tl;dr vine cu doi factori, (nivel de) provocare & (nivel de) pricepere/tehnica.
- provocarea merge de la 0 la prea mare si priceperea/tehnica de la 0 la master. master se dobandeste cam dupa 10 ani de practica
- provocare zero: duce la relaxare plictiseala apatie.
- provocare prea mare: nu faci fata, o lasi balta, fugi, faci altceva sau nimic.
- pricepere/tehnica nivel peste medie combinat cu provocare peste medie> intri in flow= faci ce iti place, uiti de tine, totul in jur e white noise
extaz inseamna a sta langa ceva. asta e intelesul de baza. ucenicul cand e langa maestru e in extaz. la fel maestrul langa ucenic.
ecstasy became essentially an analogy for a mental state where you feel that you are not doing your ordinary everyday routines. So ecstasy is essentially a stepping into an alternative reality
what we know about them is really about their ecstasies, not about their everyday life. We know the temples they built, where people could come to experience a different reality. We know about the circuses, the arenas, the theaters. These are the remains of civilizations and they are the places that people went to experience life in a more concentrated, more ordered form.
But this man doesn't need to go there. He needs just a piece of paper where he can put down little marks, and as he does that, he can imagine sounds that had not existed before in that particular combination. So once he gets to that point of beginning to create, like Jennifer did in her improvisation, a new reality -- that is, a moment of ecstasy -- he enters that different reality. Now he says also that this is so intense an experience that it feels almost as if he didn't exist.
our nervous system is incapable of processing more than about 110 bits of information per second. And in order to hear me and understand what I'm saying, you need to process about 60 bits per second. That's why you can't hear more than two people. You can't understand more than two people talking to you.
when you are really involved in this completely engaging process of creating something new, as this man is, he doesn't have enough attention left over to monitor how his body feels, or his problems at home. He can't feel even that he's hungry or tired. His body disappears, his identity disappears from his consciousness, because he doesn't have enough attention, like none of us do, to really do well something that requires a lot of concentration, and at the same time to feel that he exists. So existence is temporarily suspended. And he says that his hand seems to be moving by itself.
this automatic, spontaneous process that he's describing can only happen to someone who is very well trained and who has developed technique. And it has become a kind of a truism in the study of creativity that you can't be creating anything with less than 10 years of technical-knowledge immersion in a particular field. Whether it's mathematics or music,
so many of the people described this as a spontaneous flow that I called this type of experience the "flow experience.
This poet describes it as opening a door that floats in the sky -- a very similar description to what Albert Einstein gave as to how he imagined the forces of relativity, when he was struggling with trying to understand how it worked.
13:21
This is an interesting little quote from Masaru Ibuka, who was at that time starting out Sony without any money, without a product -- they didn't have a product, they didn't have anything, but they had an idea. And the idea he had was to establish a place of work where engineers can feel the joy of technological innovation, be aware of their mission to society and work to their heart's content.
seven conditions that seem to be there when a person is in flow. There's this focus that, once it becomes intense, leads to a sense of ecstasy, a sense of clarity: you know exactly what you want to do from one moment to the other; you get immediate feedback. You know that what you need to do is possible to do, even though difficult, and sense of time disappears, you forget yourself, you feel part of something larger. And once the conditions are present, what you are doing becomes worth doing for its own sake.
in our studies, we represent the everyday life of people in this simple scheme. And we can measure this very precisely, actually, because we give people electronic pagers that go off 10 times a day, and whenever they go off you say what you're doing, how you feel, where you are, what you're thinking about. And two things that we measure is the amount of challenge people experience at that moment and the amount of skill that they feel they have at that moment. So for each person we can establish an average, which is the center of the diagram.
we can predict fairly accurately when you will be in flow, and it will be when your challenges are higher than average and skills are higher than average
when you are doing what you really like to do -- play the piano, be with your best friend, perhaps work, if work is what provides flow for you.
16:28
Arousal/PROVOCAREA is still good because you are over-challenged there. Your skills are not quite as high as they should be, but you can move into flow fairly easily by just developing a little more skill. So, arousal is the area where most people learn from, because that's where they're pushed beyond their comfort zone and to enter that -- going back to flow -- then they develop higher skills. Control is also a good place to be, because there you feel comfortable, but not very excited. It's not very challenging any more. And if you want to enter flow from control, you have to increase the challenges. So those two are ideal and complementary areas from which flow is easy to go into.
The other combinations of challenge and skill become progressively less optimal. Relaxation is fine -- you still feel OK. Boredom begins to be very aversive and apathy becomes very negative: you don't feel that you're doing anything, you don't use your skills, there's no challenge. Unfortunately, a lot of people's experience is in apathy. The largest single contributor to that experience is watching television; the next one is being in the bathroom, sitting. Even though sometimes watching television about seven to eight percent of the time is in flow, but that's when you choose a program you really want to watch and you get feedback from it.
