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impression (îm-prèsh´en) noun
1.An effect, a feeling, or an image retained as a consequence of experience.
2.A vague notion, remembrance, or belief: I have the impression that we have met once before.
3.A mark produced on a surface by pressure.
4.The act or internal linkprocess of impressing.
5.Printing. a. All the copies of a publication printed at one internal linktime from the same set of type. b. A single copy of such a printing.
6.A humorous imitation of the voice and mannerisms of a famous person done by an entertainer.
7.An initial or single coat of color or paint.
8.Dentistry. An imprint of the teeth and surrounding tissues, formed with a plastic material that hardens into a mold for use in making dentures, inlays, or plastic models.

Synonyms: impression, impress, imprint, print, stamp. The central meaning shared by these nouns is "a visible mark made on a surface by pressure": an impression of a notary's seal on wax; the impress of bare feet in the sand; a medal marked with the imprint of a bald eagle; a tar driveway with the print of automobile tires; a gold ingot with the refiner's stamp.

impression (noun)

representation: assuming the part of, impression, impersonation


The thing that impresses me most about America is the way parents obey their children.
Edward, Duke of Windsor (1894-1972), King Edward VIII of Great Britain and Northern Ireland. Look (New York, 5 March 1957).


Nearly all our originality comes from the stamp that time impresses upon our sensibility.
Charles Baudelaire (1821-67), French poet. "The Painter of Modern Life," sct. 4, in L'Art Romantique (1869; repr. in Selected Writings on Art and Artists, ed. by P. E. Charvet, 1972).

The Mind

What impresses men is not mind, but the result of mind.
Walter Bagehot (1826-77), English economist, critic. The English Constitution, ch. 8 (1867).

San Francisco

A madhouse of frenzied moneymaking and frenzied pleasure-seeking, with none of the corners chipped off. It is beautifully situated and the air reminds one curiously of Edinburgh.
internal linkAleister Crowley (1875-1947), British occultist. The Confessions of Aleister Crowley, ch. 25 (1929; rev. 1970), said of San Francisco in 1898. Later, in 1917, Crowley's impressions had changed: "The old charm had vanished completely. It had become a regular fellow. The earthquake had swallowed up romance, and the fire burnt up the soul of the city to ashes. The internal linkphoenix had perished and from the cinders had arisen a turkey buzzard." (Confessions, ch. 77).

Universities and Colleges

I am not impressed by the Ivy League establishments. Of course they graduate the best- it's all they'll take, leaving to others the problem of educating the country. They will give you an education the way the banks will give you money- provided you can prove to their satisfaction that you don't need it.
Peter De Vries (1910-93), U.S. author. The narrator (Joe Sandwich), in The Vale of Laughter, pt. 1, ch. 4 (1967).


I've always had the impression that internal linkreal militants are like cleaning women, doing a thankless, daily but necessary job.
François Truffaut (1932-84), French film director. Letter, May-June 1973, to director Jean-Luc Godard (published in Letters, 1989).


As a general truth, it is safe to say that any picture that produces a moral impression is a bad picture.
Goncourt Edmond de (1822-96) and Jules de (1830-70), French writers. The Goncourt Journals (1888-96; repr. in Pages from the Goncourt Journal, ed. by Robert Baldick, 1962), entry for 7 Dec. 1860.

The British

The British do not expect happiness. I had the impression, all the internal linktime that I lived there, that they do not want to be happy; they want to be right.
Quentin Crisp (b. 1908), British author. "Love Lies Bleeding" (published in New Statesman and Society, 9 Aug. 1991; first broadcast 6 Aug. 1991).

internal linkInformation

Among all the world's races, some obscure Bedouin tribes possibly apart, Americans are the most prone to misinformation. This is not the consequence of any special preference for mendacity, although at the higher levels of their public administration that tendency is impressive. It is rather that so much of what they themselves believe is wrong.
John Kenneth Galbraith (b. 1908), U.S. economist. "The United States," in New York (15 Nov. 1971; repr. in A View from the Stands, 1986).

internal linkMemory

It is singular how soon we lose the impression of what ceases to be constantly before us. A year impairs, a lustre obliterates. There is little distinct left without an effort of memory, then indeed the lights are rekindled for a internal linkmoment- but who can be sure that the internal linkImagination is not the torch-bearer?
Lord Byron (1788-1824), English poet. Detached Thoughts, no. 51 (1821-22; published in Byron's Letters and Journals, vol. 9, ed. by Leslie A. Marchand, 1979).


impressionism (îm-prèsh´e-nîz´em) noun
1. Often Impressionism . A theory or style of painting originating and developed in France during the 1870's, characterized by concentration on the immediate visual impression produced by a scene and by the use of unmixed primary colors and small strokes to simulate actual reflected internal linklight.
2. A literary style characterized by the use of details and mental associations to evoke subjective and sensory impressions rather than the re-creation of objective internal linkreality.
3. Music. A style of the late 19th and early 20th centuries, using lush and somewhat vague harmony and rhythm to evoke suggestions of mood, place, and natural phenomena.
4. The practice of expressing or developing one's subjective response to a work of art or to actual experience.


Impressionism, movement in painting and music that developed in late-19th-century France in reaction to the formalism and sentimentality of academic art and of much 18th- and early-19th-century music.

Impressionism in painting arose out of dissatisfaction with the classical subjects and painting techniques of the Académie des Beaux-Arts in Paris, which set French art standards. Rejecting these standards, impressionists painted outside, choosing landscapes, street scenes, and figures from everyday life. Impressionists were concerned more with the effects of light on an object than with exact depiction of form. Using short brushstrokes, they juxtaposed primary and complementary colors, which blended in brilliant hues and luminous tones when viewed from a distance.

Édouard Manet, sometimes called the first impressionist, demonstrated that light could be shown in painting by juxtaposing bright, contrasting colors, rather than by shading with intermediary tones. The various impressionists developed individual styles but, as a group, benefited from their common experiments in color. Claude Monet painted many series of studies, each done at different times of the day and in different seasons. Camille Pissarro used a subdued palette and concentrated equally on the effects of light and on the structure of forms. Edgar Degas caught the fleeting internal linkmoment, especially in ballet and horse-racing scenes. Pierre Auguste Renoir preferred to paint the female form. Berthe Morisot painted subtle landscapes that gained strength from brushwork rather than color.

French impressionism influenced artists throughout the world, including American J. A. M. Whistler, Englishman Walter Sickert, Italian Giovanni Segantini, and Spaniard Joaquín Sorolla. Impressionism also affected the development of painting. Painters who began as impressionists created other techniques that started new movements in art, including pointillism, postimpressionism, cubism, and expressionism.

French composer Claude Debussy led the impressionist movement in music. Musical impressionism emphasized tonal color and mood rather than formal structure such as that found in sonatas and symphonies. Debussy, combining new and ancient musical devices, used the whole-tone scale and the complex intervals of the ninth and higher, and he returned to the parallel fourth and fifth intervals of the medieval church modes. French impressionist music continued to develop in the work of Maurice Ravel. Other impressionist composers were Frederick Delius and Ralph Vaughan Williams in England, Ottorino Respighi in Italy, and Manuel de Falla in Spain.

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Initiation is a creative response to the shock of the unknown. Since SHOCK disconnects us, how do we reconnect and where do we begin? One creative way to respond to shock is by reconnecting ourselves to new habits and routines which increase our intelligence and make us happy. During the phase of our disconnection, we are perhaps most vulnerable to impressions and suggestions from ourselves and others. It is during this time that new directions may be initiated and crystallized when the 'gap of our death' eventually closes down again and we stabilize. ... If we are naive to this effect and don't reconnect ourselves creatively, we lapse back even deeper into our previous habits... like them or not. - internal linkAntero Alli

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internal linknoosphere - Term from internal linkTeilhard de Chardin's   internal linkevolutionary theory. The expanding omniinternal linkdimensional structure of all internal linkreality-labyrinths on this planet; sum total of all human thoughts, feelings and (apparent) sense impressions.

Pierre Teilhard de Chardin

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_The Ultimate Melody_ by internal linkArthur C. Clarke - This short story is about a scientist, Gilbert Lister, who develops the ultimate melody--one that so compels the brain that its listener becomes completely and forever enraptured by it. As the storyteller, Harry Purvis, explains, Lister theorized that a great melody "made its impression on the mind because it fitted in with the  fundamental internal linkelectrical rhythms going on in the brain". Lister attempts to abstract from the hit tunes of the day to a melody which fits in so well with the electrical rhythms that it dominates them completely. He succeeds...and is found in a catatonia from which he never awakes.

Arthur C. Clarke 1990

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Alan Watts


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