Quotes About Visualization

writing out an actual check for the precise amount to pay it off and looking at it every day, all of these thoughts arrange the energy around you to vibrate at a higher frequency and to take the physical form of that which you're focused on: fifteen thousand dollars. These positive thoughts release your resistance to having the money come in—you're on board, you're believing it, you're feelin' it, you're lovin' it! Once

Another revealing exercise is visualization.

I quickly imagined that I could reach my hand into my chest, yank out that awful feeling, place it on an invisibl ecloud of air right in front of me, then push it away. Push it away

The ripple effects of young Opal's murder in the corner of a field were more widespread than even Artemis could have imagined, though in truth imagine is the wrong verb, as Artemis Fowl was not in the habit of imagining anything. Even as a small boy, he had never nurtured daydreams of himself on horseback fighting dragons. What Artemis preferred to do was visualize an achievable objective and then work toward that goal.

Few of us realize the extent to which our notions of the deity are informed by patriarchal assumptions. We claim that God is raceless and genderless, yet we visualize God as white and male to such a degree that the very notion of a black, female God is enough to raise guffaws in response to a hardy, perennial joke.

It is possible to imagine a person so entirely that the image resists attempts to dislodge it.

The man who can't visualize a horse galloping on a tomato is an idiot.

Unless you can see yourself in success, it will not happen. You need to draw a picture of that success first, in your mind. See yourself doing what it takes to be successful and enjoying the fruits of that success in your mind's eye." Andreas Simic

This is what graphics are all about: showing the details and the patterns all at once.

I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times. We used two storyboards in 'Margaret': one for the bus accident and for the opera sequence at the end.

There was never a day at West Point where I didn't ask myself, 'Where would I put the camera?'

I'm always mentally photographing everything as practice.

I don't normally think of a specific actor. I concentrate on the character, and then when we get into pre-production, that's how names come up.

I have a notebook, and I know what decisions will be made in pre-production. Everything is pre-determined in the pre-production period. I visually design the whole thing, and I know when things will happen.

I prefer to see with closed eyes.

Every time you get on a stage or in front of a camera, the whole exercise is about imagination. You're constantly depicting something that doesn't exist, and trying to find the reality of it. Once you settle on that premise, everything else is a matter of degrees.

I think mental preparation is really important. Every day, you've got to imagine your goal.

You're trying to put yourself in that moment and trying to prepare yourself, to have a 'memory before the game. I don't know if you'd call it visualising or dreaming, but I've always done it, my whole life.

On some level, acting is the art of pretend, and you have to have a highly cultivated sense of imagination. You have to be able to see things that aren't there, no matter what aspect of acting, whether it's green screen, whether it's on stage, whether it's anything else, whether you're working on the radio.

I'd go fishing and always pretend I would catch the biggest fish. I'd stay out there for hours after everybody else left until I caught something. When I shot baskets, I was always the coach and star player and always made the winning shot.

I was 27 or 28 years old when I really decided I would become a manager. I would go home from training at Lazio, grab a folder and pretend I was taking a training session. You know the way kids imagine things, when they are playing? I would do the same as an adult, playing at being a manager.

In football, when I break the line of scrimmage, I see a player in front of me, a defender, and already in my head I'm thinking, 'I'm going to make him miss.' So I'm already looking at the next defender like, 'OK, how can I set this guy up to get him out of position, too?'

With most of my books, I'll actually go out and look at the setting. If you describe things carefully, it kind of makes the scene pop.

This is what I like about being a designer: You can't really get it until you see it.