In this discussion, flow has been developed into the concept of group flow. This has been applied to aesthetic experience (e.g. in the theatre) and religious experience - experiencing flow as a group is neither positive nor negative. However, where we have to be careful is in situations where group flow can be used to manipulate, such as in religious brainwashing.
This has been a wonderful and insighful discussion. Thank you all in Warwick and Amsterdam!
Showing posts with label flow. Show all posts
Showing posts with label flow. Show all posts
Wednesday, September 24, 2008
AMS Group C - RESPONSE Flow
For TAMPERE Group C:
Examples of flow as a group experience
‘To go with the flow’, meaning conforming to a group, is not contradictory to a personal state of flow. The loss of ego, that Csíkszentmihályi proposes can also be an extension of the self to a group.
a. Esthetic experience
For example, in the theatre the intense concentration of actors and audience can produce the sensation of flow. Also, a group can break the individual esthetic experience when the group is not ‘in flow’ or the concentration is low.
b. Religious experience
To be immersed in a religious activity with others can produce a communal state of flow. Here, the person ‘is totally absorbed in the activity’ as a personal psycholgical experience, but also ‘going with the flow’ can also give the intense personal flow experiences.
In itself, the experience of flow is neither negative or positive. This contradicts Csíkszentmihályi who regards flow as the key to happiness or well-being. But group flow can be used to achieve a negative or positive goal. For example in religious brainwashing an individual can be caught up in a group ideology where he/she loses grasp on reality.
Posted by: Lonneke, Mele, Catherine
Examples of flow as a group experience
‘To go with the flow’, meaning conforming to a group, is not contradictory to a personal state of flow. The loss of ego, that Csíkszentmihályi proposes can also be an extension of the self to a group.
a. Esthetic experience
For example, in the theatre the intense concentration of actors and audience can produce the sensation of flow. Also, a group can break the individual esthetic experience when the group is not ‘in flow’ or the concentration is low.
b. Religious experience
To be immersed in a religious activity with others can produce a communal state of flow. Here, the person ‘is totally absorbed in the activity’ as a personal psycholgical experience, but also ‘going with the flow’ can also give the intense personal flow experiences.
In itself, the experience of flow is neither negative or positive. This contradicts Csíkszentmihályi who regards flow as the key to happiness or well-being. But group flow can be used to achieve a negative or positive goal. For example in religious brainwashing an individual can be caught up in a group ideology where he/she loses grasp on reality.
Posted by: Lonneke, Mele, Catherine
WAR Group C COMMENT [FLOW] final posting
Challenge [FLOW] from AMS Group C:
"We feel that in contemporary times disruption is a value (esthetic, academic, performative) which is equally valid . . . How is this reflected in contemporary theatre and other arts? Now we see disruptions in traditional narrative, design and other dramatic elements as important esthetic modus."
Response [FLOW] from TAM Group C:
This is an extremely valid point, which brings to our minds the continuing tensions regarding the status of graffiti as an art among parties of differing opinions. Several years ago, it was decided that a wall on which graffiti had been officially allowed should be painted over. Here is a link to a report on the incident: http://www2.hs.fi/english/archive/news.asp?id=20001031IE18
We understand that just several weeks ago, a similar incident happened, which shows the continuing negotiations, or disruptions, of the "flow" of what is considered "art".
Final COMMENT [FLOW] from WAR Group C:
The most cogent dynamic that this process drew up was the one between 'flow' and 'disruption' which was presented in the challenge from AMS Group C. It's interesting to conceive of how 'flow' (a naturally fluid, consistent, and smooth process) was naturally opposed by 'disruption' which is an immediate, active, and localized intervention. This seemed to imply that the 'flows' here are conceived as large cultural currents which can be protested by small external individual forces, not for example by a 'counter-flow'. Hence, graffiti as a method of social disobedience is an individual intervention in the form of a disruption whereas graffiti as an art form was opposed by a larger cultural flow emanating from the government which quite literally 'whitewashed' the art form.
Perhaps a question to follow on from this 'flow' thread would be to pick up on our original definition in relation to the challenge and response. We noted that 'flows' can exist on a micro and macro scale, for instance within a theatre building or across continents. In general the responses dealt with larger 'performances'; we wonder how the dynamic of 'flow' and 'disruption' would work on a smaller scale.
Many thanks to AMS Group 3 and TAM Group 3 for their insightful comments. We look forward to continuing the discussions :)
Posted by Stu, Michelle, and Keith.
"We feel that in contemporary times disruption is a value (esthetic, academic, performative) which is equally valid . . . How is this reflected in contemporary theatre and other arts? Now we see disruptions in traditional narrative, design and other dramatic elements as important esthetic modus."
Response [FLOW] from TAM Group C:
This is an extremely valid point, which brings to our minds the continuing tensions regarding the status of graffiti as an art among parties of differing opinions. Several years ago, it was decided that a wall on which graffiti had been officially allowed should be painted over. Here is a link to a report on the incident: http://www2.hs.fi/english/archive/news.asp?id=20001031IE18
We understand that just several weeks ago, a similar incident happened, which shows the continuing negotiations, or disruptions, of the "flow" of what is considered "art".
Final COMMENT [FLOW] from WAR Group C:
The most cogent dynamic that this process drew up was the one between 'flow' and 'disruption' which was presented in the challenge from AMS Group C. It's interesting to conceive of how 'flow' (a naturally fluid, consistent, and smooth process) was naturally opposed by 'disruption' which is an immediate, active, and localized intervention. This seemed to imply that the 'flows' here are conceived as large cultural currents which can be protested by small external individual forces, not for example by a 'counter-flow'. Hence, graffiti as a method of social disobedience is an individual intervention in the form of a disruption whereas graffiti as an art form was opposed by a larger cultural flow emanating from the government which quite literally 'whitewashed' the art form.
Perhaps a question to follow on from this 'flow' thread would be to pick up on our original definition in relation to the challenge and response. We noted that 'flows' can exist on a micro and macro scale, for instance within a theatre building or across continents. In general the responses dealt with larger 'performances'; we wonder how the dynamic of 'flow' and 'disruption' would work on a smaller scale.
Many thanks to AMS Group 3 and TAM Group 3 for their insightful comments. We look forward to continuing the discussions :)
Posted by Stu, Michelle, and Keith.
TAM Group C Ua Kristina Jocelyn RESPONSE [Flow] for WAR Group C
Challenge [FLOW] from AMS Group C:
"We feel that in contemporary times disruption is a value (esthetic, academic, performative) which is equally valid . . . How is this reflected in contemporary theatre and other arts? Now we see disruptions in traditional narrative, design and other dramatic elements as important esthetic modus."
This is an extremely valid point, which brings to our minds the continuing tensions regarding the status of graffiti as an art among parties of differing opinions. Several years ago, it was decided that a wall on which graffiti had been officially allowed should be painted over. Here is a link to a report on the incident: http://www2.hs.fi/english/archive/news.asp?id=20001031IE18
We understand that just several weeks ago, a similar incident happened, which shows the continuing negotiations, or disruptions, of the "flow" of what is considered "art".
"We feel that in contemporary times disruption is a value (esthetic, academic, performative) which is equally valid . . . How is this reflected in contemporary theatre and other arts? Now we see disruptions in traditional narrative, design and other dramatic elements as important esthetic modus."
This is an extremely valid point, which brings to our minds the continuing tensions regarding the status of graffiti as an art among parties of differing opinions. Several years ago, it was decided that a wall on which graffiti had been officially allowed should be painted over. Here is a link to a report on the incident: http://www2.hs.fi/english/archive/news.asp?id=20001031IE18
We understand that just several weeks ago, a similar incident happened, which shows the continuing negotiations, or disruptions, of the "flow" of what is considered "art".
AMS Group C - CHALLENGE FLow
Challenge for TAM Group C:
Flow
In the context of ‘movement’ as development and progress (Sloterdijk) flow seems to be imbedded a in a reactionary position. We feel that in contemporary times disruption is a value (esthetic, academic, performative) which is equally valid. In history major developments and progress have been triggered by social/cultural/political disruptions.
How is this reflected in contemporary theatre and other arts? Now we see disruptions in traditional narrative, design and other dramatic elements as important esthetic modus.
Aren’t definitions 1. ‘to move with a continual change of place among the constituent particles.’ and 2. ‘to be present in abundance’ both reactionary characteristics in their implicit goal to maintain a certain status quo?
Posted by: Lonneke, Mele, Catherine
Flow
In the context of ‘movement’ as development and progress (Sloterdijk) flow seems to be imbedded a in a reactionary position. We feel that in contemporary times disruption is a value (esthetic, academic, performative) which is equally valid. In history major developments and progress have been triggered by social/cultural/political disruptions.
How is this reflected in contemporary theatre and other arts? Now we see disruptions in traditional narrative, design and other dramatic elements as important esthetic modus.
Aren’t definitions 1. ‘to move with a continual change of place among the constituent particles.’ and 2. ‘to be present in abundance’ both reactionary characteristics in their implicit goal to maintain a certain status quo?
Posted by: Lonneke, Mele, Catherine
WAR Group C CHALLENGE [FLOW} for AMS Group C
TAM Group C Ua Kristina Jocelyn DEFINITION [Flow] for WAR Group C FLOW (v.):
1. to move along in a stream: The river flowed slowly to the sea.
2. to circulate: blood flowing through one's veins.
3. to stream or well forth: Warmth flows from the sun.
4. to issue or proceed from a source: Orders flowed from the office.
5. to menstruate.
6. to come or go as in a stream: A constant stream of humanity flowed by.
7. to proceed continuously and smoothly: Melody flowed from the violin.
8. to hang loosely at full length: Her hair flowed over her shoulders.
9. to abound in something: The tavern flowed with wine.
10. to rise and advance, as the tide (opposed to ebb).
Flow (Psychology):
the mental state of operation in which the person is fully immersed in what he or she is doing by a feeling of energized focus, full involvement, and success in the process of the activity (Mihály Csíkszentmihályi 1990).
Challenge: Of the above definitions we’d like to focus on the psychological concept offered by Mihály Csíkszentmihályi as it offers a different path from the definition of 'flow' that we sent to Amsterdam. Looking at the etymology of Csíkszentmihályi 's theory in more depth: "Flow is so named because during Csíkszentmihályi's 1975 interviews several people described their 'flow' experiences using the metaphor of a water current carrying them along.[2] The psychological concept of flow as becoming absorbed in an activity is thus unrelated to the older phrase "to go with the flow" which means "to conform"." This seems to suggest that one experiences a false passivity during a state of 'flow', evidenced by the use of the analogy to water, which relates to definitions 1 and 6 from above. We would contend that this may perhaps raise concerns about the experience of 'flow' and the ability to measure one's responses and feelings in this state. Two of Csíkszentmihályi's components of flow are "A loss of the feeling of self-consciousness, the merging of action and awareness" and "Distorted sense of time, one's subjective experience of time is altered". Therefore, this would seem to indicate that an accurate portrayal of what the true state of 'flow' is can be hard to measure, or in fact impossible to understand outside of a highly subjective account.
Interestingly, Csíkszentmihályi also proposes a notion of 'group flow' in which members work together to achieve 'flow'. The methods for achieving this goal appear to involve several highly performative aspects, including working on one's feet, etc which is a stark contrast to the perceived image of the psychiatrist's couch. This is interesting to consider in how it relates to the very different definitions of 'flow'.
WAR Group C DEFINITION [FLOW] for AMS Group C
Keyword: Flow
Language: English
Merriam Webster online dictionary:
From the seven possible definitions Merriam lists, these are the two we find most applicable to our discussion:
1b: to move with a continual change of place among the constituent particles.
6: to derive from a source: come.
Chambers Online:
1: to move along like water.
Our inspiration for choosing these specific definitions from the lists provided relates to their transitional natures particularly with reference to the idea that both concepts and people can 'flow' between and within cultures on a larger scale and yet 'flow' can also be identified on a smaller scale of a single performance.
As a contrast, the Chambers Online also lists
6: to be present in abundance.
You may also wish to consider how this contrasting definition suggests the idea of 'flowing' can be purely quantitative.
Posted by: Stu, Michelle, and Keith.
Monday, September 22, 2008
Key word - Flow
Flow in the Merriam Webster online dictionary:
1 a (1): to issue or move in a stream (2): circulate
b: to move with a continual change of place among the constituent particles
2: rise
3: abound
4 a: to proceed smoothly and readily
b: to have a smooth continuity
5: to hang loose and billowing
6: to derive from a source : come
7: to deform under stress without cracking or rupturing —used especially of minerals and rocks
Etymology:
Middle English, from Old English flōwan; akin to Old High German flouwen to rinse, wash, Latin pluere to rain, Greek plein to sail, float
I am interested in the psychological notion of flow and what this can mean in relation to performance (performing and reception):
‘[...] flow, or optimal experience, [is] related to many similar experiences that share the same structural attributes - deep concentration, a sense of control and freedom made possible by a balancing of challenges and skills, and a continuous development of meaningful complexity - experiences that follow immersion in religious rituals, in athletic competition, or in the performance of music or playing chess, in fact, any of a great number of structured interactions with the environment that result in deep enjoyment.’
Csikszentmihalyi, Mihaly, The art of seeing. An Interpretation of the Aesthetic Encounter. 1990, Getty Publications, p.182
1 a (1): to issue or move in a stream (2): circulate
b: to move with a continual change of place among the constituent particles
2: rise
3: abound
4 a: to proceed smoothly and readily
b: to have a smooth continuity
5: to hang loose and billowing
6: to derive from a source : come
7: to deform under stress without cracking or rupturing —used especially of minerals and rocks
Etymology:
Middle English, from Old English flōwan; akin to Old High German flouwen to rinse, wash, Latin pluere to rain, Greek plein to sail, float
I am interested in the psychological notion of flow and what this can mean in relation to performance (performing and reception):
‘[...] flow, or optimal experience, [is] related to many similar experiences that share the same structural attributes - deep concentration, a sense of control and freedom made possible by a balancing of challenges and skills, and a continuous development of meaningful complexity - experiences that follow immersion in religious rituals, in athletic competition, or in the performance of music or playing chess, in fact, any of a great number of structured interactions with the environment that result in deep enjoyment.’
Csikszentmihalyi, Mihaly, The art of seeing. An Interpretation of the Aesthetic Encounter. 1990, Getty Publications, p.182
Subscribe to:
Posts (Atom)