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PROPERTIES OF
PLAY
A brief excerpt from Stuart
Brown's book:
             play
    How It Shapes the Brain,
     Opens the Imagination,
    And Invigorates the Soul
Apparently
                 purposeless (done for
                 its own sake)
 Voluntary
        Inherent attraction
Freedom from time
                            Diminished
                        consciousness of
                                    self
Improvisational potential
                              Continuation
                                    desire
What do these mean? As I explained to the
engineers, the first quality of play that sets it
off from other activities is its apparent
purposelessness. Play activities don’t
seem to have any survival value. They don’t
help in getting money or food. They are not
done for their practical value. Play is done
for its own sake. That’s why some people
think of it as a waste of time. It is also
voluntary - it is not obligatory or required
by duty.
Play also has inherent
attraction. It’s fun. It
makes you feel good. It
provides psychological
arousal (that’s how
behavioral scientists say that
something is exciting). It is a
cure for boredom.
Play provides freedom from time. When we
are fully engaged in play, we lose a sense of the
passage of time. We also experience
diminished consciousness of self. We stop
worrying about whether we look good or
awkward, smart or stupid We stop thinking
about the fact that we are thinking. In
imaginative play, we can even be a different self.
We are fully in the moment, in the zone. We are
experiencing what the psychologist Mihaly
Csikszentmihalyi calls “flow”.
Another hallmark of play is that it has improvisational
potential. We aren’t locked into a rigid way of doing things.
We are open to serendipity, to chance. We are willing to include
seemingly irrelevant elements into our play. The act of play
itself may be outside of ‘normal’ activities. The result is that we
stumble upon new behaviors, thoughts, strategies, movements,
or ways of being. We see things in a different way and have
fresh insights. For example, an artist or engineer at the beach
might have new ideas about their work while building a sand
castle. A kid playing tea party might come to understand that
good manners and social convictions can provide safety and
power rather than being something imposed merely to make her
feel uncomfortable. These insights weren’t the reason they
played, but they arroved as the result of it. You never really
know what’s going to happen when you play.
Last, play provide a continuation
desire. We desire to keep doing it, and
the pleasure of the experience drives
that desire. We find ways to keep it
going. If something threatens to stop
the fun, we improvise new rules or
conditions so that the play doesn’t have
to end. And when it’s over, we want to
do it again.
These properties are what make play,
for me, the essence of freedom. The
things that most tie you down or
constrain you - the need to be practical,
to follow established rules, to please
others, to make good use of time, all
wrapped up in a self-conscious guilt -
are eliminated. Play is its own reward,
its own reason for being.
I also showed the engineers a framework
for play devised by Scott Eberle, an
intellectual historian of play and vice
president for interpretation at the Strong
National Museum of Play in Rochester, New
York. Eberle feels that most people go
through a six-step process they play. While
neither he nor I believe that every player
goes through exactly these steps in this
order, I think it’s useful to think of play in
this way. Eberle says that play involves:
- Anticipation, waiting with
expectation, wondering what will
happen, curiosity, a little anxiety,
perhaps because there is a slight
uncertainty or risk involved (can we hit
the baseball and get safely on base?),
although the risk cannot be so great that
it overwhelms the fun. This leads to . . .
- Surprise,
the
unexpected, a
discovery, a
new sensation
or idea, or
shifting
perspective.
This produces .
..
- Pleasure, a good
feeling, like the pleasure
we feel at the unexpected
twist in the punch line of
a good joke. Next we have
...
- Understanding, the acquisition of new knowledge, a
synthesizing of distinct and separate concept, an incorporation of
idea that are previously foreign, leading to . . .
- Strength, the mastery that comes
from constructive experience and
understanding, the empowerment of
coming through a scary experience
unscathed, of knowing more about how
the world works. Ultimately, this results
in . . .
- Poise, grace, contentment,
composure, and a sense of balance in
life.
(m   akE y0ur o N pLay)
              w
(m   akE y0ur o N pLay)
                w




         (m   akE y0ur o N pLay)
                       w
(m   akE y0ur o N pLay)
                  w

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                      w




(m   akE y0ur o N pLay)
              w
http://Lo Nzo.com
        3
State Of Play Is No Joke

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State Of Play Is No Joke

  • 2. A brief excerpt from Stuart Brown's book: play How It Shapes the Brain, Opens the Imagination, And Invigorates the Soul
  • 3. Apparently purposeless (done for its own sake) Voluntary Inherent attraction Freedom from time Diminished consciousness of self Improvisational potential Continuation desire
  • 4. What do these mean? As I explained to the engineers, the first quality of play that sets it off from other activities is its apparent purposelessness. Play activities don’t seem to have any survival value. They don’t help in getting money or food. They are not done for their practical value. Play is done for its own sake. That’s why some people think of it as a waste of time. It is also voluntary - it is not obligatory or required by duty.
  • 5. Play also has inherent attraction. It’s fun. It makes you feel good. It provides psychological arousal (that’s how behavioral scientists say that something is exciting). It is a cure for boredom.
  • 6. Play provides freedom from time. When we are fully engaged in play, we lose a sense of the passage of time. We also experience diminished consciousness of self. We stop worrying about whether we look good or awkward, smart or stupid We stop thinking about the fact that we are thinking. In imaginative play, we can even be a different self. We are fully in the moment, in the zone. We are experiencing what the psychologist Mihaly Csikszentmihalyi calls “flow”.
  • 7. Another hallmark of play is that it has improvisational potential. We aren’t locked into a rigid way of doing things. We are open to serendipity, to chance. We are willing to include seemingly irrelevant elements into our play. The act of play itself may be outside of ‘normal’ activities. The result is that we stumble upon new behaviors, thoughts, strategies, movements, or ways of being. We see things in a different way and have fresh insights. For example, an artist or engineer at the beach might have new ideas about their work while building a sand castle. A kid playing tea party might come to understand that good manners and social convictions can provide safety and power rather than being something imposed merely to make her feel uncomfortable. These insights weren’t the reason they played, but they arroved as the result of it. You never really know what’s going to happen when you play.
  • 8. Last, play provide a continuation desire. We desire to keep doing it, and the pleasure of the experience drives that desire. We find ways to keep it going. If something threatens to stop the fun, we improvise new rules or conditions so that the play doesn’t have to end. And when it’s over, we want to do it again.
  • 9. These properties are what make play, for me, the essence of freedom. The things that most tie you down or constrain you - the need to be practical, to follow established rules, to please others, to make good use of time, all wrapped up in a self-conscious guilt - are eliminated. Play is its own reward, its own reason for being.
  • 10. I also showed the engineers a framework for play devised by Scott Eberle, an intellectual historian of play and vice president for interpretation at the Strong National Museum of Play in Rochester, New York. Eberle feels that most people go through a six-step process they play. While neither he nor I believe that every player goes through exactly these steps in this order, I think it’s useful to think of play in this way. Eberle says that play involves:
  • 11. - Anticipation, waiting with expectation, wondering what will happen, curiosity, a little anxiety, perhaps because there is a slight uncertainty or risk involved (can we hit the baseball and get safely on base?), although the risk cannot be so great that it overwhelms the fun. This leads to . . .
  • 12. - Surprise, the unexpected, a discovery, a new sensation or idea, or shifting perspective. This produces . ..
  • 13. - Pleasure, a good feeling, like the pleasure we feel at the unexpected twist in the punch line of a good joke. Next we have ...
  • 14. - Understanding, the acquisition of new knowledge, a synthesizing of distinct and separate concept, an incorporation of idea that are previously foreign, leading to . . .
  • 15. - Strength, the mastery that comes from constructive experience and understanding, the empowerment of coming through a scary experience unscathed, of knowing more about how the world works. Ultimately, this results in . . .
  • 16. - Poise, grace, contentment, composure, and a sense of balance in life.
  • 17. (m akE y0ur o N pLay) w
  • 18. (m akE y0ur o N pLay) w (m akE y0ur o N pLay) w
  • 19. (m akE y0ur o N pLay) w (makE y0ur o N pLay) w (m akE y0ur o N pLay) w