, development, contradiction; by substituting images for concepts. It denies or absorbs the transcendent vocabulary; it does not search for but establishes and imposes truth and falsehood." (Herbert Marcuse, "One-Dimensional Man", 1964)
"Thus a word or an image is symbolic when it implies something more than its obvious and immediate meaning. It has a wider ‘unconscious’ aspect that is never precisely defined or fully explained. […] As the mind explores the symbols it is led to ideas that lie beyond the grasp of reason." (Carl G Jung, "Man and His Symbols", 1964)
"The symbol is the tool which gives man his power, and it is the same tool whether the symbols are images or words, mathematical signs or mesons." (Jacob Bronowski, "The Reach of Imagination", 1967)
"The unconscious reveals its meaning imaginatively, through symbols and images, and it speaks [...] a basically mythological language." (Morton Kelsey, "Myth, History & Faith", 1974)
"Whenever the Eastern mystics express their knowledge in words - be it with the help of myths, symbols, poetic images or paradoxical statements-they are well aware of the limitations imposed by language and 'linear' thinking. Modern physics has come to take exactly the same attitude with regard to its verbal models and theories. They, too, are only approximate and necessarily inaccurate. They are the counterparts of the Eastern myths, symbols and poetic images, and it is at this level that I shall draw the parallels. The same idea about matter is conveyed, for example, to the Hindu by the cosmic dance of the god Shiva as to the physicist by certain aspects of quantum field theory. Both the dancing god and the physical theory are creations of the mind: models to describe their authors' intuition of reality." (Fritjof Capra, "The Tao of Physics: An Exploration of the Parallels Between Modern Physics and Eastern Mysticism", 1975)
"Mathematical modeling is about rules - the rules of reality. What distinguishes a mathematical model from, say, a poem, a song, a portrait or any other kind of ‘model’, is that the mathematical model is an image or picture of reality painted with logical symbols instead of with words, sounds or watercolors." (John Casti, "Reality Rules", 1992)
"[...] images are probably the main content of our thoughts, regardless of the sensory modality in which they are generated and regardless of whether they are about a thing or a process involving things; or about words or other symbols, in a given language, which correspond to a thing or process. Hidden behind those images, never or rarely knowable by us, there are indeed numerous processes that guide the generation and deployment of those images in space and time. Those processes utilize rules and strategies embodied in dispositional representations. They are essential for our thinking but are not a content of our thoughts.” (Antonio R Damasio, “Descartes' Error. Emotion, Reason, and the Human Brain”, 1994)
"The logic of the emotional mind is associative; it takes elements that symbolize a reality, or trigger a memory of it, to be the same as that reality. That is why similes, metaphors and images speak directly to the emotional mind." (Daniel Goleman, "Emotional Intelligence", 1996)
“Cultural archetypes are the unconscious models that help us make sense of the world: they are the myths, narratives, images, symbols, and files into which we organize the data of our life experience” (Clotaire Rapaille, “Cultural Imprints”, Executive Excellence Vol. 16 (10), 1999)
"I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either." (Antoni Tàpies, "Tàpies, Werke auf Papier 1943 – 2003", 2004)
"But because of the way in which depictions represent, there is a correspondence between parts and spatial relations of the representation and those of the object; this structural mapping, which confers a type of resemblance, underlies the way images convey specific content. In this respect images are like pictures. Unlike words and symbols, depictions are not arbitrarily paired with what they represent." (Stephen Kosslyn et al," The Case for Mental Imagery", 2006)
"But notice, a subatomic particle is itself a holon [hole/parts]. And so is a cell. And so is a symbol, and an image, and a concept. What all of those entities are, before they are anything else, is a holon. So the world is not composed of atoms or symbols or cells or concepts. It is composed of holons." (Ken Wilber, "A Brief History of Everything", 2007)
"Images and pictures […] have played a key role in shaping our scientific picture of the world. […] Carefully constructed families of pictures can act as a calculus all their own. Like any successful systems of symbols, with an appropriate grammar they enlarge the number of things that we can do without consciously thinking." (John D Barrow, "Cosmic Imagery: Key Images in the History of Science", 2008)
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