They're all prospect and no refuge.

Temperamentally anxious people can have a hard time staying motivated, period, because their intense focus on their worries distracts them from their goals.

Consciousness, which is the "reflective" element of Norman's conceptual brain, handles the "higher" functions at the metaphorical tip of the very top of that complicated organ. Because consciousness pays a lot of attention to your thoughts, you tend to identify it with cognition. However, if you try to figure out exactly how you run your business or care for your family, you soon realize that you can't grasp that process just by thinking about it. As Norman puts it, "Consciousness also has a qualitative, sensory feel. If I say, 'I'm afraid,' it's not just my mind talking. My stomach also knots up.

Your motivations--get that promotion, throw the best parties, run for public office--aren't impersonal abstractions but powerfully reflect who you are and what you focus on. An individual's goals figure prominently in the theories of personality first developed by the Harvard psychologist Henry Murray. According to his successor David McClelland, what Friedrich Nietzsche called "the will to power," which he considered the major driving force behind human behavior, is one of the three basic motivations, along with achievement and affiliation, that differentiate us as individuals.

A simple experiment show show these broad emotional motivations can affect what you pay attention to or ignore on very basic levels. When they examine images of faces that express different kinds of emotion, power-oriented subjects are drawn to nonconfrontational visages, such as "surprise faces," rather than to those that suggest dominance, as "anger faces" do. In contrast, people spurred by affiliation gravitate toward friendly or joyful faces.

Where visual artists are concerned, the Baroque sculptor and architect Bernini and the painter and sculptor Picasso were clearly adept at both experiential and instrumental attending, says Tellegen, as is the modern architect Frank Gehry. Choosing a literary example, he says that F. Scott Fitzgerald once admitted to "wrapping one of his romantic flings in cellophane" for later artistic use and notes that "this kind of heartless but honest professionalism is not uncommon among creative people.

If you really want to focus on something, says Castellanos, the optimum amount of time to spend on it is ninety minutes. "Then change tasks. And watch out for interruptions once you're really concentrating, because it will take you twenty minutes to recover.