A Musician’s Introduction to The Flow Cycle: Triggers, Conditions, and Recent Neurological Discoveries
“Flow is described as a state of optimal performance denoted by smooth and accurate performance with an acute absorption in the task to the point of time dissociation and dissociative tendencies.”[1] First described by Dr. Mihaly Csikszentmihalyi in his book, Flow, The Psychology of Optimal Experience, the element of peak performance in this state of consciousness has attracted increased attention from researchers and professionals. This paper will review the nine dimensions Csikszentmihalyi claims are needed to facilitate the state of flow, and synthesize concepts, methods, and techniques by Steven Kotler, Dr. Andrew Huberman, Barry Green, and others. The purpose is to explore and describe how musicians may strive to achieve and practice the flow state in search of optimal performance and increased creativity. In addition, this document will present recent neurological discoveries in relation to the flow state and the function of brain activity and neurochemical changes in facilitating this experience. It is important to remember that flow is not activated voluntarily, but occurs “in full action, when [one’s] attention is at its maximum.”[2]
Flow is often referred to as the optimal performance experience “because many of the respondents described the feeling when things [are] going well as an almost automatic, effortless, yet highly focused state of consciousness.”[3] Csikszentmihalyi discovered “athletes, artists, religious mystics, scientists, and ordinary working people described their most rewarding experiences with very similar words. And the description did not vary much by culture, gender, or age; old and young, rich, and poor, men and women.[4] Joshua Gold and Joseph Ciocara expand Csikszentmihalyi’s claim and state,
Furthermore, it has also been found that flow states can be reached by any person performing any sort of task as long as they can ascertain an adequate level of skill. These levels of skill require an expertise that can afford the smooth performance state associated with flow and consequently with higher expertise is believed higher flow values.[5]
Flow state experiences are described in almost identical terms regardless of the activity.
Barry Green characterizes this state as the “master technique” or relaxed concentration, in which “this state makes it easier for us to perform at our potential by rousing our interest, increasing our awareness, and teaching us to discover and trust our built-in resources and abilities. In this state, we are alert, relaxed, responsive, and focused.”[6] In Zen in the Art of Archery, Eugen Herrigel guides readers through his journey from a closed mindset to a more open mindset. Herrigel’s master describes this flow state as the primordial state, “in which nothing definite is thought, planned, striven for, desired or expected, which aims in no particular direction and yet knows itself capable alike of the possible and the impossible, so unswerving is its power – this state, which is at bottom purposeless and egoless, was called by the Master truly “spiritual.”[7] John Cleese describes this experience as available to those in an “open mode,” characterized by Carol Dweck as individuals who maintain or develop a “growth mindset.” Although there are many similar descriptions characterizing the flow state, there are controversies about how and what neurological elements and processes facilitate this state.
Csikszentmihalyi describes nine components associated with the flow state experience. These include: clear goals every step of the way, immediate feedback to one’s action, a balance between challenge and skill, the merging of actions and awareness, distractions excluded from consciousness, no concern of failure, self-consciousness disappears, the sense of time becomes distorted, and the activity becomes autotelic, something that is an end in itself.[8] Nevertheless, Steven Kotler asserts that not all nine of these elements are required in order to achieve this state. Kotler and researchers at the Flow Genome Project (FGP) agree with a majority of Csikszentmihalyi’s flow characteristics, but argue that clear goals, immediate feedback, and challenge/skill balance as “flow triggers” or pre-conditions that may lead to the experience.[9] It does not mean that these characteristics are not present in the flow state but that they are more likely to arise before the flow state.
Kotler states that the main characteristic of flow state triggers involves being exceptionally attentive and focused. He describes two types of triggers, external triggers and internal triggers. External triggers correspond to stimuli that allow one to reach the flow state more efficiently. Kotler describes that there needs to be a risk factor involved and that “the higher the risk, the higher the level of the hormone concentration, norepinephrine, increases. The same applies to dopamine, which creates a sense of reward.”[10] In addition, these external triggers also require a “rich” environment consisting of novelty, unpredictability, and complexity. One way an individual may increase the likelihood of these triggers in everyday life is by changing one’s routine. For example, one might change their method of transportation on their way to work or choose a different route, resulting in new stimuli that require an increase in focus and attention. There is a sense that one is stepping out of their comfort zone. Comprehensive awareness of sensory stimuli is the final element in realizing external triggers.
Clear goals every step of the way, immediate feedback from oneself, and the balance between challenge and skills are internal triggers. Maintaining clear goals at every moment allows one to structure their attention. Efficiency of self-feedback “gives [one] an immediate insight into the effects of [one’s] actions. The shorter the delay between the action and its result, the more [one] knows how to improve. [One] also [becomes] more attentive to the situation.”[11] There must be a balance between challenge and skill, “attention is increased when the importance of the challenge and your ability to meet it are balanced… When the challenge is balanced, i.e. 4% greater than your skills, it makes you want to surpass yourself without becoming stuck.”[12] A European study analyzing a range of flow studies “concluded that arousal shows a reversed U shape pattern with regard to flow. Too low or too high arousal levels are associated with boredom/fatigue and frustration/stress, respectively. Flow requires an intermediate level of arousal that Peifer described as “optimized physiological activation.”[13]
The FGP also asserts that there is a spectrum of flow, and that the “degree of flow is a continuous variable that can be used to characterize the experiential quality of an everyday activity.”[14] Micro-flow is equivalent to “a lighter experience of the state like what happens when you fall into a great conversation at work and one great idea leads to the next great idea and you lose track of time and wow that was fun!”[15] Macro-flow is “the full flow state experience with all or almost all of the nine characteristics present; There is a much more intense non-ordinary state of consciousness.”[16]
French psychological anthropologist Roger Caillois divided the world’s “games,” or activities, into four categories depending on the type of experience: agon, alea, ilinx, and mimicry.[17] Agon encompasses the activities in which competition is the main element. The alea category is composed of all activities involving chance. Activities under the ilinx umbrella “alter consciousness by scrambling ordinary perception, such as riding a merry-go-round, or skydiving.”[18] Mimicry incorporates activities in which alternate realities or personas are formed and are most commonly found in the arts. Csikszentmihalyi utilizes this division to explain how each one offers opportunities to expand the boundaries of ordinary experience. According to Csikszentmihalyi, every flow activity provides “a sense of discovery, a creative feeling of transporting the person into a new reality. It pushed the person to higher levels of performance… In short, it transformed the self by making it more complex. In this growth of the self lies the key to flow activities.”[19]
Agonistic activities provide individuals opportunities to test or stretch one’s skill to meet the challenge of the opponent’s skills. However, if one strives for extrinsic goals, such as beating the opponent or wanting to impress the audience, “competition is likely to become a distraction, rather than an incentive to focus consciousness on what is happening.”[20] Csikszentmihalyi contributes the attraction to aleatory games as the illusion of being able to control the future by outsmarting one’s opponent or “outguessing” fate. He states that vertigo is the most direct method to alter consciousness. Nonetheless, “consciousness cannot be expanded. All one can do is shuffle its content, which gives the impression of having broadened it somehow.”[21] Mimicry gives an individual a sense as if they are more than what they really are by expanding the limits of everyday experience through a persona based on fantasy or disguise. Even though Caillois and Csikszentmihalyi don’t mention music in the descriptions of these four types of activities, one may argue that all four may be practiced and available to musicians on their respective instruments.
“Music in its origins is a kind of flow of structured sounds in time and space with emotional and cognitive content. When we are immersed in music with full concentration – with the whole of our being – we have the opportunity to access the state of flow.”[22] In search of agonistic activities, musicians may attend and compete in festivals and competitions to test or expand their skill to meet the challenge of other musicians. Aleatory activities may consist of either solo or group improvisation, composition, and searching for extended techniques on one’s instrument. To “shuffle the content of consciousness,” a musician may seek to perform in situations or environments inconsistent from their routine. For example, a musician may practice in the dark, or if their instrument permits, practice while laying flat on the floor. If performing from memory, a musician may remove their glasses to shift perception. Watching one’s own recording, performing without a warm-up, and performing for, and receiving feedback from other musicians are ways in which one may seek to broaden their awareness and subsequently, their consciousness.
In music, mimicry can take many forms. A musician may choose to imitate a famed performer, another instruments, or depending on the style of music, a character within the music. Musicians can form a narrative related to the music and choose to embody a character from their own narrative. Another form of mimicry is when musicians embody the music through their movements in respect to the music being performed. To summarize, “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 can make happen.”[23]
Once in flow, actions and awareness merge and “concentration is focused on what [one is doing]. One-pointedness of mind is required by the close match between challenges and skills, and it is made possible by the clarity of goals and the constant availability of feedback.[24] External and internal distractions are excluded from consciousness. For example, if a performer becomes distracted with what they will have for lunch or the errands they need to run later that day, their focus becomes divided, and they are more likely to hit a wrong note. During the flow state there is no concern of failure, “some people describe it as a feeling of total control; but actually we are not in control. It's just that the issue does not even come up.”[25] The self becomes too involved in the activity to be concerned with protecting one’s ego, the self-conscious disappears, and the activity becomes autotelic. The final aspect of the flow state is that time, or the sense of time becomes distorted, “clock time no longer marks equal length of experienced time; our sense of how much time passes depends on what we are doing.”[26]
The flow state is activated at the brain level. When stimulated, a message is sent to the brain which is then relayed throughout the body through the nervous system. Three types of brain waves are present during the state of flow: theta, alpha, and beta waves. Theta waves occur when one processes new information and is in a focused, almost meditative state. Alpha waves appear when brain activity is in a relaxed, lucid, calm state. On the contrary, beta waves appear when the brain is most active. To preserve energy in the flow state, the brain alternates between “low alpha” and “high theta.” This maintains “an optimal state of calmness and concentration, in order to make quick and accurate decisions without effort.”[27]
An individual’s brain utilizes two information processing systems, the explicit system, based on logic, and the implicit system, based on intuition. When one reaches the flow state, the implicit, or “unconscious” system takes over and “uses intuition and takes into account all the information received in an accelerated manner. Ultimately, the state of flow is an optimized brain activity… the processing of information is done intuitively.”[28] Kotler elaborates,
The technical term for this exchange is “transient hypofrontality,” with “hypo” (meaning slow) being the opposite of “hyper” (i.e., fast) and “frontal” referring to the prefrontal cortex, the part of our brain that houses our higher cognitive functions. This is one of the main reasons flow feels flowy—because any brain structure that would hamper rapid-fire decision-making is literally shut off.[29]
A study completed at Kwansei Gakuin University in Japan confirms, “theta activities in frontal areas were identified to be related to a high level of cognitive control and the immersion aspect of flow… in the flow state, we observed suppressed alpha activity in the frontal and central areas, suggesting that the load on the working memory was not excessive.”[30]
Kotler states that there is in fact a four stage flow cycle consisting of struggle, release, the flow state itself, and recovery. The struggle phase consists of loading or overloading the brain with information, such as a composer planning an innovative piece or a performer learning a new technique. Kotler describes this phase as an implicit, highly unpleasant state. The second stage of the flow cycle consists of taking one’s mind off the issue at hand and undertaking activities that will allow the brain to send “a global release of nitric oxide which is a gas of signalling molecules found everywhere in the body. This flushes stress hormones out of the body and replaces them with feel good performance enhancing neurochemicals like dopamine, anandime, serotonin, and endorphins.”[31] Activities may include going for long walks, gardening, and others. The purpose is to shift from a conscious working memory, which requires tremendous amounts of energy and is limited to retain approximately four items at once, to an unconscious state, where one’s brain can receive and process information in an accelerated manner. Kotler firmly states that the “one thing you cannot do to release is watch television. Television changes [one’s] brainwaves in a way that will block flow.”[32]
The third stage of the cycle consists of the flow state itself, in which high flow transforms to a very deep flow that shows up in recovery. As this happens the feel-good performance enhancing chemicals begin to drain out of one’s system and one begins to move into the recovery stage. The most significant aspect of the recovery stage is that one must build emotional fortitude and not become too stressed or anxious that one is no longer in the flow state. If an individual is too stressed out and begins to feel low, they produce cortisol. A little bit is not harmful, but too much blocks the accelerated learning that comes with flow. The individual will receive the short term benefit, but not the long term benefit of accessing the flow state. Kotler recommends that in order to practice or “hack” this state, one must “learn how to struggle better and recover better.”[33]
In a podcast at the Flow Research Collective, Steven Kotler, Dr. Andrew Huberman, and Rich Diviney discuss the significance of autonomic arousal, forward movement, and gratitude in facilitating the flow state. Signature features of autonomic arousal include increased heart and breathing rate, dilation of the pupils, and less depth in vision. Individuals often experience this as stress. However, Huberman states that,
Entering flow requires getting intimate with that sensation and understanding that you have to go through it… I don’t want to say through it, but kind of bring it forward with you. It’s like picking up a satchel of goods that are going to stay with you through your race. It's not like passing through a gate and leaving it behind. That is the entry point.
The stress response is designed to focus one’s visual and auditory attention to a specific location in space. It has been discovered that the prefrontal cortex does not shut down in response to stress, and the ability to think clearly is enhanced by stress, but the number of operations is reduced and does not lend itself to multi-tasking.[34]
If one becomes too stressed, Diviney recommends “chunking certainty” by recognizing certain elements in the environment, what one can and cannot control, and reducing the level of uncertainty from 100% to a lower level. Utilizing breathing techniques or shifting focus to panoramic vision are ways in which one may shift from a sympathetic to a more parasympathetic response. Yet, Huberman elaborates that one must “ride that elevated level of autonomic arousal to a more narrow point with the trust and understanding that there's a more elaborate open landscape for [one] to access flow beyond that.”[35]
Once in flow the prefrontal cortex, the self monitoring voice, shuts down and there is no longer consciousness interference. The flow state and creativity itself emerge from the activity, and when one is focused and has a clear action plan this facilitates forward motion. Kotler describes forward motion as either a step forward or a step backward, or even a decision to stop and collect more information. Kotler claims that forward movement is crucial to flow, “either physically or cognitively, assumed at a minimum, there is a changing of perspective… Life is a maze not a sprint or a marathon; therefore, a step forward or backward is still forward movement.”[36]
An element not discussed by Csikszentmihalyi is the significnace of gratitude in achieving the flow state experience. A recent study discovered that “people who practice gratitude regularly reach the flow state more easily but they have this ability to then restore their excitement for pursuit which inspires more forward action.”[37] These individuals are more likely to search for new possibilities or opportunities. Huberman emphasizes the significance of gratitude as “a phenomenal way to enhance the neurochemicals that make you well enough in the moment, but also that inspire seeking and forward action, and sense of possibility in the world.”[38] Endorphins appear at the point when you have been in flow long enough and are nearing the final cycle of the flow state.
The ideas and characteristics discussed by Csikszentmihalyi, Kotler, and Huberman correlate to several concepts from Barry Green’s Inner Game of Music. More specifically the significance of awareness, will, and trust, and how the balance between these skills allows one to heighten one’s learning, performances, and overall experience. A flow study analyzing the satisfaction with life in elite musicians and top athletes discovered,
The autotelic experience is more pronounced in elite musicians than in top athletes, and represents a pleasant experience which is intrinsically rewarded, since the gratification is directly connected with the activity performed. Satisfaction with life seems to be higher in elite musicians when compared to top athletes.[39]
As struggle, or effective effort, towards a determined goal is seen as a necessary prerequisite of this experience, deliberate practice habits may be considered a musician’s entry point to the flow state. Similar to flow, deliberate practice requires complete and full attention and concentration. Andrew Erricson's definition of deliberate practice is that “with increased skill in monitoring, skilled performers in music focus on mastering new challenges by goal-directed deliberate practice involving problem solving and specialized training techniques.”[40]
If one is unwilling to follow through with the struggle phase of the flow cycle, the individual will be unable to achieve the flow state experience. Proper instruction, an intrinsic reward system, and creating obtainable milestones towards one goal are fundamental aspects of developing the mindset that will allow one to reach this state. Embracing Carol Dweck’s concepts of fixed and growth mindsets, Kotler states, “a growth attitude significantly reduces negative self-talk, which is a big impediment to learning because it affects our ability to connect ideas.”[41] He claims that intrinsic motivation will guide one down the road to peak efficiency, keeping a growth mindset will define that path, and “that grit will keep [one] moving down that path despite the innumerable obstacles that will inevitably arise.”[42] Kotler describes grit as composed of tenacity, the ability to avoid distractions, postpone reward, and remain focused, the growth mindset, and enthusiasm or passion. Identifying which stage of the flow cycle one may be in can allow one to recognize what has to or can be done to shift to the next phase of the cycle. To practice triggering the flow state, it is crucial to understand that the flow cycle does repeat, there are specific neurochemical changes in brain activity, and that managing the autonomic arousal system are all critical elements in recognizing and seeking opportunities to activate the flow state experience.
In conclusion, one may argue that musicians seeking the optimal experience of the flow state should seek utilising deliberate practice techniques in flow trigger activities relevant or applicable to their instrument. In addition, one can search for opportunities or situations in which they can practice these techniques in everyday situations to become more familiar with the sensation. It is important to remember that the flow state requires extreme focus, concentration, and is not activated voluntarily. Yet, it is an experience that, if applied with the right mindset and techniques, can be sought after and practiced. This deeply personal experience enables musicians to engage with their art in a more meaningful way.
Bibliography:
Csikszentmihalyi, Mihaly. Creativity: The Psychology of Discovery and Invention. First Harper Perennial Modern Classics Edition. New York: Harper Perennial Modern Classics, 2013.
———. Flow: The Psychology of Optimal Experience. Nachdr. Harper Perennial Modern Classics. New York: Harper [and] Row, 2009.
Ericsson, K Anders. “The Influence of Experience and Deliberate Practice on the Development of Superior Expert Performance.” The Cambridge Handbook of Expertise and Expert Performance, 2006, 22.
Gold, Joshua, and Joseph Ciorciari. “A Review on the Role of the Neuroscience of Flow States in the Modern World.” Behavioral Sciences 10, no. 9 (September 2020): 137. https://doi.org/10.3390/bs10090137.
Green, Barry, and W. Timothy Gallwey. The Inner Game of Music. 1st ed. Garden City, N.Y: Anchor Press/Doubleday, 1986.
Habe, Katarina, Michele Biasutti, and Tanja Kajtna. “Flow and Satisfaction With Life in Elite Musicians and Top Athletes.” Accessed December 3, 2021. https://www.frontiersin.org/articles/10.3389/fpsyg.2019.00698/full.
Hack Your Flow: Understanding Flow Cycles, with Steven Kotler. Accessed December 5, 2021. https://bigthink.com/videos/hack-your-flow-understanding-flow-cycles-with-steven-kotler/.
Herrigel, Eugen, Daisetz Teitaro Suzuki, and R. F. C Hull. Zen in the Art of Archery. New York: Vintage Books, a Division of Random House, 1999.
Huberman, Andrew, Rich Diviney, and Steven Kotler. “Mastering Optimal Performance in High-Pressure Environments.” Flow Collective Radio. Accessed December 6, 2021. https://open.spotify.com/episode/2iBwL4WQCu9AfBgTmnqpMo.
Katahira, Kenji, Yoichi Yamazaki, Chiaki Yamaoka, Hiroaki Ozaki, Sayaka Nakagawa, and Noriko Nagata. “EEG Correlates of the Flow State: A Combination of Increased Frontal Theta and Moderate Frontocentral Alpha Rhythm in the Mental Arithmetic Task.” Frontiers in Psychology 9 (2018): 300. https://doi.org/10.3389/fpsyg.2018.00300.
Kotler, Steven. “Frequently Asked Questions on Flow.” Accessed November 22, 2021. https://www.stevenkotler.com/rabbit-hole/frequently-asked-questions-on-flow.
———. Summary Of The Art of Impossible By Steven Kotler A Peak Performance Primer. Accessed December 6, 2021. https://www.scribd.com/book/518462901/Summary-Of-The-Art-of-Impossible-By-Steven-Kotler-A-Peak-Performance-Primer.
———. Summary : The Rise of Superman: Decoding The Science Of Ultimate Human Performance. Accessed December 5, 2021. https://www.scribd.com/book/498227718/SUMMARY-The-Rise-of-Superman-Decoding-The-Science-Of-Ultimate-Human-Performance-By-Steven-Kotler.
———. “The Science of Peak Human Performance.” Time, February 10, 2018. https://time.com/56809/the-science-of-peak-human-performance/.
Linden, Dimitri van der, Mattie Tops, and Arnold B. Bakker. “The Neuroscience of the Flow State: Involvement of the Locus Coeruleus Norepinephrine System.” Frontiers in Psychology 12 (2021): 1170. https://doi.org/10.3389/fpsyg.2021.645498.
Ullén, Fredrik, Örjan de Manzano, Rita Almeida, Patrik Magnusson, Nancy Pedersen, Jeanne Nakamura, Mihaly Csikszentmihalyi, and Guy Madison. “Proneness for Psychological Flow in Everyday Life: Associations with Personality and Intelligence.” Personality and Individual Differences - PERS INDIV DIFFER 52 (January 31, 2012). https://doi.org/10.1016/j.paid.2011.10.003.
[1] Joshua Gold and Joseph Ciorciari, “A Review on the Role of the Neuroscience of Flow States in the Modern World,” Behavioral Sciences 10, no. 9 (September 2020): 1, https://doi.org/10.3390/bs10090137. [2] Steven Kotler, Summary : The Rise of Superman: Decoding The Science Of Ultimate Human Performance, 13, accessed December 5, 2021, https://www.scribd.com/book/498227718/SUMMARY-The-Rise-of-Superman-Decoding-The-Science-Of-Ultimate-Human-Performance-By-Steven-Kotler. [3] Mihaly Csikszentmihalyi, Creativity: The Psychology of Discovery and Invention, First Harper Perennial Modern Classics Edition (New York: Harper Perennial Modern Classics, 2013), 110. [4] Csikszentmihalyi, 110. [5] Gold and Ciorciari, “A Review on the Role of the Neuroscience of Flow States in the Modern World,” 3. [6] Barry Green and W. Timothy Gallwey, The Inner Game of Music, 1st ed (Garden City, N.Y: Anchor Press/Doubleday, 1986), 23. [7] Eugen Herrigel, Daisetz Teitaro Suzuki, and R. F. C Hull, Zen in the Art of Archery (New York: Vintage Books, a Division of Random House, 1999), 38. [8] Mihaly Csikszentmihalyi, Flow: The Psychology of Optimal Experience, Nachdr., Harper Perennial Modern Classics (New York: Harper [and] Row, 2009), 49.fll [9] Steven Kotler, “Frequently Asked Questions on Flow,” accessed November 22, 2021, https://www.stevenkotler.com/rabbit-hole/frequently-asked-questions-on-flow. [10] Kotler, SUMMARY, 13. [11] Kotler, 14. [12] Kotler, 14. [13] Dimitri van der Linden, Mattie Tops, and Arnold B. Bakker, “The Neuroscience of the Flow State: Involvement of the Locus Coeruleus Norepinephrine System,” Frontiers in Psychology 12 (2021): 4, https://doi.org/10.3389/fpsyg.2021.645498. [14] Fredrik Ullén et al., “Proneness for Psychological Flow in Everyday Life: Associations with Personality and Intelligence,” Personality and Individual Differences - PERS INDIV DIFFER 52 (January 31, 2012), https://doi.org/10.1016/j.paid.2011.10.003. [15] Kotler, “Frequently Asked Questions on Flow.” [16] Kotler. [17] Csikszentmihalyi, Flow, 72. [18] Csikszentmihalyi, 72. [19] Csikszentmihalyi, 74. [20] Csikszentmihalyi, 73. [21] Csikszentmihalyi, 73. [22] Katarina Habe, Michele Biasutti, and Tanja Kajtna, “Flow and Satisfaction With Life in Elite Musicians and Top Athletes,” accessed December 3, 2021, https://www.frontiersin.org/articles/10.3389/fpsyg.2019.00698/full. [23] Csikszentmihalyi, Flow, 3. [24] Csikszentmihalyi, Creativity, 118. [25] Csikszentmihalyi, 112. [26] Csikszentmihalyi, 113. [27] Kotler, SUMMARY, 5. [28] Kotler, 6. [29] Steven Kotler, “The Science of Peak Human Performance,” Time, February 10, 2018, https://time.com/56809/the-science-of-peak-human-performance/. [30] Kenji Katahira et al., “EEG Correlates of the Flow State: A Combination of Increased Frontal Theta and Moderate Frontocentral Alpha Rhythm in the Mental Arithmetic Task,” Frontiers in Psychology 9 (2018): 300, https://doi.org/10.3389/fpsyg.2018.00300. [31] Hack Your Flow: Understanding Flow Cycles, with Steven Kotler, accessed December 5, 2021, https://bigthink.com/videos/hack-your-flow-understanding-flow-cycles-with-steven-kotler/. [32] Hack Your Flow. [33] Hack Your Flow. [34] Andrew Huberman, Rich Diviney, and Steven Kotler, “Mastering Optimal Performance in High-Pressure Environments,” Flow Collective Radio, sec. 22:00-23:40, accessed December 6, 2021, https://open.spotify.com/episode/2iBwL4WQCu9AfBgTmnqpMo. [35] Huberman, Diviney, and Kotler, sec. 32:40-33:10. [36] Huberman, Diviney, and Kotler, sec. 41:00-43:00. [37] Huberman, Diviney, and Kotler, sec. 1:03:00-1:04:00. [38] Huberman, Diviney, and Kotler, sec. 1:04:00-1:05:30. [39] Habe, Biasutti, and Kajtna, “Flow and Satisfaction With Life in Elite Musicians and Top Athletes,” 6. [40] K Anders Ericsson, “The Influence of Experience and Deliberate Practice on the Development of Superior Expert Performance,” The Cambridge Handbook of Expertise and Expert Performance, 2006, 16. [41] Steven Kotler, Summary Of The Art of Impossible By Steven Kotler A Peak Performance Primer, 33, accessed December 6, 2021, https://www.scribd.com/book/518462901/Summary-Of-The-Art-of-Impossible-By-Steven-Kotler-A-Peak-Performance-Primer. [42] Steven Kotler, Summary Of The Art of Impossible By Steven Kotler A Peak Performance Primer, 26, accessed December 6, 2021, https://www.scribd.com/book/518462901/Summary-Of-The-Art-of-Impossible-By-Steven-Kotler-A-Peak-Performance-Primer.
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