The Project Gutenberg EBook of Applied Psychology: Making Your Own

World, by Warren Hilton

This eBook is for the use of anyone anywhere at no

cost and with

almost no restrictions whatsoever. You may copy it, give

it away or re-use it under the terms of the Project
Gutenberg License included with this eBook or online at
www.gutenberg.org

Title: Applied Psychology: Making Your Own World

Being the Second of a Series of Twelve Volumes on the

Applications of Psychology to the Problems of Personal and

Business Efficiency

Author: Warren Hilton

Release Date: March 19, 2009 [EBook #28359]

Language: English

*** START OF THIS PROJECTGUTENBERG EBOOK APPLIED PSYCHOLOGY ***

Produced by Bryan Ness, C. St. Charleskindt, and the Online

Distributed Proofreading Team at http://www.pgdp.net (This

book was produced from scanned images of public domain

material from the Google Print project.)

Applied Psychology

MAKING

YOUR OWN WORLD

Being the Second of a Series of Twelve Volumes on the

Applications of Psychology to the Problems of Personal

and Business Efficiency

BY
WARREN HILTON, A.B., L.L.B.

FOUNDER OF THE SOCIETY OF APPLIED PSYCHOLOGY

ISSUED UNDER THE AUSPICES OF

THE LITERARY DIGEST

FOR

The Society of Applied Psychology

NEW YORK AND LONDON

1920

COPYRIGHT 1914

BY THE APPLIED PSYCHOLOGY PRESS

SAN FRANCISCO

CONTENTS

Chapter

Page

I.

THE TWO FUNDAMENTAL PROCESSES OF MIND

MIND AS A MEANS TO ATTAINMENT

THREE POSTULATES FOR THIS COURSE

EXPERIENCE AND ABSTRACTIONS

PRIMARY MENTAL OPERATIONS

6
II.

SENSATIONS AND OUR PERCEPTION OF THEM

MIND'S SOURCE OF SUPPLIES

DOES MATTER EXIST?

10

FIRST-HAND KNOWLEDGE

11

SECOND-HAND KNOWLEDGE

12

ETHERIC VIBRATIONS AS CAUSING SENSATIONS

13

THE ROAD TO PERCEPTION

14

THE PLACE WHERE SENSATION OCCURS

15

LABORATORY PROOF OF SENSE-PERCEPTIVE

16

PROCESS

REACTION-TIME

17

THE HUMAN TELEPHONE

18

THE LIVING TELEGRAPH

19

THE SIX STEPS TO REACTION

20

UNOPENED MENTAL MAIL

21

SELECTIVE PROCESS THAT DETERMINES

22

CONDUCT

IN TUNE WITH LIFE-INTEREST

23

PRACTICAL ASPECTSOF PERCEPTION PROCESS

24

SENSORY ILLUSIONS AND SUGGESTIONS FOR

III.

THEIR USE

UNRELIABILITY OF SENSE-ORGANS

27

BEING AND SEEMING

29

USE OF ILLUSIONS IN BUSINESS

31

MAKING AN ARTICLE LOOK BIG

32

TESTING THE CONFIDENTIAL MAN

33
TESTS FOR CREDULITY

34

WHAT COLORS LOOK NEAREST

35

TESTING THE RANGE OF ATTENTION

36

A GUIDE TO OCCUPATIONAL SELECTION

37

TEST FOR ATTENTION TO DETAILS

38

OTHER BUSINESS APPLICATIONS

39

IV.

INWARDNESS OF ENVIRONMENT

FACTORS OF SUCCESSOR FAILURE

43

SHOULD SEEING BE BELIEVING?

44

HEARING THE LIGHTNING

46

IMPORTANCE OF THE MENTAL MAKE-UP

47

UNREALITY OF "THE REAL"

48

"THINGS" AND THEIR MENTAL DUPLICATES

49

EFFECT OF CLOSINGONE'S EYES

50

IF MATTER WERE ANNIHILATED

51

IF MIND WERE ANNIHILATED

52

AS MANY WORLDSAS MINDS

53

V.

ESSENTIAL LAW OF PRACTICAL SELF-MASTERY

OPTION AND OPPORTUNITY

57

PRE-ARRANGING YOUR CONSCIOUSNESS

58

HOW TO DEFINITELY SELECT ITS ELEMENTS

59

AN INFALLIBLE RECIPE FOR SELF-POSSESSION

60

USING "UNSEEN EAR PROTECTORS"

61

HOW TO AVOID WORRY, MELANCHOLY

62

PUTTING CIRCUMSTANCES UNDER FOOT

63

RUNNING YOUR MENTAL FACTORY

64

ACQUIRING MENTAL BALANCE

65

DISSIPATING MENTAL SPECTERS

66

HOW TO CONTROL YOUR DESTINY

67

Decorative Border

CHAPTER I

THE TWO FUNDAMENTAL PROCESSES OF MIND

Mind as a Means to Achievement

In the preceding book, "Psychology and Achievement," we

established the truth of two propositions:

I. All human achievement comes about through bodily activity.

II. All bodily activity is caused, controlled and directed by the mind.

To these two fundamental propositions we now append a third,

which needs no proof, but follows as a natural and logical
conclusion from the other two: III. The Mind is the
instrument you must employ for the accomplishment of any
purpose.

Three Postulates for this Course

With these three fundamental propositions as postulates, it will

be the end and aim of this Course of Reading to develop
plain, simple and specific methodsand directions for the most efficient
use of the mind in the attainment of practical ends.

To comprehend these mental methodsand to make use of them

in business affairs you must thoroughly understand the two
fundamental processes of the mind.

These two fundamental processes are the Sense-Perceptive Process and

the Judicial Process.
The Sense-Perceptive Process is the process by which knowledge is
acquired through the senses. Knowledge is the result of
experience and all human experience is made up of
sense-perceptions.

Experience and Abstractions

The Judicial Process is the reasoning and reflective process. It

is the purely

"intellectual" type of mental operation. It deals wholly in

abstractions.

Abstractions are constructed out of past experiences.

Consequently, the Sense-Perceptive Process furnishes the raw material,

sense-perceptions or experience, for the machinery of
the Judicial Process to work with.

Primary Mental Operations

In this book we shall give you a clear idea of the

Sense-Perceptive Process and show you some of the ways in
which an understanding of this process will be useful to
you in everyday affairs. The succeeding book will explain
the Judicial Process.

Decorative Border

CHAPTER II

SENSATIONS AND OUR PERCEPTION OF THEM

Mind's Source of Supplies

W hatever you know or think you know, of the external world

comes to you through some one of your five primary senses,
sight, hearing, touch, taste and smell, or some one of the
secondary senses, such as the muscular sense and the
sense of heat and cold.

The impressions you receive in this way may be true or

they may be false. They may constitute absolute knowledge
or they may be merely mistaken impressions.

Yet, such as they are, they constitute all the information

you have or can have concerning the world about you.
Does Matter Exist?

Philosophers have been wrangling for some thousands of years

as to whether we have any real and absolute knowledge,
as to whether matter actually does or does not exist, as
to the reliability or unreliability of the impressions
we receive through the senses. But there is one thing that
all scientificmen are agreed upon, and that is that such
knowledge as we do possess comes to us by way
of perception through the organs of sense.

If you have never given much thought to this subject, you have
naturally assumed that you have direct knowledge of all
the material things that you seem to perceive about you. It
has never occurred to you that there are intervening
physical agenciesthat you ought to take into account.

First-Hand Knowledge

When you look up at the clock, you instinctively feel that

there is nothing interposed betweenit and your mind that
is conscious of it. You seem to feel that your
mind reaches out and envelops it.

As a matter of fact, your sense impression of that bit

of furniture must filter through a great number of
intervening physical agenciesbefore you can become conscious of
it.

Direct perception of an outside reality is impossible.

Second-Hand Knowledge

Before you can become aware of any object there must first arise
betweenit and yourmind a chain of countless distinct physical
events.

Modern science tells us that light is due to undulations or

wave-like vibrations of the ether, sound to those of the
air, etc. These vibrations are transmitted from one particle
of ether or air to another, and so from the thing
perceived to the body of man.

Think, then, what crisscross of air currents and confusion of

ether vibrations, what myriad of physical events, must intervene between
any distant object and yourown body before sensations come and
bring a consciousness of that object's existence!

Nor can you be sure, even after any particular vibration

has reached the surface of your body, that it will reach
your mind unaltered and intact!

Etheric Vibrations as Causing Sensations

What goes on in the body itself is made clear by your
knowledge of the cellular structure of man.

You know that you have a system of nerves centering in

the brain and with countless ramifications throughout the
structural tissues of the body.

You know that part of these nerves are sensory nerves and part
of them are motor nerves. You know that the sensory nerves
convey to the brain the impressions received from the outer
world and that the motor nerves relay this information to

the rest of the body coupled with commands for appropriate

muscular action.

DIAGRAM SHOWING THE FOUR CHIEF ASSOCIATION CENTERS

OF THE HUMAN BRAIN

DIAGRAM SHOWING THE FOUR CHIEF ASSOCIATION

CENTERS OF THE HUMAN BRAIN

The Road to Perception

The outer end of every sensory nerve exposes a sensitive bit

of gray matter.

These sensitive, impression-receiving ends constitute togetherwhat is

called the

"sensorium" of the body.

When vibrations of light or sound impinge upon the sensorium,

they are relayed from nerve cell to nerve cell until they
reach the central brain. Then it is, and not until then, that
sensations and perceptions occur.

Consider, now, the infinitesimal size of a nerve cell and

you will have some conceptionof the number of hands through
which the messagemust pass before it is received by the central
office.

Many of our sensations, especially those of touch, seem to

occur on the periphery of the body 鈥攖 hat is to say,
at that part of the exposed surface of the body
which is apparently affected. If your finger is crushed
in a door, the sensation of the blow and the pain
all seem to occur in the finger itself.

The Place Where Sensation Occurs

As a matter of fact, this is not the case, for if
one of your arms should be amputated, you would still feel
a tingling in the fingers of the amputated arm.

Thus has arisen a superstition that leads many people to bury

any part of the body lost in this way, thinking that
they will never be entirely relieved of pain until the absent
member is finally at rest.

Of course, the fact is that you would only seem to have

feeling in the amputated arm. The sensation would really occur
in the central brain tissue as the organ of the governing
intelligence, the organ of consciousness.

Laboratory Proof of Sense-Perceptive Process

And you may set it down as an established principle

that all states of consciousness, whether seemingly
localized on the surface of the body or not, are connected with
the brain as the dominant center.

The facts we have been recounting have been established by

the experiments of physiological psychology. Thus, the work of
the laboratory has shown that between the moment when
a sense vibration reaches the body and the moment when
sensation occurs a measurable interval of time intervenes.

If your eyes were to be blindfolded and your hand

unexpectedly pricked with a white-hot needle, the time that would
elapse before you could jerk your hand away could be readily
measured in fractions of a second with appropriate
instruments.

ReactionTime

This interval is known as reaction-time. It varies greatly with different

persons.

During this reaction-time, the cell or cells attacked upon the surface
of the hand have conveyed news of the assault through
numberless intermediate sensory nerve cells to the brain. The
brain in turn has sent out its mandate through the
appropriate motor nerve cells to all the muscle and other cells
surrounding the injured cell, commanding them to remove it
from the point of danger.

The work of the nervous system in dealing with the ether

vibrations that are constantly impinging upon the surface of the
body has been likened to that of the transmitter, connecting
wire and receiver of a telephone. Air-waves striking against
the transmitter of the telephone awaken a similar
vibratory movement in the transmitter itself. This movement
 is passed along the wire to the receiver, which vibrates
responsively and imparts a corresponding wave-like motion to the air.

The Human Telephone

These air-waves when heard are what we call sound.

In the same way, air-waves striking the ear are communicated

by the auditory

nerve to the brain, where they awaken a corresponding sensation

of sound. But these waves must be vibratingat between30
and 20,000 times a second. If they are vibratingso slowly or
so rapidly as not to come within this range, we cannot
hear them.

The Living Telegraph

This process is by no means a mechanical affair. On the

contrary,it is a series of mental acts. Every cell in
the living telegraph must receive the message and transmit
it. Every cell must exercise a form of intelligence, from the
auditory cell reporting a sound-wave or the skin cell
reporting an injury to the muscle cells that ultimately receive
and understand a message directing them to remove
the part from danger.

Reaction-time, so called, is thus occupied by cellular action in

the form of mental processes intervening between the
nerve-ends and the brain center, in much the same way that
light and sound vibrations intervene betweenthe object perceived
and the surface of the body.

The Six Steps to Reaction

For even the simplest of sense-perceptions we have, then,

this sequence of events: first, the object perceived; second,
the series of vibrations of ether particles intervening between
the object and the body; third, the impression upon the
surface of the body; fourth, the series of mental processes,
cell after cell, in the nerve filaments leading to the brain;
fifth, when these impressions or messages have reached the brain,
a determination of what is to be done; and, sixth,
a transmission by cellular action of a new messagethat
will awaken some response in the muscular tissues.

Unopened Mental Mail

This process is completely carried out, however, in only

comparatively few instances. The vast majority of sense-impressions awaken
no reaction. They are registered in the mind, but they
are not perceived. We are not conscious of them.
They form a part, not of consciousness, but of
subconsciousness. They are messages that reach the mind but are
laid aside like unopened mail because they possess no present
interest.

Wherever and however you may be placed, you are always

and everywhere immersed in a flood of etheric vibrations.
Light, sound and tactual vibrations press upon you from every side.
At a busy corner of a city street these vibrations rise
to a tumultuous fortissimo; in the hush of a
night upon the plains they sink to pianissimo. Yet at every
moment of your day or night they are there in greater
or less degree, titillatingthe unsleeping nerve-ends of the
sensorium.

Selective Process that Determines Conduct

Your mind cannot take time to make all these sense-impressions

the subject of conscious thought. It can trouble itself only
with those that bear in some way upon your interestsin
life.

Your mind is like the receiving apparatus of the wireless

telegraph which picks from the air those particular
vibrations to which it is attuned. Your mind is selective.
It is discriminating. It seizes upon those few sensory images
that are related to your interests in life and thrusts
them forward to be consciously perceived and acted upon. All
others it diverts into a subconscious reservoir of temporary
oblivion.

In Tune with Life-Interest

You will have a clearer understanding of the sense-perceptive

processes and a more vital realization of the practical
significance of these facts when you consider how they affect your
knowledge of material things and your conception of the external
world.

This subject possesses two distinct aspects.

One aspect has to do with the inability of the sense-organs

to record the facts of the outer world with perfect precision.
These organs are the result of untold ages of evolution, and,
generally speaking, have become wonderfully efficient, but
they display surprising inaccuracies. These inaccuracies are called Sensory
Illusions.

Practical Aspects of Perception Process

The other aspect of the Sense-Perceptive Process has to do with

the mental
interpretation of environment.

Both these aspects are distinctly practical.

You should know something of the weaknesses and deficiencies

of the sense-perceptiveorgans, because all your efforts at
influencing other men are directed at their organs of sense.

You should understand the relationship between your mind and

your environment, since they are the two principalfactors in
your working life.

Decorative Border

CHAPTER III

SENSORY ILLUSIONS AND SUGGESTIONS FOR

THEIR USE

Unreliability of Sense-Organs

F igure 1 shows two lines of equal length, yet the vertical line
will to most persons seem longer than the horizontal one.

Fig. 1.

FIG. 1.

In Figure 2 the lines A and B are of the same

length, yet the lower seems much longer.

Fig. 2.

FIG. 2.

Those things look smallest over which the eye moves with least
resistance.

In Figure 3, the distance from A to B looks longer than

the distance from B to C

because of the time we involuntarily take to notice each dot,

yet the distances are equal.

Fig. 3.

FIG. 3.
Being and Seeming

For the same reason, the hatchet line (A 鈥揃) appears longer than the
unbroken line (C 鈥揇) in Figure 4, and the lines E and
F appear longer than the space (G) between them, although
all are of equal length.

Fig. 4.

FIG. 4.

Filled spaces look larger than empty ones because the eye unconsciously
stops to look over the different parts of the filled area, and
we base our estimateupon the extent of the eye
movements necessary to take in the whole field. Thus
the filled square in Figure 5 looks larger than the empty
one, though they are of equal size.

Fig. 5.

FIG. 5.

White objects appear much larger than black ones. A white square looks
larger than a black one. It is said that cattle buyers
who are sometimes compelled to guessat the weight of
animals have learned to discount their estimateon white animals and
increase it on black ones to make allowances for the
optical illusion.

THIS MAN AND THIS BOY ARE OF EQUAL HEIGHT, BUT

ASSOCIATION OF IDEAS MAKES THE MAN LOOK MUCH THE

LARGER

THIS MAN AND THIS BOY ARE OF EQUAL HEIGHT, BUT

ASSOCIATION OF IDEAS MAKES THE MAN LOOK MUCH THE

LARGER

Use of Illusions in Business

The dressmaker and tailor are careful not to array stout persons
in checks and plaids, but try to convey an impression
of sylph-like slenderness through the use

of vertical lines. On the other hand, you have doubtless noticed

in recent years the checkerboard and plaid-covered boxes used
by certain manufacturers of food products and others to make
their packages look larger than they really are.
The advertiser who understands sensory illusions gives an impression
of bigness to the picture of an article by the artful
use of lines and contrasting figures. If his advertisement
shows a picture of a building to which he wishes to
give the impression of bigness, he adds contrasting figures such
as those of tiny men and women so that the
unknown may be measured by the known. If he shows
a picture of a cigar, he places the cigar vertically,
because he knows that it will looklonger that way than if
placed horizontally.

Making an Article Look Big

A subtle method of conveying an idea of bigness is by

placing numberson odd-shaped cards or blocks, or on any
blank white space. The object or space containing the figures always
appears larger than the corresponding space without the figures.

This fact has been made the basis of a psychological

experiment to determine the extent to which a subject's
judgment is influenced by suggestion. To perform this
experiment cut bits of pasteboard into pairs of squares,
circles, stars and octagons and write numbers of two figures
each, say 25, 50, 34, 87, etc., upon the different
pieces. Tell the subject to be tested to pick out the
forms that are largest. The susceptible person who is not
trained to discriminate closely will pick out of each pair the
card that has the largest number upon it.

Testing the Confidential Man

This test can be made one of a series used in

examining applicants for commercial positions. It can also be
used to discover the weakness of certain employees, such
as buyers, secretaries and others who are entrusted with
secrets and commissions requiring discretion, and who must
be proof against the deceptions practiced by salesmen,
promoters and others with seductive propositions.

Tests for Credulity

This examination can be carried still further to test the

subject's credulity or power of discrimination. What is known as
the "force card" test was originally devised by a
magician, but has been adopted in experimental psychology.
Take a pack of cards and shuffle them loosely in the two
hands, making some one card, saythe ace of spades, especially
prominent. The subject is told to "take a card."

The suggestive influence of the proffered card will cause

nine persons out of ten to pick out that particular card.
Turning from illusions of suggestion, shape and size, another field of
peculiar sensory illusions is found in color aberration. Some colors
look closer than others. For instance, paint an object red
and it seems nearer than it would if painted green.

What Colors Look Nearest

Aside from the obvious uses to which these sense-illusions can be

put, they form the basis for a number of psychological
experiments to test the abilities of persons in many ways. Here
is a test which deals with the range of attention.
If you desire to discover the capacity of any person to pay
attention to unfamiliar questions or subjects which might at
some future time have great importance, try this test. Have a
piece of pasteboard cut into squares, circles, triangles,
halfmoons, stars and other forms. Then write upon each piece some
such word as hat, coat, ball or bat. The objects are then
placed under a cloth cover and the subject to be
examined is told to concentrate his attention on the
shapes alone, paying no attention to the words. The cloth
is lifted for five seconds and then replaced. The subject is
then told to draw with a pencil the different shapes and
such words as he may chance to remember. The experiment
should then be repeated, with the injunction to pay no
attention to the shapes but to remember as many words
as possible, and write them down on such forms as
he may happen to recall.

Testing the Range of Attention

Of course, the real object is to determine whether the subject

will see more than he is told, or whether he is
a mere automaton. The result will tell whether his
attention is of the narrow or broad type. If it be
narrow, he will see only the forms in the first case
and no words, and in the second case he will
remember the words but be unable to recall the shape of the
pieces of cardboard.

A Guide to Occupational Selection

His breadth of attention will be shown by the number of

correct forms and words combined which he is able to
remember in both cases. In other words, this will measure
his ability to pay attention to more than one thing
at a time.

Other things being equal, the narrow type of attention belongs to

a man fitted for work as a bookkeeper or mechanic,
while the broad type of attention fits one for work as
a foreman or superintendent or, lacking executive ability,
for work requiring the supervision of mechanical operations
widely separated in space.
Test for Attention to Details

The ordinary man sees but one thing at a time, while the
exceptional man sees many things at every glance and is
prepared to remember and act upon them in emergency.

Having determined a person's scope of attention, you may

want to test his accuracy in details as compared with
other men. To conduct such an experiment dictate a
statement which will form one typewritten letterhead sheet. This
statement should comprise facts and figures about your business
of which the subjects to be tested are supposed to
have accurate knowledge. After this original page is written,
have your typist write out another set of sheets in which
there are a large number of errors both in spelling and figures.
Then have each of the persons to be examined go through
one of these sheets and cross out all the wrong letters
or figures. Time this operation. The man who does it
in the quickest time and overlooks the fewest errors,
naturally ranks highest in speed and accuracyof work.

Other Business Applications

Look into your own business and you will undoubtedly find
some department, whether it be store decoration, office
furnishing, window dressing, advertising, landscape work or architecture,
in which a systematic application of a knowledge of
sensory illusions will produce good results.

Decorative Border

CHAPTER IV

INWARDNESS OF ENVIRONMENT

Factors of Success or Failure

T he aspect of the sense-perceptive process that deals with the relation

of mind to environment is of greatest practical value.

Look at this subject for a moment and you will see that
the world in which you live and work is a world of
your own making. All the factors of success or failure are
factors of your own choosing and creation.

If there is anythingin the world you feel sure of, it

is that you can depend upon the "evidence of your
own senses," eyes, ears, nose, etc. You rest serene in the
conviction that your senses picture the world to you exactly as
it is. It is a common saying that "Seeing is
believing."

Should Seeing Be Believing?

Yet how can you be sure that any object in the external
world is actually what your sense-perceptions report it to
be?

You have learned that a countless number of physical agencies

must intervene before your mind can receive an impression or
message through any of the senses.

Under these conditions you cannot be sure that your impression

of a green lamp-shade, for instance, comes through the
same sort of etheric and cellular activities that convey a picture
of the same lamp-shade to the brain of another.
If the physical agenciesthrough which your sense-impressions of
the lamp-shade filter

are not identical with the agenciesthrough which they pass to the
other person's brain, then your mental picture and his mental picture
cannot be the same. You can never be sure that what both
you and another may describe as green may not create an
entirely different impression in your mind from the
impression it creates in his.

Other facts add to your uncertainty. Thus, the same stimulus acting
on different organs of sense will produce different sensations.
A blow upon the eye will cause you to "see stars";
a similar blow upon the ear will cause you to hear
an explosive sound. In other words, the vibratory effect of
a touch on eye or ear is the same as that of
light or sound vibrations.

Hearing the Lightning

The notion you may form of any object in the outer world
depends solely upon what part of your brain happens to
be connected with that particular nerve-end that receives an
impression from the object.

You see the sun without being able to hear it because the
only nerve-ends tuned to vibrate in harmony with the ether-
waves set in action by the sun are nerve-ends that are
connected with the brain center devoted to sight. "If," says
Professor James, "we could splice the outer extremities of our
optic nerves to our ears,and those of our auditory nerves to
our eyes, we should hear the lightning and see the thunder,
see the symphony and hear the conductor's movements."

Importance of the Mental Make-Up

In other words, the kind of impressions we receive from the
world about us, the sort of mental pictures we form concerning
it, in fact the character of the outer world, the
nature of the environment in which our lives are cast 鈥�
all these things depend for each one of us simply upon how
he happens to be put together, simply upon his
individual mental make-up.

There is another way of examining into the intervening

agencies that influence our mental conception of the material world about
us.

Unreality of "The Real"

Look at the table or any other familiar object in the room

in which you are sitting. Has it ever occurred to
you that this object may have no existence apart from
your mental impression of it? Have you ever realized that
no object ever has been or ever could be known to
exist unless there was an individual mind present to note
its existence?

If you have never given much thought to questions of this

kind, you will be tempted to answer boldly that the table
is obviously a reality, that you have a direct intuitive
knowledge of it, and that you can at once assure yourself
of its existence by looking at it or touching it.
You will conceive your perception of the table as a
sort of projection of your mind comfortably enfolding
the table within itself.

"Things" and their Mental Duplicates But perception is obviously only

a state of mind. Can it, then, go outside of the
mind to meet the table or even "hover in midair like a
bridge betweenthe two"?

If you perceive the table, must not your perception of it

exist wholly within your own mind? If, then, the table has
any existence outside of and apart from your perception of
it, then the table and your mental image of the table
are two separate and distinct things.

In other words, you are on the horns of a dilemma.

If you insist that the table exists outside of your mind,
you must admit that your knowledge of it is not
direct, immediate and intuitive, but indirect and representative, because
of intervening physical agencies, and that the only thing directly
known is the mental impression of the table. On the
other hand, if you insist that your knowledge of the table
is direct, immediate and intuitive you must admit that the
table is only a mental image, a mental reality, if it is
 any sort of reality at all, and that it has no
existence outside of the mind.

Effect of Closing One's Eyes

You may easily convince yourself that the table you directly
perceive can be nothing other than a mental picture. How? Simply close
your eyes. It has now ceased to exist. What has ceased
to exist? The external table of wood and glue and bolts? By
no means. Simply its mental duplicate. And by alternately
opening and closing your eyes, you can successively create and
destroy this mental duplicate.

If Matter Were Annihilated

Clearly, then, the table of which you are directly and immediately
conscious when your eyes are open is always this mental
duplicate, this aggregate of color, form, size and touch
impressions; while the real table, the physical table, may be
something other than the one of which you are directly aware.
This other thing, this physical table, whatever it is, can
never be directly known, if indeed it has any existence, a
fact that many distinguished philosophers have had the courage
to deny.

Imagine, then, for a moment that everything except mind should

suddenly cease

to exist, but that your sense-perceptions 鈥攖 hat is to say, your

perception of sensory impressions 鈥攚 ere to continueto follow
one another as before. Would not the physical world be for
you just exactly what it is today, and would you not have
the same reasons for believing in its existence that
you now have?

If Mind Were Annihilated

And, conversely, if the world of matter were to go on,

but all mental images, all perception of sense-impressions, were
to come to an end, would not all matter be annihilated
for you when your perceptions ceased?

It is obvious that the world is not the same for all

of us; but that it is for each one of us simply
the world of his individual perceptions.

As Many Worlds as Minds

The whole subject of sense-impressions, sensation and perception

may, therefore, be looked at from the standpoint of the
mind as an active influence, as well as from the
standpoint of outside objects as the exciting causes of sense-
impressions.
Decorative Border

CHAPTER V

ESSENTIAL LAW OF PRACTICAL SELF-MASTERY

Option and Opportunity

E xternal objects excite sensory impressions, but the perception of them

is purely at the option of the mind.

This is of the greatest practical importance. Considerits consequences.

It means that sense-impressions and your perception of
them are two very different things.

It means that sense-impressions may throng in upon you as

they will. They are the work of external stimuli impressing
themselves upon the sensorium as upon a mechanical register.
You are helpless to discriminate among them. You cannot accept
some and exclude others. You are a perambulating dry plate
upon which outside objects produce their images.

Prearranging Your Consciousness

But, and this is a vital distinction, perception is an

act of the mind. It is initiated from within. It permits
you to discriminate among sensations in the sense that
you may dwell upon some and ignore others. It enables you to
definitely select, if you will, the elements that shall make
up the content of your consciousness.

Perception as an independent mental process thus enables you to

predetermine what elements of passing sensory experience may
be made the basis of your conscious judgments and of
your feelings and emotions.

How to Definitely Selects its Elements

Bear this in mind when you think of your environment and

its supposed

influence upon your life. Remember that your environment is

no hard-and-fast thing, an aggregate of physical realities.
Your environment, so far as it affects your judgment
and your conduct, is made up, not of physical
realities, but of mental pictures.
Your environment is within you. Get this conclusion clearly in
your mind.

Hold fast to the point of view that, Environment, the

environment that influences your conduct and your life, is not
a chance massing of outward circumstances, but is the product
of your own mind.

An Infallible Recipe for Self-Possession

Think what this means to you. It means that by deliberately

selecting for attention only those sense-impressions, those
elements of consciousness, that can serve your purpose,
you can free yourself from all distractions and make peaceful
progress in the midst of turmoil.

Using "Unseen Ear Protectors"

"In the busiest part of New York, a broker occupied a

desk in a room with six other men who had many
visitors constantly moving about and talking. The gentleman was at
first so sensitiveto disturbances that he accomplished almost
nothing during business hours, and returned home every evening with
a severe headache. One day a man of impressive
personality and extremely calm demeanor entered the office, and
noticing the agitated broker, smilinglysaid: 'I see that you are
disturbed by the noise made by your neighbors in
the conduct of their affairs; pardon me if I leave with you
an infallible recipe for peace in the midst of commotion:
Hear only what you will to hear.' With this terse counsel
he quietly bade the astonished listener adieu. After his visitor
had departed, the nervous man felt unaccountably calm, and
was constrained to meditate upon his friend's advice, and
no sooner did he seek to put it into practical
use than he learned for the first time that it was
his rightful prerogative to use unseen ear protectors as well
as to employ his ears. Six or seven weeks elapsed before
he saw his mysterious visitor again, and by that time he
had so successfully practiced the simple though forceful injunction,
that he had reached a point in self-control where the Babel
of tongues about him no longer reached his consciousness."

How to Avoid Worry, Melancholy

Herein lies a remedy for worry, with its sleepless nights and
kindred torments; for melancholy and despair, with their train of
physical and financial disaster.

How? Simply by shutting off the flow of disagreeable thoughts

and substituting others that are pleasant and refreshing.

You are master. You can change the setting of your mental stage
from portentous gloom to sun-lit assurance. You can
concentrate your thought upon the useful, the helpful and the cheerful,
ignore the useless and annoying, and make your life a life
of hope and joy, of promise and fulfilment.

Putting Circumstances Under Foot

You will not question the statement that what you do

with your life is the combined result of heredity and
environment. At the same time you doubtless possess a
more or less hazy belief in the freedom of your own
will.

The chances are that in any previous reflections on this

subject you have magnified the influence of outside agenciesand
wondered just how a man could make himself the master
rather than the victim of circumstances.

You now realize that your environment is an environment of

thought, that your material universe is a thing your own making,
and that you can mold it as you will simply by the
intelligent control of your own thinking.

Running Your Mental Factory

In Book I. you learned that 鈥�

I. All human achievement comes about through bodily activity.

II. All bodily activity is caused, controlled and directed by the mind.

In this volume you have added to these propositions a third,

namely: III. The mind is the instrument you must employ for
the accomplishment of any purpose.

Acting on this third postulate, you have begun the consideration

of primary mental operations with a view to evolving methods
and devices for the scientific and systematic employment of
the mind in the attainment of success. You have concluded
your study of the first of the two fundamental
processes of the mind, the Sense-Perceptive Process, and have
learned to distinguish betweenseeing or hearing or feeling on
the one hand and perceiving on the other.

Acquiring Mental Balance

Realizingthis distinction and applying it to your daily life, you

can at once set to work to acquire mental poise and practical
self-mastery, the essence of personal efficiency.

There never has been a moment in all your life when sense-
impressions were not pouring in upon you from every side, tending
to disturb and annoy you and interfere with your concentration
and progress. Heretofore you have struggled blindly with these
 distracting influences, not knowing the elements with
which you had to deal nor how to deal with them.

Dissipating Mental Specters

But the mask has been torn from the specter of distraction,
and hereafter when irrelevant sights, sounds and other sensations
threaten to interrupt your work, just stop a
moment and consider. So far as you and your actual
knowledge are concerned, nothing exists in substance and reality outside
your mental picture of it. So far as you and your actual
knowledge are concerned, all matter is simply thought, and
you have never doubted your ability to dismiss a thought. It
is for you, then, here and now, to decide whether you will
harbor sensory pictures that impede your progress and allow them to
harass and dominate you and interfere with the achievement
of your ambition, or whether you will ignore these
intruders and thereby annihilate them.

How to Control Your Destiny

Success is a variable term. In the last analysis, it means simply

getting the thing that you want to have.

Whether you succeed or fail depends altogether upon your own

attitude toward

the external facts of life.

You have within you a living Force against which all the world
is powerless. You have only to know it and to
learn how to use it.

Learn the lesson of your own powers, the secret of controlling

the selectiveand creative energy within you, and you can bring
any project to the goal of accomplishment.

In the closing volumes of this Course we shall instruct you in

practical methods by which the selection of those elements
of experience that are helpful may be madeabsolutely
automatic.

Transcriber's Note:

Some illustrations have been moved from their original positions, so

as to be nearer to their corresponding text, or for
ease of navigation around paragraphs.
Duplicate chapter headers have been removed from the text version
of this ebook and hidden in the HTML version.

The word 'prearranging' appears both with and without a hyphen. This
variance matches the original text.

End of the Project Gutenberg EBook of Applied Psychology: Making

Your Own World, by Warren Hilton

*** END OF THIS PROJECTGUTENBERG EBOOK APPLIED PSYCHOLOGY ***

***** This file should be named 28359-h.htm or 28359-h.zip *****

This and all associated files of various formats will be found

in: http://www.gutenberg.org/2/8/3/5/28359/

Produced by Bryan Ness, C. St. Charleskindt, and the Online

Distributed Proofreading Team at http://www.pgdp.net (This

book was produced from scanned images of public domain

material from the Google Print project.)

Updatededitions will replace the previous one--theold editions

will be renamed.

Creating the works from public domain print editions means that no one owns
a United States copyright in these works, so the
Foundation (and you!) can copy and distribute it in the
United States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms
of Use part of this license, apply to copying and
distributing Project Gutenberg-tm electronic works to protect the
PROJECTGUTENBERG-tm concept and trademark. Project

Gutenberg is a registered trademark, and may not be

used if you

charge for the eBooks, unless you receive specific permission. If

you do not charge anythingfor copies of this eBook, complying
with the rulesis very easy. You may use this eBook
for nearly any purpose such as creation of derivative works,
reports, performances and

research. They may be modified and printed and given

away--you may do practically ANYTHING with public domain eBooks.
Redistribution is subject to the trademark license,
especially commercial

redistribution.
*** START: FULL LICENSE ***

THE FULL PROJECTGUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free

distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the
phrase "Project Gutenberg"), you agree to comply with all the
terms of the Full Project Gutenberg-tm License (available with
this file or online at

http://gutenberg.org/license).

Section 1. General Terms of Use and Redistributing Project

Gutenberg-tm electronic works

1.A. By reading or using any part of this Project

Gutenberg-tm

electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not
agree to abide by all the terms of this agreement, you
must cease using and return or destroy all copies of Project
Gutenberg-tm electronic works in your possession.

If you paid a fee for obtaining a copy of or

access to a Project Gutenberg-tm electronic work and you
do not agree to be bound by the terms of this
agreement, you may obtain a refund from the person or entity
to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. "Project Gutenberg" is a registered trademark.

It may only be used on or associated in any way
with an electronic work by people who agree to be
bound by the terms of this agreement. There are
a few things that you can do with most Project
Gutenberg-tm electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below.
There are a lot of things you can do with
Project Gutenberg-tm electronic works if you follow the terms
of this agreement and help preservefree future access to Project
Gutenberg-tm electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation ("the

Foundation"

or PGLAF), owns a compilation copyright in the collection

of Project Gutenberg-tm electronic works. Nearly all the
 individual works in the collection are in the public domain
in the United States. If an

individual work is in the public domain in the United States

and you are located in the United States, we do not
claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are
removed. Of course, we hope that you will support
the Project Gutenberg-tm mission of promoting free access to
electronic works by freelysharing Project Gutenberg-tm works in
compliance with the terms of this agreement for keeping the
Project Gutenberg-tm name associated with the work. You can
easily comply with the terms of this agreement by keeping
this work in the same format with its attachedfull Project
Gutenberg-tm License when you share it without charge with others.

1.D. The copyright laws of the place where you are

located also govern what you can do with this work.
Copyright laws in most countries are in a constant state
of change. If you are outside the United States, check
the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work
or any other Project Gutenberg-tm work. The Foundation
makes no representations concerning the copyright status of any
work in any country outside the United States.

1.E. Unless you have removed all references to Project

Gutenberg: 1.E.1. The following sentence, with active links
to, or other immediate access to, the full Project
Gutenberg-tm License must appear prominently whenever any copy of
a Project Gutenberg-tm work (any work on which the phrase
"Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed,
viewed, copied or distributed:

This eBook is for the use of anyone anywhere at no

cost and with

almost no restrictions whatsoever. You may copy it, give

it away or re-use it under the terms of the Project
Gutenberg License included with this eBook or online at
www.gutenberg.org

1.E.2. If an individual Project Gutenberg-tm electronic work

is derived from the public domain (does not contain a notice
indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed
to anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to
a work with the phrase "Project Gutenberg" associated with
 or appearing on the work, you must comply either with
the requirements of paragraphs 1.E.1

through 1.E.7 or obtain permission for the use of the work

and the Project Gutenberg-tm trademark as set forth in
paragraphs 1.E.8 or

1.E.9.

1.E.3. If an individual Project Gutenberg-tm electronic work

is posted with the permission of the copyright holder,
your use and distribution must comply with both paragraphs 1.E.1
through 1.E.7 and any additional terms imposed by the copyright
holder. Additional terms will be linked tothe Project
Gutenberg-tm License for all works posted with the permission of
the copyright holder found at the beginning of this
work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg-tm License terms from this work, or any files
containing a part of this work or any other work
associated with Project Gutenberg-tm.

1.E.5. Do not copy, display, perform,distribute or redistribute

this electronic work, or any part of this electronic work,
without

prominently displaying the sentence set forth in paragraph

1.E.1 with active links or immediate access to the full
terms of the Project Gutenberg-tm License.

1.E.6. You may convert to and distribute this work in

any binary, compressed, marked up, nonproprietary or proprietary
form, including any word processing or hypertext form.
However, if you provide access to or distribute copies
of a Project Gutenberg-tm work in a format other than

"Plain Vanilla ASCII" or other format used in the official version posted
on the official Project Gutenberg-tm web site (www.gutenberg.org), you
must, at no additional cost, fee or expense to the
user, provide a copy, a means of exporting a copy, or
a means of obtaining a copy upon request, of the
work in its original "Plain Vanilla ASCII" or other form.
Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing,

displaying,

performing, copying or distributing any Project Gutenberg-tm works unless

you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of
or providing access to or distributing Project Gutenberg-tm
electronic works provided that

- You pay a royalty fee of 20% of the gross profits

you derive from theuse of Project Gutenberg-tm works calculated
using the method you already use to calculateyour applicable
taxes. The fee is

owed to the owner of the Project Gutenberg-tm trademark, but

he

has agreed to donate royalties under this paragraph to the

Project Gutenberg Literary Archive Foundation. Royalty payments

must be paid within 60 days following each date on which

you

prepare (or are legally required to prepare) your periodic tax

returns. Royalty payments should be clearly marked as such and

sent to the Project Gutenberg Literary Archive Foundation at the

address specified in Section 4, "Information about donations to the

Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a

user who notifies you in writing (or by e-mail) within 30
days of receipt that s/he does not agree to the terms
of the full Project Gutenberg-tm

License. You must require such a user to return or

destroy all copies of the works possessed in a physical medium

and discontinue all use of and all access to other copies

of

Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full

refund of any money paid for a work or a
replacement copy, if a defect in the

electronic work is discovered and reportedto you within 90

days

of receipt of the work.

- You comply with all other terms of this agreement for

free distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute
a Project Gutenberg-tm electronic work or group of works on
different terms than are set forth in this agreement, you must
obtain permission in writing from both the Project Gutenberg
Literary Archive Foundation and Michael Hart, the owner of the
Project Gutenberg-tm trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on,
transcribe and proofread public domain works in creating the Project
Gutenberg-tm

collection. Despite these efforts, Project Gutenberg-tm electronic works, and

the medium on which they may be stored, may contain

"Defects," such as, but not limited to, incomplete, inaccurate

or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged
disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except

for the "Right ofReplacement or Refund" described in
paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation,
the owner of the Project

Gutenberg-tm trademark, and any other party distributing a Project

Gutenberg-tm electronic work under this agreement, disclaim all

liability to you for damages, costs and expenses, including

legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES
FOR NEGLIGENCE, STRICT

LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT

THOSE

PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE

FOUNDATION, THE

TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL

NOT BE

LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL,

PUNITIVE OR

INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE

POSSIBILITY OF SUCH

DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you
discover a defect in this electronic work within 90 days of
receiving it, you can receive a refund of the money
(if any) you paid for it by sending a written
explanation to the person you received the work from.
If you received the work on a physical medium, you
must return the medium with your written explanation. The
person or entity that provided you with the defective work
may elect to provide a replacement copy in lieu of
a refund. If you received the work electronically, the
person or entity providing it to you may choose to give
you a second opportunity to receive the work electronically
in lieu of a refund. If the second copy is also
defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund

set forth in paragraph 1.F.3, this work is provided to
you 'AS-IS' WITH NO OTHER

WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT

NOT LIMITED TO

WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types

of damages.

If any disclaimer or limitation set forth in this

agreement violates the law of the state applicable to this
agreement, the agreement shall be interpreted to make the
maximum disclaimer or limitation permitted by the
applicable state law. The invalidity or unenforceability
of any provision of this agreement shall not void the
remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold

the Foundation, the trademark owner, any agent or employee
of the Foundation, anyone

providing copies of Project Gutenberg-tm electronic works in

accordance with this agreement, and any volunteers associated
with the production, promotion and distribution of Project
Gutenberg-tm electronic works, harmless from all liability, costs and
expenses, including legal fees, that arise directly or
indirectly from any of the following which you do or
cause to occur: (a) distribution of this or any Project
Gutenberg-tm work, (b) alteration, modification, or additions
or deletions to any Project Gutenberg-tm work, and (c)
any Defect you cause.
Section 2. Information about the Mission of Project
Gutenberg-tm Project Gutenberg-tm is synonymous with the free
distribution of

electronic works in formats readableby the widest variety of

computers including obsolete, old, middle-aged and new
computers. It exists because of the efforts of
hundreds of volunteers and donations from people in
all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need, are critical to reaching Project Gutenberg-tm's goals

and ensuringthat the Project Gutenberg-tm collection will

remain freely availablefor generations to come. In 2001, the

Project Gutenberg Literary Archive Foundation was created to provide
a secure and permanent future for Project Gutenberg-tm and
future generations.

To learn more about the Project Gutenberg Literary Archive Foundation and
how your efforts and donations can help, see Sections 3
and 4

and the Foundation web page at http://www.pglaf.org.

Section 3. Information about the Project Gutenberg Literary Archive

Foundation

The Project Gutenberg Literary Archive Foundation is a non profit

501(c)(3) educational corporation organized under the laws of
the stateof Mississippi and granted tax exempt status by the
Internal Revenue Service. The Foundation's EIN or federal tax
identification number is 64-6221541. Its 501(c)(3) letter
is posted at

http://pglaf.org/fundraising. Contributions to the Project Gutenberg

Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principaloffice is located at 4557 Melan Dr. S.

Fairbanks, AK, 99712., but its volunteers and employees are

scattered throughout numerous locations. Its business office
is located at 809 North 1500 West, Salt Lake City, UT 84116,
(801) 596-1887, email [email protected]. Email contact links and
up to date contact

information can be found at the Foundation's web site and

official page at http://pglaf.org

For additional contact information:

Dr. Gregory B. Newby

Chief Executive and Director

[email protected]

Section 4. Information about Donations to the Project

Gutenberg

Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide spread public
support and donations to carry out its mission of

increasing the number of public domain and licensed works that can
be freelydistributed in machine readableform accessible by the
widest

array of equipment including outdated equipment. Many

small donations ($1 to $5,000) are particularly important to
maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws

regulating charities and charitable donations in all 50
states of the United States. Compliance requirements are
not uniform and it takes a

considerable effort, much paperwork and many fees to meet and

keep up with these requirements. We do not solicit
donations in locations where we have not received written
confirmation of compliance. To SEND DONATIONS or
determine the status of compliance for any

particular state visit http://pglaf.org

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of
no prohibition against accepting unsolicited donations from
donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot

make any statements concerning tax treatment of
donations received from outside the United States. U.S. laws
alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methodsand addresses. Donations are accepted in a
number of other ways including checks, online payments and
credit card donations.

To donate, please visit: http://pglaf.org/donate

Section 5. General Information About Project Gutenberg-tm electronic works.

Professor Michael S. Hart is the originator of the Project

Gutenberg-tm concept of a library of electronic works that
could be freely shared with anyone. For thirty years, he
produced and distributed Project Gutenberg-tm eBooks with only
a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed editions, all
of which are confirmed as Public Domain in the U.S.

unless a copyright notice is included. Thus, we do

not necessarily keep eBooks in compliance with any particular
paper edition.

Most people start at our Web site which has the main PG
search facility: http://www.gutenberg.org

This Web site includes information about Project Gutenberg-tm,

including how to make donations to the Project Gutenberg

Literary Archive Foundation, how to help produce our new eBooks,
and how to subscribe to our email newsletter to hear
about new eBooks.

Document Outline

Applied Psychology MAKING YOUR OWN WORLD

CONTENTS

Chapter I

Chapter II

Chapter III

Chapter IV

Chapter V Transcriber's Note: