Cultic Studies Review, Vol. 9, No. 1, 2010, Page 12
Csikszentmihalyi (1996) eloquently argues for the significance of studying creativity,
stating, ―. ..the most important message we can learn from creative people is how to find
purpose and enjoyment in the chaos of existence‖ (p. 20). Many people, particularly those
self defined as creative, are drawn to cults precisely out of the desire to find purpose and
enjoyment in the chaos of existence. Often it is not until post-cult recovery that a former
member recognizes that their pre-cult internal and/or external experience of chaos is not
solved but rather masked or even repeated within the cult. Russell in this issue observes
how the pathogenic beliefs developed by an early trauma were reinforced while she was in a
cult.
I now turn to Csikszentmihalyi‘s concept of ―flow‖ to elucidate our theme of cults and
creativity. His model looks at societal institutions to determine whether flow or creativity is
promoted. He suggests that better training, higher expectations, more accurate recognition,
a greater availability of opportunities, and stronger rewards are among the conditions that
facilitate the production and assimilation of potentially useful new ideas. His research
suggests to him that in addition to these factors, the experience of creativity as flow results
from inward motivation as well as a perfect match between the challenge of a task and the
individual‘s level of skill (1993, pp 200-201). And, in a later book, (1996) Csikszentmihalyi
writes, ―If too few opportunities for curiosity are available, if too many obstacles are placed
in the way of risk and exploration, the motivation to engage in creative behavior is easily
extinguished‖ (p. 11).
Perlado‘s (2004) [S1] description of cult involvement as an addiction relates to
Csikszentmihalyi‘s description of seeking flow as a potentially addictive high.
One might say that, as a species, we are addicted to flow. It is that condition
that has enabled us to evolve to the point at which we are now, and it is why
we may change into even more complex beings in the future. Ideally, we can
derive such deeply satisfying experiences from the real challenges of
everyday life, from work, from creative expression, from family relationships,
and from friendship. If we can‘t, then we will continue to invent substitutes
such as chemicals or rituals that will project phantasms of flow onto our
consciousness. Because, however, some of these substitutes can be very
dangerous, it is worth considering.‖ (Csikszentmihalyi. 1993, pp. 198-9)
Csikszentmihalyi (1996) discusses the spontaneous passion of flow as an optimal experience
that involves effortless concentration and enjoyment. He refers to the hard work that along
with joy is intrinsic to creativity, and states, ―creative individuals. ..show how joyful and
interesting complex symbolic activity is‖ (p. 125). Some cults refer to themselves as
―school‖ and their mission as ―the work,‖ deceptively recruiting creatively motivated and
hard-working students who seek the rigor of training and joy that leads to the experience of
flow. Instead, the member often faces an imperfect match between challenge of task and
skill level as well as an environment that discourages curiosity. According to
Csikszentmihalyi, this leads to anxiety or boredom, the two emotional states that indicate
an absence of flow and therefore a lack of well-being. (p. 111)
Addressing obstacles to flow, one survey respondent writes:
While a member of the church, my "artistic flow" decreased incredibly. Before
joining I would write poetry and stories as well as produce drawings on a
frequent basis. After joining, my inspiration nearly disappeared. I was able to
direct this in some ways to my faith but it still took a toll.
In the following section, I discuss a key element of flow, ―ecstasy,‖ within the context of
various schools of thought that contribute to the individualistic aspects of understanding
creativity. In section five I link the potentially addictive state of flow to what I call the
Csikszentmihalyi (1996) eloquently argues for the significance of studying creativity,
stating, ―. ..the most important message we can learn from creative people is how to find
purpose and enjoyment in the chaos of existence‖ (p. 20). Many people, particularly those
self defined as creative, are drawn to cults precisely out of the desire to find purpose and
enjoyment in the chaos of existence. Often it is not until post-cult recovery that a former
member recognizes that their pre-cult internal and/or external experience of chaos is not
solved but rather masked or even repeated within the cult. Russell in this issue observes
how the pathogenic beliefs developed by an early trauma were reinforced while she was in a
cult.
I now turn to Csikszentmihalyi‘s concept of ―flow‖ to elucidate our theme of cults and
creativity. His model looks at societal institutions to determine whether flow or creativity is
promoted. He suggests that better training, higher expectations, more accurate recognition,
a greater availability of opportunities, and stronger rewards are among the conditions that
facilitate the production and assimilation of potentially useful new ideas. His research
suggests to him that in addition to these factors, the experience of creativity as flow results
from inward motivation as well as a perfect match between the challenge of a task and the
individual‘s level of skill (1993, pp 200-201). And, in a later book, (1996) Csikszentmihalyi
writes, ―If too few opportunities for curiosity are available, if too many obstacles are placed
in the way of risk and exploration, the motivation to engage in creative behavior is easily
extinguished‖ (p. 11).
Perlado‘s (2004) [S1] description of cult involvement as an addiction relates to
Csikszentmihalyi‘s description of seeking flow as a potentially addictive high.
One might say that, as a species, we are addicted to flow. It is that condition
that has enabled us to evolve to the point at which we are now, and it is why
we may change into even more complex beings in the future. Ideally, we can
derive such deeply satisfying experiences from the real challenges of
everyday life, from work, from creative expression, from family relationships,
and from friendship. If we can‘t, then we will continue to invent substitutes
such as chemicals or rituals that will project phantasms of flow onto our
consciousness. Because, however, some of these substitutes can be very
dangerous, it is worth considering.‖ (Csikszentmihalyi. 1993, pp. 198-9)
Csikszentmihalyi (1996) discusses the spontaneous passion of flow as an optimal experience
that involves effortless concentration and enjoyment. He refers to the hard work that along
with joy is intrinsic to creativity, and states, ―creative individuals. ..show how joyful and
interesting complex symbolic activity is‖ (p. 125). Some cults refer to themselves as
―school‖ and their mission as ―the work,‖ deceptively recruiting creatively motivated and
hard-working students who seek the rigor of training and joy that leads to the experience of
flow. Instead, the member often faces an imperfect match between challenge of task and
skill level as well as an environment that discourages curiosity. According to
Csikszentmihalyi, this leads to anxiety or boredom, the two emotional states that indicate
an absence of flow and therefore a lack of well-being. (p. 111)
Addressing obstacles to flow, one survey respondent writes:
While a member of the church, my "artistic flow" decreased incredibly. Before
joining I would write poetry and stories as well as produce drawings on a
frequent basis. After joining, my inspiration nearly disappeared. I was able to
direct this in some ways to my faith but it still took a toll.
In the following section, I discuss a key element of flow, ―ecstasy,‖ within the context of
various schools of thought that contribute to the individualistic aspects of understanding
creativity. In section five I link the potentially addictive state of flow to what I call the
