Let's start by talking about the concept of flow. To begin with, I was surprised to see the concept in the book. Just this winter break one of my friends recommended that I check out this book called "Flow" about the psychology of the optimal experience, so I bought it and started reading. Interesting coincidence to see the book being talked about in class when I'd just been introduced to it a few weeks before. I haven't gotten really far into the book, but overall, the concept is pretty complicated. Sutton-Smith only devotes 2-3 pages to the idea, and really, that's not enough room to describe it well. It is a rhetoric of self, and, by definition, the rhetorics of self have to do with "play in which play is idealized by attention to the desirable experiences of the players--their fun, their relaxation, their escape..." (Sutton-Smith, 11). Csíkszentmihályi emphasizes that, in order to be happy, you can't think about whether you're happy or not. As soon as you think "Am I happy?" you'll come up with something in life that's not right and preoccupy yourself with worrying about it. Csíkszentmihályi's steps to flow include step #2, which says that a person must reach a high level of concentration, focusing intently on the task at hand; in a sense, "living in the present." How this is possible, I'm not sure. The idea sounds good, but in the age we live in, there's so many stimuli begging for our attention, we feel like we have to know everything about the world, and the idea of sitting somewhere in a deep state of focus tinkering with something for pleasure...is just weird.
In my life, I'd say playing piano or singing is the way by which I get closest to flow. I've had musical training earlier in my life, and now I do it as a hobby. When playing piano, sometimes I do feel like "I'm in the zone." My fingers are moving, but I'm not really sure what's happening, especially with pieces that I've played over and over. I'll challenge myself to play the piece a slightly different way every time, but I couldn't really tell you how it works. I become absorbed in the activity, and the music...flows. I can sit there for a long time, playing the same thing over again with minor changes.
Let's redesign Mario Kart (N64 game) to be more likely to produce flow. Growing up, video games were really competitive and my friends and I would try our very hardest to win. Now that I'm older, winning isn't such a big deal anymore, and I've found it more fun to goof around during races (be playful). I propose eliminating laps and a finish entirely. Have an open course with hills, give the karts jetpacks, and let the players roam the landscape. I'd make it first-person as well, because I bet people are more likely to become absorbed if they are looking through the eyes of the character. There could be a building mode, where players can design their own structures (ramps, tracks, houses, etc). Other than that, you don't really need much else. People will find their own ways to occupy and challenge themselves within the game; just give them the tools to do that. They'll become focused on some "silly" task, like spending hours building an awesome ramp, and totally forget that they need to go to the bathroom. It would have to be well-designed, though, because flow requires the player to have a sense of control over the situation/environment. A poorly redesigned Mario Kart would only be frustrating.
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On piano, Mario Kart as flow
By aimeeHi, LuGames Inc.
As I'm sure you noticed by now, Sutton-Smith reviews a massive number of areas in a very compact text. As such, he can not get into much depth with any one topic. However, I feel he is a bit of a master of abstraction; he takes grand concepts and theories, condenses them, and lays them out for us to get a taste of. Csíkszentmihályi is actually my advisor's advisor. I have read a number of his works, and I feel that Sutton-Smith did a nice job hitting upon some of the key topics raised in this work that directly relates to play. I am sorry if you feel like his portrayal of flow was not representative of your book.
Nevertheless, a book such as The Ambiguity of Play is not meant to cover all topics deeply. It is meant to explain topics that relate to play. And, as you note, flow does.
While you might find flow to be a weird idea based on our current culture, Csíkszentmihályi actually found that, even in the U.S., people experience flow. For many, flow has less to do with “sitting in a deep state of focus, tinkering with something for pleasure” and more to do with being absorbed by an activity. Have you ever spent an evening working on a project where became totally focused on the activity and lost sense of time or of distractions around you? You might have been experiencing flow. Csíkszentmihályi found that many top-level athletes experience this at “peak moments” of their play – which, I am guessing, commonly happens in the absence of devises that notify them of the texts and ims that might take their attention away from their task at hand. You bring up a good point in noting that some of our technologies make it hard to have the type of focus needed to achieve flow. What if we tried what the athletes do in being away from them from time to time? Do you think we might increase our opportunities for flow?
Flow requires certain conditions, but it is often unintentional. Your example of piano is a good one. Somehow, you become absorbed in the activity at hand. There is a “merging of action and awareness.” Yes. This is a nice illustration of flow.
The assignment asked you to redesign the example you raised as an illustration of flow. Accordingly, I would have liked to see you think about how piano might be modified to allow for more opportunities for flow. As is, you discussed Mario Kart. I do not see from your explanation, though, how your redesign might allow for conditions that create flow. These changes sound like they will make the game very fun, but Sutton-Smith is clear in the conditions that are involved in flow, and they are far more than “making things more fun.”. As you lay it out (and as you admit at the end of your post), flow will be difficult to achieve with these mods. I do not see how these alterations might heighten the players' chances to experience flow. If you do see this being a possibility, you need to be sure to explain it to the reader. Otherwise, this is not the way to redesign this play to meet your goals. I think focusing on the example you raised would have helped you both stick to the assignment, while also making your task easier. You experienced flow in piano. This makes it easier to think about what could be strengthened or taken away to help this be experienced more often.
Some good thoughts raised here. Let me know if you have any questions.
aimee