I'm a big fan of the work of Mihaly Csikszentmihalyi: his book Flow is one of the most important thing I've read in the last ten years, and one of those argument and concepts I constantly refer to in my everyday life (not to mention writing about on this blog). I think promoting flow states is one of the healthiest things contemplative computing can do. But one of the first objections I get to the idea that flow is important in contemplative computing runs like this: "My son [or husband] plays spends hours totally immersed in video games. That's definitely a flow experience. And you argue it's a good thing?" (And yes, the subject usually is male.)
They have a point. It's definitely case that game design companies have tried hard to get players "in the zone," in that state where they forget about everything but the game, and don't care about anything but getting to the next level.
Flow has four major components, Csikszenthmihalyi writes in his rapidly-approaching-classic-status book, Flow. "Concentration is so intense that there is no attention left over to think about anything irrelevant, or to worry about problems," he says. "Self-consciousness disappears, and the sense of time becomes distorted. An activity that produces such experiences is so gratifying that people are willing to do it for its own sake, with little concern for what they will get out of it, even when it is difficult, or dangerous."
Here's the problem. Game designers have read Csikszentmihalyi carefully, much in the way aspiring Wall Streeters read Michael Lewis' Liar's Poker: less as an exploration of the moral complexities of design, or as a guide to live the good life, than as a how-to manual. (I'm working on an article on how designers have ignored the moral dimensions of Csikszentmihalyi's argument.) They've learned how to create what I would call flow-like states: mental states that are very absorbing, but which don't offer the long-term gratifications of real flow experiences-- or only do so for a very small number of highly self-aware people.
But it's not just game designers who've done this: an even better example might be machine gambling designers, as Natasha Dow School argues in her new book Addiction by Design: Machine Gambling in Las Vegas. As a review of her book explains,
In her book, she looks at what the industry has done to make those devices more compelling. For instance, video slot machines now deliver frequent small wins rather than infrequent large jackpots, to better sustain what she calls "the flow of the experience."...
Schüll's book delves into the lives of compulsive machine gamblers—not the folks playing social games like poker around a table but the smaller percentage of the population who play alone at electronic slot machines or video poker terminals with such intensity that they enter a state of total gambling immersion, shutting out the world for long stretches of time.
As she puts it elsewhere, there's an "intimate connection between extreme states of subjective absorption in play and design elements that manipulate space and time to accelerate the extraction of money from players." This creates players like
Mollie, a mother, hotel worker, and habitual video poker player, who recounted for Schüll her life as a gambler—running through paychecks in two-day binges, cashing in her life insurance. "The thing people never understand is that I'm not playing to win," Mollie says in the book. Instead, she was simply trying "to keep playing—to stay in that machine zone where nothing else matters."
For those who have access to it, her earlier work on digital gambling, and the language of compulsion and addiction in gambling, are well worth reading.
So clearly flow states are things that can benefit game companies and casinos, and can lead people to do things that are pleasurable (or at least narcotizing) in the moment but self-destructive over the long run. Does that mean they should be avoided?
No.
The problem is that flow can be a phenomenally valuable thing, and indeed you can argue-- as Czikszentmihalyi does-- that its pursuit is one route to the Good Life. This is really central to the book: as I noted when I first wrote about it,
What I really like about the book is that it's interested in the fundamental question, what is happiness? Csikszentmihalyi's answer is a bit counterintuitive, but quite rich and interesting. This means he's not just interested in isolated experiences, but in the overall shape and tone of life: it's an interest in values rather than merely specific ends. "Happiness is not something that happens," (2) he argues:
It is a condition that must be prepared for, cultivated, and defended privately by each person. People who learn to control inner experience will be able to determine the quality of their lives, which is as close as any of us can come to being happy.... It is by being fully involved with every detail of our lives, whether good or bad, that we find happiness, not by trying to look for it directly. [Reaching happiness involves] a circuitous path that begins with achieving control over the contents of our consciousness. (2)
This control, he explains, feels like this:
We have all experienced times when, instead of being buffeted by anonymous forces, we do feel in control of our actions, masters of our own fate. On the rare occasions that it happens, we feel a sense of exhilaration, a deep sense of enjoyment that is long cherished and that becomes a landmark in memory for what life should be like. This is what we mean by optimal experience.... Contrary to what we usually believe, moments like these, the best moments in our lives, are not the passive, receptive, relaxing times.... The best moments usually occur when a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile. Optimal experience is thus something that we make happen. (3)
So at its best, flow is something we experience when we're doing hard things not easy ones, when we're most awake and productive, not passive or consuming. I think if anything has changed since Flow appeared in the early 1990s, it's that we've had a couple decades' experience with industries that have learned how to get us to have experiences that feel like flow, but aren't. They tap into our desire for challenging, engaging experiences, but don't deliver the moral rewards or self-improvement. The qualities that make flow powerful and redemptive can also make its manufactured versions dangerous and self-destructive.