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Good Business_ Leadership, Flow, and the Making of Meaning - Mihaly Csikszentmihalyi [42]

By Root 303 0
down the street I notice some people turning back and looking at me with grins on their faces, the normal thing to do is immediately to start worrying: “Is there something wrong? Do I look funny? Is it the way I walk, or is my face smudged?” Hundreds of times every day we are reminded of the vulnerability of our self. And every time this happens psychic energy is lost trying to restore order to consciousness.

But in flow there is no room for self-scrutiny. Because enjoyable activities have clear goals, stable rules, and challenges well matched to skills, there is little opportunity for the self to be threatened. When a climber is making a difficult ascent, he is totally taken up in the mountaineering role. He is 100 percent a climber, or he would not survive. There is no way for anything or anybody to bring into question any other aspect of his self. Whether his face is smudged makes absolutely no difference. The only possible threat is the one that comes from the mountain—but a good climber is well trained to face that threat, and does not need to bring the self into play in the process.

The absence of the self from consciousness does not mean that a person in flow has given up the control of his psychic energy, or that she is unaware of what happens in her body or in her mind. In fact the opposite is usually true. When people first learn about the flow experience they sometimes assume that lack of self-consciousness has something to do with a passive obliteration of the self, a “going with the flow” Southern California-style. But in fact the optimal experience involves a very active role for the self. A violinist must be extremely aware of every movement of her fingers, as well as of the sound entering her ears, and of the total form of the piece she is playing, both analytically, note by note, and holistically, in terms of its overall design. A good runner is usually aware of every relevant muscle in his body, of the rhythm of his breathing, as well as of the performance of his competitors within the overall strategy of the race. A chess player could not enjoy the game if he were unable to retrieve from his memory, at will, previous positions, past combinations.

So loss of self-consciousness does not involve a loss of self, and certainly not a loss of consciousness, but rather, only a loss of consciousness of the self. What slips below the threshold of awareness is the concept of self, the information we use to represent to ourselves who we are. And being able to forget temporarily who we are seems to be very enjoyable. When not preoccupied with our selves, we actually have a chance to expand the concept of who we are. Loss of self-consciousness can lead to self-transcendence, to a feeling that the boundaries of our being have been pushed forward.

This feeling is not just a fancy of the imagination, but is based on a concrete experience of close interaction with some Other, an interaction that produces a rare sense of unity with these usually foreign entities. During the long watches of the night the solitary sailor begins to feel that the boat is an extension of himself, moving to the same rhythms toward a common goal. The violinist, wrapped in the stream of sound she helps to create, feels as if she is part of the “harmony of the spheres.” The climber, focusing all her attention on the small irregularities of the rock wall that will have to support her weight safely, speaks of the sense of kinship that develops between fingers and rock, between the frail body and the context of stone, sky, and wind. In a chess tournament, players whose attention has been riveted, for hours, to the logical battle on the board claim that they feel as if they have been merged into a powerful “field of force” clashing with other forces in some nonmaterial dimension of existence. Surgeons say that during a difficult operation they have the sensation that the entire operating team is a single organism, moved by the same purpose; they describe it as a “ballet” in which the individual is subordinated to the group performance, and all involved

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