Flow: The Classic Work on How to Achieve Happiness

By Mihály Csíkszentmihályi. 2002

558 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/f2b60c23af5215493f4e6011c6ca7137bd8079a3

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Citations in the corpus

Aesthetic Products and Aesthetic Consumption: A Review (2006, background): “The final issue relevant to the nature of the aesthetic encounter results from the work of Csikszentmihalyi on the “flow experience” (Csikszentmihalyi and Robinson 1990; Csikszentmihalyi 2002).”
The challenge of defining wellbeing (2012, background): “In a similar vein, Csikszentmihalyi (2002) makes it clear that ‚happiness is not something that just happens *it+ is a condition that must be prepared for, cultivated, and defended privately by each person‛ (p. 2).”
Addictive Features of Social Media/Messenger Platforms and Freemium Games against the Background of Psychological and Economic Theories (2019, background): “For a detailed introduction into the concept of flow and additional prerequisites, see the seminal work by Csikszentmihalyi [48].”
The dark side of flow: a qualitative study of dependence in big wave surfing (2009, background): “When action and awareness merge, when goals seem clear and feedback unambiguous, when one is concentrated on the task at hand and feels both a sense of control and a loss of self-consciousness, then one is experiencing flow (Csikszentmihalyi, 1975, 1988, 1992).”
PROSPER: A New Framework for Positive Education (2015, background): “Csikszentmihalyi (2002) found that when people experienced ‘flow’ they reported: (a) clear goals and progress toward achieving them; (b) highly focused, effortless, attention or concentration during the activity; (c) a sense of time passing quickly and loss of self-consciousness; and (d) a balance…”
Positive Psychology: A Foucauldian Critique (2008, methodology): “Csiksentmihalyi's ( 2002 ) highly influential work on flow was developed using the experiential sampling method , a technique based on phenomenological theory.”
Determinants of Impact: Towards a Better Understanding of Encounters with the Arts (2007, background): “150–151) agrees with de Bolla when he suggests that the reluctance to discuss the theatrical experience he observed in his respondents might be linked to people’s disinclination to confide their private feelings and emotional reactions to strangers. Yet, he also suggests that his interviewees, many ”
Therapists' experiences of relational depth: a qualitative interview study (2005, background): “Some of the participants described a feeling of ‘flow’ (cf. Csikszentmihalyi, 2002): an ‘ease in the relationship’, and one participant likened this to having a ‘tube’ between their world and the world of the client, where, ‘they can…somehow exchange the blood and the cells and whatever’: the…”
Strengths Use as a Predictor of Well-Being and Health-Related Quality of Life (2011, background): “…with life satisfaction (i.e., hope, zest, gratitude, love, and curiosity) have also been shown to be associated with the three orientations to happiness: pleasure (hedonism), engagement [flow activities (see Csikszentmihalyi 2002)], and meaning (eudaimonia; Peterson et al. 2007; Seligman 2002).”
Emotion, engagement and meaning in strong experiences of music performance (2012, background): “Research is still lacking into how different activities might engender wellbeing within this framework, although Csikszentmihalyi (2002) identifies a list of different activities which are likely to induce flow in participants, including active participation in dance, theatre and the arts, reading,…”
Playful learning: tools, techniques, and tactics (2018, background): “This is exemplified by flow theory (Csikszentmihalyi 1992), which highlights the importance of the balance between skills and levels of challenge in any activity for creating the optimal experience– if skills are significantly higher than challenge then the task will boring, if challenge is higher t”
University students’ strong experiences of music (2011, background): “Engaged listening was also a prominent feature of the current accounts, with flow-like states resulting often from focused listening situations as argued by Csikszentmihalyi (2002).”
Is wine consumption an aesthetic experience? (2005, background): “This is (Csikszentmihalyi and Robinson, 1990; Csikszentmihalyi, 2002), where the concept of ‘flow’ is developed.”