"The conception of metaphor in cognitive linguistics contradicts the conception of metaphor in literary studies in fundamental ways: Metaphor is not a stylistic device, but an experiential and cognitive process, in which we use properties, relations, and entities that characterize one domain of experience and/or knowledge (source domain) to understand, think, plan, and talk about a second domain (target domain) that is different in kind from the first. 
According to CMT [conceptual metaphor theory], source domains come from everyday bodily perception and movement. They are grounded in embodied experience (grounding hypothesis). Source domains are needed to make sense of target domains. By definition, a conceptual metaphor is a unidirectional mapping across cognitive domains. The mappings are tightly structured and structure from a source domain is (partially) mapped onto a target domain. The mapping is highly selective, as there are ontological correspondences according to which entities in the source domain (agents, objects, trajectories and so forth) systematically correspond to entities in the target domain. The point is, that we do not copy structure from SD [source domains] to TD [target domains], but we import whole sets of knowledge / inferences / entailments from the source domain into the target domain. The mapping does not work according to an arbitrary rule, but it is a tightly packed, highly selective and constrained process that allows us to reason about abstract domains. "
(Alexandra Jandausch, 2012)
 Lakoff, George (1997): "Women, Fire, and Dangerous Things: What Categories Reveal about the Mind". Chicago: University of Chicago Press.
Jandausch, A. (2012). "Conceptual Metaphor Theory and the Conceptualization of Music". 5th International Conference of Students of Systematic Musicology. Montreal, Canada.
Fig.1. The Roy Castle Lung Cancer Foundation, Passive Smoking: Shotgun [http://adsoftheworld.com/media/print/the_roy_castle_lung_cancer_foundation_passive_smoking_shotgun].
[The source domain in the following image refers to the concept of a shotgun, which through its mapping onto the target domain of the cigarettes communicates the idea that smoking kills.]
"There are many different methods of pre–literate navigation that have been documented around the world. One of the most unique, a fusion of navigation and oral mythological storytelling, originated among the indigenous peoples of Australia, who navigated their way across the land using paths called songlines or dreaming tracks. In Aboriginal mythology, a songline is a myth based around localised 'creator–beings' during the Dreaming, the indigenous Australian embodiment of the creation of the Earth. Each songline explains the route followed by the creator–being during the course of the myth. The path of each creator–being is marked in sung lyrics. One navigates across the land by repeating the words of the song or re–enacting the story through dance, which in the course of telling the story also describe the location of various landmarks on the landscape (e.g. rock formations, watering holes, rivers, trees). In some cases, the paths of the creator–beings are said to be evident from their marks on the land (petrosomatoglyphs), such as large depressions in the land which are said to be their footprints (parallels can certainly be seen in some North American First Nation creation stories).
Songlines often came in sequences, much like a symphony or album today. By singing a song cycle in the appropriate order could navigate vast distances, often travelling through the deserts of Australia's interior (a fact which amazed early anthropologists who were stunned by Aborigines that frequently walked across hundreds of kilometres of desert picking out tiny features along the way without error). Each group had its own set of songlines that were passed from generation to generation so that future generations would know how to navigate when in neighbouring tribes' territories. The extensive system of songlines in Australia varied in length from a few kilometres to hundreds of kilometres in length crossing through lands of many different Indigenous peoples. Since a songline can span the lands of several different language groups, different parts of some songlines were in different languages corresponding to the region the songline was navigating through at the time, and thus could only be fully understood by a person speaking all of the languages in the song."
(The Basement Geographer, 21 October 2010)
Fig.1 "What are song lines?" Colin Jones, lecturer in Aboriginal History, talks about his culture, his history and his art. Queensland Rural Medical Education.
"A map of Manhattan composed of hand–drawn maps by various New York pedestrians whom the artist asked for directions.
Pretending to be a tourist by wearing a souvenir cap and carrying a shopping bag of Century 21, a major tourist shopping place, I ask various New York pedestrians to draw a map to direct me to another location. I connect and place these small maps based on actual geography in order to make them function as parts of a larger map."
(Nobutaka Aozaki, 2012)