Winifred Gallagher Quotes

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.

However, by Sunday noon--not coincidentally, the unhappiest hour in America--you may have run through your options and wind up slumped on a couch, suffering from the Sabbath existential crisis. It's at just such unfocused, unproductive times, says Csikszentmihalyi, that "people start ruminating and feeling that their lives are wasted and so forth.

In a variation on James's recipe for interesting experience--the familiar leavened by the novel--Hobbs's "art of choosing difficulties" requires selecting projects that are "just manageable." If an activity is too easy, you lose focus and get bored. If it's too hard, you become anxious, overwhelmed, and unable to concentrate. Tellingly, one group is distinguished by its zeal for the kind of work that requires you to give it all you've got: high achievers particularly relish taking on risky projects that have only a 50/50 chance of success.

Debriefing-style counseling after a trauma often aggravates a victim's stress-related symptoms, for example, and 4 in 10 bereaved people do better without grief therapy.

Arguably the mos intriguing characteristic assessed by the Multidimensional Personality Questionnaire (MPQ), a widely used test developed by the University of Minnesota's eminent psychologist Auke Tellegen, is "absorption," which describes a particular style of focusing. If you get a high score in this trait, you're naturally inclined toward what he calls a "respondent" or "experiential" way of focusing.

Yet he argued that even a tedious topic can take on a certain fascination if you make an effort to look at it afresh: "The subject must be made to show new aspects of itself; to prompt new questions; in a word, to change. From an unchanging subject the attention inevitably wanders away.

Recently, the search for what he calls "the splinters that make up different attention problems" has taken Castellanos in a new direction. First, he explains that your brain is far less concerned with your brilliant ideas or searing emotions than with its own internal "gyroscopic busyness," which consumes 65 percent of its total energy. Every fifty seconds, its activity fluctuates, causing what he calls a "brownout." No one knows the purpose of these neurological events, but Castellanos has a thesis: the clockwork pulses enable the brain's circuits to stay "logged on" and available to communicate with one another, even when they're not being used. "Imagine you're a cabdriver on your day off," Castellanos says. "You don't need to use your workday circuits on a Sunday, but to keep those channels open, your brain sends a ping through them every minute or so. The fluctuations are the brain's investment in maintaining its circuits online.

Horse Frightened by a Lion depicts a majestic stallion in a very different situation. Stubbs painted this magnetic masterpiece to illustrate the nature of the sublime, which was one of his era's most popular philosophical concepts,and its relation to a timelessly riveting feeling: fear. The magnificent horse galloping through a vast wilderness encounters the bottom-up stimulus of a crouching predator and responds with a dramatic display of what psychologists mildly call "negative emotion." The equine superstar's arched neck, dilated eyes, and flared nostrils are in fact the very picture of overwhelming dread. The painting's subject matter reflects he philosopher Edmund Burke's widely circulated Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful, which asserts that because "terror" is unparalleled in commanding "astonishment," or total, single-pointed,--indeed, rapt--attention, it is "the ruling principle of the sublime.