Articulating a systematic phenomenology of flow: an experience-process perspective

Elkington, Samuel

doi:10.1080/14927713.2010.524364

Cited by 19 publications

(6 citation statements)

References 39 publications

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“…It is therefore highly probable that dancers" multi-sensory experience of flow is embedded and intertwined in complex interactions with the physical and auditory environment. I agree with Elkington"s (2010) A few limitations of the study need to be mentioned. Due to the fairly small number of participants, the findings of this study might not be generalizable.…”

Section: Discussionmentioning

confidence: 99%

Exploring the dimensions of flow and the role of music in professional ballet dancers

Panebianco¹

2014

Muziki

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Flow, also known as the "zone", is a positive enjoyable psychological state often linked to optimal performance. The aim of this study is to explore professional ballet dancers" subjective experiences of flow in a current performance context. Csikszentmihalyi"s (1990) model of the flow state is used for its applicability to professional ballet dancers. Furthermore, the study aims to gain an understanding of the role of music in dancers" experience of flow.Seventeen ballet dancers from two South African ballet companies shared their experiences in separate semi-structured interview sessions. The interviews took place during the 2013 productions of Don Quixote in Johannesburg and Camille in Cape Town respectively, so that the dancers could draw on recent performance experience in their recollection of flow. The interviews were transcribed and analysed deductively and inductively using interpretative phenomenological analysis.The study found resemblances with Csikszentmihalyi (1990) dimensions of flow in professional ballet dancers. The three dimensions that stood out as most predictive of flow in this study were the merging of action and awareness, autotelic experience and loss of selfconsciousness. Music clearly played an important role in dancers" experience of flow. Dancers" varying levels of awareness of and engagement with music during flow could suggest differing intensities in flow among ballet dancers. The study argues that processing music places an extra demand on dancers" concentration, which presents a unique insight into their experience of flow.

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Section: Discussionmentioning

confidence: 99%

Exploring the dimensions of flow and the role of music in professional ballet dancers

Panebianco¹

2014

Muziki

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“…The notion of flow was introduced in media studies decades ago, most notably by Williams (1975: 86) to describe watching television: it is not a matter of watching separate shows but more a stream of programs through which stations try to keep viewers on board for the whole evening. Here, we do not perceive flow as a fragile, momentary state of “optimal functioning of consciousness” (Elkington, 2010: 327), as is often conceived from a psychological perspective. Instead, in relation to “investment,” Jensen’s (1994: 291) conceptualization is more interesting and distinguishes between channel flow, closely linked to Williams’ (1975) idea, and viewer flow, or the way viewers compose their own personalized flows of content consumption across channels (see also Caldwell, 2003: 133–137).…”

Section: Conceptualizing Saoementioning

confidence: 99%

Small acts of engagement: Reconnecting productive audience practices with everyday agency

Picone

Kleut

Pavlíčková

et al. 2019

New Media & Society

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In this article, we develop the concept of small acts of engagement (SAOE) in a networked media environment as a conceptual framework to study specific audience practices and as an agenda for research on these practices. We define SAOE, such as liking, sharing, and commenting, as productive audience practices that require little investment and are intentionally more casual than the structural and laborious practices examined as types of produsage and convergence culture. We further elaborate on the interpretive and productive aspects of SAOE, which allow us to reconnect the notions of a participatory culture and a culture of everyday agency. Our central argument is that audience studies’ perspective allows viewing SAOE as practices of everyday audience agency, which, on an aggregate level, have the potential to become powerful acts of resistance.

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“…Elle ne donne pas accès au vécu, c'est-à-dire à la manière dont les participants vivent subjectivement ces activités. D'autres études se sont penchées sur ce dont les gens se souviennent au sujet du moment où ils ont fait l'expérience du bonheur (Elkington, 2010;Filep, 2008;Hyman, 2014;Izzo, 2009;Kler et Tribe, 2012;Manusov, Carr, Rowane, Beatty et Nadeau, 1995;Schwartz, Jing-Yang, Friend et Costley, 2006). Parmi ces études, celle de Manusov et ses collaborateurs (1995) s'est intéressée aux facteurs positifs et reconnus pour accroître le niveau de bonheur.…”

Section: Le Bonheurunclassified

“…De plus, les résultats de ces recherches portent davantage sur des facteurs extrinsèques au bonheur. Parmi les études qui se sont penchées sur l'expérience rétrospective du bonheur, certaines portent sur le souvenir des expériences passées (Hyman, 2014), sur des domaines précis (Elkington, 2010;Filep, 2008;Kler et Tribe, 2012) ou sur le contexte général de vie des participants (Manusov et al, 1995;Schwartz et al, 2006). Seule l'étude d 'Izzo (2009) est conduite auprès de personnes reconnues comme des modèles heureux par leur entourage.…”

Section: Les éTudes Sur Les Stratégies Pour Accroître Le Bonheurunclassified

“…Seule l'étude d 'Izzo (2009) est conduite auprès de personnes reconnues comme des modèles heureux par leur entourage. De plus, certaines de ces études (Hyman, 2014;Izzo, 2009;Kler et Tribe, 2012;Manusov et al, 1995;Schwartz et al, 2006) ne tiennent pas compte des trois composantes du bonheur décrites par Seligman (2004), alors que les autres (Elkington, 2010;Filep, 2008) portent uniquement sur une composante du bonheur, soit l'état de flow.…”

Section: Les éTudes Sur Les Stratégies Pour Accroître Le Bonheurunclassified

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Le Bonheur Des Gens Heureux

Veilleux

Mandeville

Morin

2017

rqpsy

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Le présent article décrit l’expérience subjective des gens heureux à partir de trois composantes du bonheur : le plaisir, l’engagement et le sens à sa vie. Une étude phénoménologique a été réalisée auprès de six participants reconnus comme des modèles de personnes heureuses. L’analyse thématique fait ressortir sept conceptions du bonheur (c’est un choix, c’est une question de pouvoir personnel, il est en soi, il dépend peu des circonstances, il ne provient pas des autres, le bonheur est une quête et il a une base génétique). Les résultats mettent en lumière les déterminants du bonheur : la génétique, les conditions externes, l’adaptation hédonique, l’investissement personnel, ainsi que les composantes du modèle PERMA.This article describes the subjective experience of happy people based on three components of happiness: pleasure, engagement, and meaning. A phenomenological study was conducted with six participants recognized as models of happy people. The content analysis highlights seven conceptions of happiness (it is a choice, it is a matter of personal power, it is in oneself, it does not depend on the circumstances, or on others, it is a quest and it is genetic). Results highlight the determinants of happiness, including genetics, external conditions, hedonic adaptation, personal investment, as well as the components of the PERMA model

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Articulating a systematic phenomenology of flow: an experience-process perspective

Cited by 19 publications

References 39 publications

Exploring the dimensions of flow and the role of music in professional ballet dancers

Exploring the dimensions of flow and the role of music in professional ballet dancers

Small acts of engagement: Reconnecting productive audience practices with everyday agency

Le Bonheur Des Gens Heureux

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