am prietene care , cind sunt indragostite, scaneaza viata iubitilor lor prin toate mijloacele: nu rateaza nicio fotografie din google search, nici o postare de pe facebook, niciun articol (unde e cazul) despre distinsul domn.
eu nu caut nimic, nu ma intereseaza; pot sa evaluez in intilnirile face to face orice am nevoie.
faza imediat urmatoare a prietenelor mele e cea a neincrederii, sora cu paranoia: incep sa despice firul in patru, sa analizeze daca a zis cutare lucru poate ca inseamna de fapt alt lucru, daca fac pasul cutare, el o sa zica si o sa faca pasul cutare.
mie mi se pare o mare aiureala si nu gasesc sensul pentru care sa fac asemenea jocuri. stiu de ce iubesc si stiu ca iubirea e, cind e onesta, un drum in sens unic. devine cuplu cind e autostrada. in mintea mea e total gresit cind un om imi creeaza nesigurante, ma face – direct sau nu – sa ma simt inferioara. si prin urmare, daca nu gasesc confort, nici macar nu intru pe drumul respectiv.
in plus, prefer alte jocuri… de seductie.
***
am gasit insa un articol genial care vorbeste despre frica de a iubi si despre asemanarile comportamentale intre iubire si paranoia.
da, seamana. asta e.
Paranoia, semne si manifestari
consum excesiv de alcool si de alte medicamente/ droguri
indepartarea de prieteni si de familie
pierderea interesului pentru activitatile zilnice
incapacitate de concentrare
stare de absenta
rezultate mai slabe in joburi academice sau sportive
imbracare nepotrivita cu conditiile meteorologice.
Dragostea, semne si manifestari
consum excesiv de alcool si de alte medicamente/ droguri
indepartarea de prieteni si de familie
pierderea interesului pentru activitatile zilnice
incapacitate de concentrare
stare de absenta
rezultate mai slabe in joburi academice sau sportive
imbracare nepotrivita cu conditiile meteorologice.
Paranoia, perceptii:
sensibilitate neobisnuita sau extrema la lumina, culori sau zgomot
credinta ca gindurile sunt controlate de altii
frica de a fi atins de altii
schimbarea perceptiei despre sine (credinta ca unele parti ale corpuli sunt bolnave)
Dragostea, perceptii:
sensibilitate neobisnuita sau extrema la lumina, culori sau zgomot
credinta ca gindurile sunt controlate de altii
frica de a fi atins de altii
schimbarea perceptiei despre sine (credinta ca unele parti ale corpuli sunt bolnave)
***
oricit de straniu pare, comportamentul majoritatii oamenilor indragostiti este echivalent cu cel al paranoicilor.
asta spune mult despre fricile pe care le activeaza dorinta de a placea altuia, despre nesigurante, spaime si despre teritoriul dificil pe care ajungem odata cu indragosteala.
cind va indragostiti, ginditi-va ca si celalalt din cuplu trece prin cele de mai sus. sigur, sigur ajuta.
asta e o veste care o sa-i fericeasca pe prietenii mei care “joaca in echipa cealalta”, cum imi place mie sa zic. adica pe prietenii mei gay.
scientific american publica un articol in care arata ca androginitatea psihologica – nu cea in look promovata in moda sau in muzica – e un semn al creativitatii.
The famous creativity researcher Ellis Paul Torrance published a paper in 1963 showing that creative boys possess more feminine characteristics than their peers, and creative girls are perceived as more masculine than other girls. Torrance said “creativity, by its very nature, requires both sensitivity and independence.”
Helson (1967) found that the more creative the female mathematician, the more she displayed a combination of the following traits: “individualism, originality, concentration, artistry, complexity, courage, emotion, fascination, and self-orientation.” Clearly a mix of both traditionally “masculine” and traditionally “feminine” traits.
(…)
More recently, Jonsson and Carlsson (2001) found that participants high in both feminity and masculinity (androgynous) and low on both scales (undifferentiated) scored higher on a measure of creativity than stereotypically female and stereotypically male participants. Interestingly, and similar to the Harrington and Anderson study, they found that men alone accounted for this interaction. In other words, increased masculinity in creative women was weaker than increased femininity in men.
e foarte interesant articolul si cind nu faci parte din echipa asta, pentru ca te ajuta sa se mai faca putina curatenie printre prejudecati. il puteti gasi aici
***
Virginia Woolf despre cum ar trebui sa fie un scriitor:)
“woman-manly or man-womanly… Some collaboration has to take place in the mind between the woman and the man before the art of creation can be accomplished. Some marriage of opposites has to be consummated.”
o excursie matinala printre creatiile de pe deviantart si descoperirea lui submaestro cu acesta lucrare care se numeste Missing Pieces 🙂
si-un articol genial in washington post: cum invatam cel mai bine? de ce copiii de acum invata mai repede decit copiii din anii 60 de exemplu?
e vorba de un studiu al unui cercetator in “stiinte cognitive” – Daniel Willingham – care spune cam asa:
sunt trei posibilitati de a invata:
1. un copil invata sa se joace cu un joc video prin propriile incercari
2. un copil invata acelasi joc uitindu-se/ furind la un jucator mai experimentat.
3. un copil invata direct de la un jucator mai experimentat, prin indrumarea directa a acestuia.
si sustine cercetatorul, cea mai des intilnita situatie este prin propria explorare.
doar ca … merge mai departe la un studiu nou despre” three fundamentally different learning opportunities; learning from physical evidence, learning from the observation of goal-directed action, and learning from communication.”
iar concluzia e minunata si ati putea intelege de ce o mare parte din oamenii care au schimbat lumea s-au opus sistemului clasic de invatamint, acumulind informatii prin propria explorare.
when a more knowledgeable person not only provides information but tunes the communication to the knowledge of the learner, that is, in an important sense, teaching.
So whatever value you attach to “naturalness,” bear in mind that much of what children learn in their early years of life may not be the product of unaided exploration of their environment, but may instead be the consequence of teaching. Teaching might be considered a quite natural state of affairs.
e o stire minunata in Scientific American despre cum cercetatorii au descoperit ca odata ce inaintam in virsta suntem mai fericiti.
n-are legatura nici cu operatiile estetice, nici cu cremele anti ageing, nici cu banii pe care-i cistigam…
are legatura cu ritmul interior, cu faptul ca ni se mai limpezeste mintea.
cercetariile au aratat ca indiferent de variabile precum sanatatea, bogatia, locul in care te-ai nascut, sex sau educatie, o persoana comparata cu sine este mai fericita, multumita pe parcurs ce imbatrineste.
deci gata, am rezolvat-o si pe asta. nu ne mai pare rau ca imbatrinim.
fac research pentru un articol si am ajuns la aceste lucruri, care-s utile de stiut nu doar pentru artisti timizi (n-am vazut artist mare care sa nu aiba emotii chiar si dupa ani buni de meserie), ci si pentru noi, muritorii de rind, care intram in panica din prea mult ego/ mindrie 🙂
adrenalina, anxietate si performance-ul live
Unfortunately human pride can be so strong that fear of public humiliation or disgrace often produces the same degree of emotional panic as meeting a tiger. The general name given for this kind of physical state is arousal. Long-term arousal can affect our physical health. It is called stress and is one of the most studied areas of psychology because it affects so many different people in so very different ways. Long-term stress suppresses the body’s immune system, makes us very jumpy and alert to potential threats. It also interferes with judgement so that we are less likely to make sensible, rational decisions or to appraise what is going on realistically. So what is anxiety or performance anxiety? How do we cope with it as performers and how can we help avoid anxiety? These are questions I will endeavour to answer in the course of this essay.
(…)
what is performance Anxiety? There are three qualities that a successful performer must have: a) a technical control of their instrument, b) good taste in using this technique musically and artistically and c) the courage to do this in front of an audience. There are few activities that can produce tension and anxiety as quickly and as thoroughly as performing in public.
Most performers have experienced performance anxiety in some form and to various degrees. This fear may be experienced while preparing for a performance, for days or even weeks before hand, and not just while performing. It can be experienced in the present (stage fright) as apprehension (fear of what could happen) and arousal (anticipation). Performance anxiety is no different from general anxiety. Feelings of fear and apprehension are accompanied by increased and prolonged physiological arousal. Severe anxiety is where the arousal is too high for optimal performance. This arousal may be normal and temporary, or abnormal and long lasting and symptoms can be cognitive, behavioural and physiological.
(…)
Cognitive symptoms of anxiety include fear of making mistakes and feelings of inadequacy and worrying about things happening. Behavioural symptoms are not being able to do things, which normally happen naturally.
de aici.
***
altfel, vorba poetului “privitor ca la teatru/ tu in lume sa te-nchipui/ joace unul si pe patru/ tu mereu ghici-vei chipu-i” 🙂
