gata, e demonstrat stiintific ca lungile mele plimbari prin Cismigiu sunt normale.
un studiu publicat in British Journal of Sports Medicine arata ca ceea ce se numeste “oboseala creierului” din cauza stresului urban atrage folosirea unei resurse unice numita “atentia directa” , in timp ce o plimbare prin parc duce creierul intr-o stare de fascinatie usoara ajutat de mediul din jur.
chiar si simpla prezenta intr-un spatiu verde face ca aceasta “atentie directa” sa fie capabila sa se revigoreze singura. iar asta conduce la odihnirea creierului, stare care faciliteaza creativitatea.
e un articol mare in nytimes pe tema asta
si tot din directia despre scris, dintr-o lectura de saptamina asta ceva s!mpa
In the beginning, when you first start out trying to write fiction, the whole endeavor’s about fun. You don’t expect anybody else to read it. You’re writing almost wholly to get yourself off. To enable your own fantasies and deviant logics and to escape or transform parts of yourself you don’t like. And it works – and it’s terrific fun.
Then, if you have good luck and people seem to like what you do, and you actually start to get paid for it, and get to see your stuff professionally typeset and bound and blurbed and reviewed and even (once) being read on the a.m. subway by a pretty girl you don’t even know it seems to make it even more fun. For a while.
Then things start to get complicated and confusing, not to mention scary. Now you feel like you’re writing for other people, or at least you hope so. You’re no longer writing just to get yourself off, which — since any kind of masturbation is lonely and hollow — is probably good.
But what replaces the onanistic motive? You’ve found you very much enjoy having your writing liked by people, and you find you’re extremely keen to have people like the new stuff you’re doing. The motive of pure personal starts to get supplanted by the motive of being liked, of having pretty people you don’t know like you and admire you and think you’re a good writer. Onanism gives way to attempted seduction, as a motive. Now, attempted seduction is hard work, and its fun is offset by a terrible fear of rejection.
Whatever “ego” means, your ego has now gotten into the game. Or maybe “vanity” is a better word. Because you notice that a good deal of your writing has now become basically showing off, trying to get people to think you’re good. This is understandable. You have a great deal of yourself on the line, writing — your vanity is at stake. You discover a tricky thing about fiction writing; a certain amount of vanity is necessary to be able to do it all, but any vanity above that certain amount is lethal. David Foster Wallace