A Quote by B. H. Liddell Hart

The effect to be sought is the dislocation of the opponent's mind and dispositions - such an effect is the true gauge of an indirect approach. — © B. H. Liddell Hart
The effect to be sought is the dislocation of the opponent's mind and dispositions - such an effect is the true gauge of an indirect approach.
Volumes are now written and spoken upon the effect of the mind upon the body. Much of it is true. But I wish a little more was thought of the effect of the body on the mind.
Sound is your friend because sound is much cheaper than picture, but it has equal effect on the audience - in some ways, perhaps more effect because it does it in a very indirect way.
In my work I have chosen the positive approach. I never think of myself as protesting against something, but rather as witnessing for harmonious living. Those who witness for, present solutions. Those who witness against, usually do not - they dwell on what is wrong, resorting to judgment and criticism and sometimes even name-calling. Naturally, the negative approach has a detrimental effect on the person who uses it, while the positive approach has a good effect
I have written about cultural dislocation, and I understand the corrosive effect of diminished expectations.
In macroeconomic theory, there is this argument that what the Fed does has no effect on unemployment, no effect on investment, no effect on the rate of GDP growth.
People say the effect is only on the mind. It is no such thing. The effect is on the body, too. Little as we know about the way in which we are affected by form, by color, and light, we do know this, that they have an actual physical effect. Variety of form and brilliancy of color in the objects presented to patients, are actual means of recovery.
Love is a positive effect. Love can never have a negative effect, only a positive effect. That would be the revelation of love. If you have a question of whether this is love, think about the effect.
The books of C.S. Lewis had a very profound, indirect effect on me.
...a disposition is an unsatisfactory thing unless we give it practical effect - deeds show dispositions.
Every passion, every emotion, has its effect upon the mind. Every change of mind, however slight, has its effect upon the body.
The imagination loses vitality as it ceases to adhere to what is real. When it adheres to the unreal and intensifies what is unreal, while its first effect may be extraordinary, that effect is the maximum effect that it will ever have.
Is there in painting an effect which arises from the being together of repose and energy in the artist's mind? - can both repose and energy be seen in a painting's line and color, plane and volume, surface and depth, detail and composition? - and is the true effect of a good painting on the spectator one that makes at once for repose and energy, calmness and intensity, serenity and stir?
If we denote excitation as an end-effect by the sign plus (+), and inhibition as end-effect by the sign minus (-), such a reflex as the scratch-reflex can be termed a reflex of double-sign, for it develops excitatory end-effect and then inhibitory end-effect even during the duration of the exciting stimulus.
For if we merely take what obviously appears the line of least resistance, its obviousness will appeal to the opponent also; and this line may no longer be that of least resistance. In studying the physical aspect, we must never lose sight of the psychological, and only when both are combined is the strategy truly an indirect approach, calculated to dislocate the opponent's balance.
I do think that an understanding of contemporary work in the cognitive sciences has a profound effect on how one views the workings of the mind. It doesn't work the way we pretheoretically think it does. Such an understanding, of course, should have a large effect on one's views in philosophy of mind, but also in epistemology.
As the cause is, so the effect will be Cause is never different from effect, the effect is but the cause reproduced in another form.
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