HOW TO SOUND DECEPTIVELY LIKE A BEHAVIOURIST
311. . . . But for the private exhibition you don't have to give yourself actual pain; it is enough to imagine it -- for example you screw up your face a bit.
391. . . . And if I imagine [that people around me are in pain, and artfully concealing it] -- what do I do; what do I say to myself; how do I look at the people? . . . I as it were play a part, act as if the others were in pain. When I do this I am said for example to be imagining. . . .
450. Knowing what someone looks like: being able to call up an image -- but also: being able to mimic his expression. Need one imagine it in order to mimic it? and isn't mimicking it as good as imagining it?
451. Suppose I give someone the order 'Imagine a red circle here'. -- and now I say: understanding the order means knowing what it is like for it to have been carried out -- or even: being able to imagine what it is like. . . . ?
547. Negation: a 'mental activity'. Negate something and observe what you are doing. -- Do you perhaps inwardly shake your head? -- and if you do, is this process more deserving of our interest than, say, that of writing a sign of negation in a sentence?
Page 188. What is fear? What does 'being afraid' mean? If I wanted to define it at a single showing -- I should play-act fear.
Page 219. This, however, is the queer thing: it seems as though I did not have to wait on the occasion, but could give myself an exhibition of it, even when it is not actually taking place. How? -- I act it. -- But what can I learn this way? What do I reproduce? -- Characteristic accompaniments. Primarily: gestures, faces, tones of voice.