An analysis of the nature of good governance as it figures into the Royal Government of Bhutan's policy of Gross National Happiness.

By presenting and synthesizing findings on the character of boredom, the article advances a theoretical account of the function of the state of boredom. The article argues that the state of boredom should be understood as a functional emotion that is both informative and regulatory of one's behavior. Boredom informs one of the presence of an unsatisfactory situation and, at the same time, it motivates one to pursue a new goal when the current goal ceases to be satisfactory, attractive or (...) meaningful. Boredom ultimately promotes both movement and the restoration of the perception that one's activities are meaningful and congruent with one's overall projects. (shrink)

The central feature of traditional Aboriginal religion which is reiterated throughout Australia, in spite of regional variations and the vastness of this continent is the Dreaming and its integral link between humans, land, and all that lives on the land. Variously referred to as Dreamtime, Eternal Dreamtime and, the Law, the Dreaming is the sacred knowledge, wisdom and moral truth permeating the entire beingness of Aboriginal life, derived collectively from Dreaming events performed by the creative ancestors. In this paper I (...) shall review interpretations of this thing called the Dreaming and pursue an alternative one. This alternative is that the Dreaming can be interpreted as a subliminal reality that Aborigines can tap into through various means. As a working paradigm I shall use the theoretical perspectives of Schutz and the mutual tuning‐in relationship, as well as Csikszentmihalyi s notion of "flow." Keywords: Aborigines, Australia, dreaming, consciousness. (shrink)

This paper argues for the digital interactive installation artwork based on principles of complexity as an interface with the potential to evoke ekspansions in the subjective experience by confronting the user with an idea of abstract thought, created through a conceptual design, and experienced through bodily interaction and contemplative acts at symbolic levels. The claim is, that ideas presented through good artworks based on the coalision of science and technology can potentially create a synthesis between ideas inspired by the philosophies (...) and empiricisms of the physical-material world view, but also of a higher, spiritual dimension, in which new possibilities of knowledge are potentially to be found. The article accepts the thesis of cognition being the cause of evolution, rather than evolution of man being the cause of cognition. (shrink)

Flow is a gratifying state of deep involvement and absorption that individuals report when facing a challenging activity and they perceive adequate abilities to cope with it. The flow concept was introduced by Csikszentmihalyi in 1975, and interest in flow research is growing. However, to our best knowledge, no scoping review exists that takes a systematic look at studies on flow which were published between the years 2000 and 2016. Overall, 252 studies have been included in this review. Our review (...) provides a framework to cluster flow research, gives a systematic overview about existing studies and their findings, and provides an overview about implications for future research. The provided framework consists of three levels of flow research. In the first “Individual” level are the categories for personality, motivation, physiology, emotion, cognition, and behavior. The second “Contextual” level contains the categories for contextual and interindividual factors and the third “Cultural” level contains cultural factors that relate to flow. Using our framework, we systematically present the findings for each category. While flow research has made progress in understanding flow, in the future, more experimental and longitudinal studies are needed to gain deeper insights into the causal structure of flow and its antecedents and consequences. (shrink)

The main purpose of this study was to examine the relationship between flow experience and goal orientation theory, as well as, the differences in flow experience based on the orthogonal model of goal orientation theory. Two hundred and seventy eight athletes completed the Task and Ego Orientation Sport Questionnaire based on how they usually feel. The Flow State Scale was completed thirty minutes after an important competition, along with the challenge-skill ratings, based on how athletes felt during the particular competition. (...) The results indicated that the athletes’ task orientation may be the critical factor for attaining flow in competitive sport, feeling more skillful and estimating the upcoming competition as challenging, while ego orientated athletes lack these elements, which are important for them to get into flow. Additionally, the balance between athletes’ goal orientation preferences seems important for the formation of flow experience. (shrink)

Research on the perception of silence has led to insights regarding its positive effects on individuals. We conducted a series of studies during which individuals were exposed to several minutes of silence in different contexts. Participants were introduced to different social and environmental settings, either in a seminar room at a university or in a city garden, alone or in a group. Instructions across studies varied, as participants were exposed to real waiting situations, were asked to just think and to (...) explicitly experience the time interval without further instructions or following a session of Depth Relaxation Music Therapy (DRMT)/ Hypnomusictherapy (HMT). Silence was judged to significantly increase relaxation, improve mood states, and alter the perception of time and the orientation towards the present moment. We controlled for influences of trait variables, such as impulsivity, mindfulness, daydreaming, and time perspective. Findings empirically demonstrate that exposure to silence can be effective in therapeutic and educational contexts to promote relaxation and well-being. (shrink)

Good actors appear to become their characters, making them come alive, as if they were real. Is this because they have succeeded in merging themselves with their character? Are there any positive or negative psychological effects of this experience? We examined the role of three characteristics that may make this kind of merging possible: dissociation, flow, and empathy. We also examined the relation of these characteristics to acting quality. Acting students and non-acting students completed a dissociation measure, and then performed (...) a monologue that was recorded and rated on the dimensions of acting. Participants were then reassessed on dissociation to determine whether it increased as a function of performance. They were also then assessed on flow and empathy. Actors did not differ from non-actors on dissociation, but did score significantly higher than non-actors on some flow and empathy subscales, indicating a positive psychological experience and outcome. While non-actors’ dissociation marginally increased post-performance, actors’ dissociation rose significantly, which could indicate a negative psychological experience. Surprisingly, acting ratings were unrelated to the levels of dissociation, flow, or empathy. We concluded that, while these are tools used by actors to immerse themselves fully in their characters, they may not be necessary to create the illusion of an imaginary character come to life on stage. (shrink)

Based on the field of aesthetics, for centuries philosophers and more recently scientists have been concerned with understanding the artistic experience focusing on emotional responses to the perception of artworks. By contrast, in the last decades, evolutionary biology has been concerned with explaining the artistic experience by focusing on the cognitive processes underlying this experience. Up until now, the cognitive mechanisms that allow humans to experience objects and events as art remain largely unexplored and there is still no conventional use (...) of terms for referring to the processes which may explain why the artistic experience is characteristically human and universal to human beings (Dissanayake, 1992, p. 24; Donald, 2006, p. 4). In this paper, I will first question whether it is productive to understand the artistic experience in terms of perception and emotion, and I will subsequently propose a possible alternative explanation to understand this experience. Drawing upon the work of Ellen Dissanayake (1992, 2000, 2015), Merlin Donald (2001, 2006, 2013), Antonio Damasio (1994, 2000, 2003, 2010), Barend van Heusden (2004, 2009, 2010), and Alejandra Wah (2014), I will argue that this experience is characterized by particular degrees of imagination and consciousness. (shrink)

Background: Flow states are considered a positive, subjective experience during an optimal balance between skills and task demands. Previously, experimentally induced flow experiences have relied solely on adaptive tasks. Objective: To investigate whether cathodal transcranial direct current stimulation (tDCS) over the left dorsolateral prefrontal cortex (DLPFC) area and anodal tDCS over the right parietal cortex area during video game play will promote an increased experience of flow states. Methods: Two studies had participants play Tetris or first-person shooter (FPS) video games (...) while receiving either real tDCS or sham stimulation. Tetris recruited nineteen untrained players who infrequently played video games while the ten FPS participants played FPS frequently. Flow experience was assessed before and after stimulation. Results: Compared to sham stimulation, real stimulation increased flow experience for both untrained Tetris and trained FPS players. No ceiling effects were noticed between trained and untrained groups. Conclusion: Cathodal and anodal tDCS over the left DLPFC and right parietal areas respectively may encourage flow experiences in complex real-life motor tasks that occur during sports, games and everyday life. (shrink)

A convenience sample of 171 students answered a questionnaire indicating their religious orientations and the frequency and intensity of their flow experiences . Flow experiences are similar to athletes' experiences of "being in the zone." Intrinsics live by their religion, and Intrinsic religiosity was associated with fewer flow experiences in everyday activities.Extrinsics want the benefits of belonging. Extrinsic religiosity correlated with less intense flow experiences, and these experiences were more frequent during public religious gatherings than private prayer or meditation.

This article presents the pedagogical paradigm of reflexive interaction and its application in the field of technology-enhanced learning and children’s musical creativity. The main feature of reflexive interaction is the repetition-variation mechanism: something is repeated and varied during the interaction, through a continual process of imitation and variation. In the context of the MIROR project (EU-ICT Project), we exploited the educational potential of the reflexive interaction paradigm and implemented the MIROR platform, an educational device consisting of a set of softwares (...) that implement the reflexive paradigm not only in music improvisation (as was the case for the first interactive reflexive system), but also in the field of music composition and dance. The platform was conceived as a tool to stimulate and develop musical and motor creativity in children, although it can also be used to teach a specific musical instrument. The hypothesis of the MIROR project was that reflexive interaction sustains and promotes the learning and creative expression processes of music and movement. This initial hypothesis, which stemmed mainly from the pilot study in which we observed children who were interacting with the first prototype of the interactive reflexive musical system, was subjected to a series of empirical studies conducted within the MIROR project, and was theoretically defined in order to lay down the foundations of the reflexive interaction paradigm and its pedagogical implications. This article summarizes the state-of-the-art of the project and brings together, in a comprehensive overview, the theoretical framework, the pedagogical concepts, the empirical studies, and the description of the MIROR platform, with the aim to reflect on the results achieved so far and point out the contribution of the reflexive perspective to the field of children’s instrumental learning and creativity. (shrink)