“When one analyzes the pre-conscious step to concepts, one always finds ideas which consist of "symbolic images."”

Source: The Image of the Future, 1973, p. 10 as cited in: Rowena Morrow (2006) "Hope, entrepreneurship and foresight". In: Regional frontiers of entrepreneurship research

Cahiers du Cinema (1960)
Context: The moment always comes when, having collected one's ideas, certain images, an intuition of a certain kind of development — whether psychological or material — one must pass on to the actual realization. In the cinema, as in the other arts, this is the most delicate moment — the moment when the poet or writer makes his first mark on the page, the painter on his canvas, when the director arranges his characters in their setting, makes them speak and move, establishes, through the compositions of his various images, a reciprocal relationship between persons and things, between rhythm of the dialogue and that of the whole sequence, makes the movement of the camera fit in with the psychological situation. But the most crucial moment of all comes when the director gathers from all the people and from everything around him every possible suggestion, in order that his work may acquire a more spontaneous cast, may become more personal and, we might even say — in the broadest sense — more autobiographical.

Speech in Berlin (29 November 1924), quoted in W. W. Coole (ed.), Thus Spake Germany (London: George Routledge & Sons, 1941), p. 330
1920s

Source: One Minute Nonsense (1992), p. 177

Source: Conceptual Structures, 1984, p. 73 cited in: National Computer Security Conference Proceedings, 1992. DIANE Publishing Company. p. 320

"The Chances of Death" (1895)

[4] Symbol
Semiotics and the Philosophy of Language (1984)
Context: What is a symbol? Etymologically speaking, the word σύμβολον comes from σνμβάλλω, to throw-with, to make something coincide with something else: a symbol was originally an identification mark made up of two halves of a coin or of a medal. Two halves of the same thing, either one standing for the other, both becoming, however, fully effective only when they matched to make up, again, the original whole. … in the original concept of symbol, there is the suggestion of a final recomposition. Etymologies, however, do not necessarily tell the truth — or, at least, they tell the truth, in terms of historical, not of structural, semantics. What is frequently appreciated in many so-called symbols is exactly their vagueness, their openness, their fruitful ineffectiveness to express a 'final' meaning, so that with symbols and by symbols one indicates what is always beyond one's reach.

On Mind and Thought (1993), p. 34
Posthumous publications
Context: It is astonishingly beautiful and interesting, how thought is absent when you have an insight. Thought cannot have an insight. It is only when the mind is not operating mechanically in the structure of thought that you have an insight. Having had an insight, thought draws a conclusion from that insight. And then thought acts and thought is mechanical. So I have to find out whether having an insight into myself, which means into the world, and not drawing a conclusion from it is possible. If I draw a conclusion, I act on an idea, on an image, on a symbol, which is the structure of thought, and so I am constantly preventing myself from having insight, from understanding things as they are.

Source: The Scientific Analysis of Personality, 1965, p. 14 (quote doesn't seem to be present in 1966 edition)