Tim Robbins’ Improv Classes Transform Prisoners’ Lives & Lower Recidivism Rates

If a 20‑something, Yale-edu­cat­ed New York­er reporter feels ner­vous step­ping in to her first ever improv class, imag­ine the stakes for your aver­age inmate, whose sur­vival depends on a suc­cess­ful­ly mono­lith­ic pro­jec­tion of tough­ness and con­trol.

Con­trol is actu­al­ly some­thing the Actors’ Gang Prison Project seeks to cul­ti­vate in its incar­cer­at­ed par­tic­i­pants. The Actors’ Gang’s Artis­tic Direc­tor, Tim Rob­bins, who found­ed the rad­i­cal­ly exper­i­men­tal ensem­ble fresh out of col­lege, notes a well-doc­u­ment­ed con­nec­tion between an inabil­i­ty to con­trol one’s emo­tions and crim­i­nal activ­i­ty.

Unchecked rage may have put these play­ers behind bars, but explor­ing a wide vari­ety of emo­tions behind the safe­ty of the Actors’ Gang’s mask-like white pan­cake make-up has proven lib­er­at­ing.

The dull prison rou­tine leaves pris­on­ers favor­ably inclined toward any divert­ing activ­i­ty, par­tic­u­lar­ly those that allow for cre­ative expres­sion. Shake­speare has made an impact on this pop­u­la­tion. Why not com­me­dia dell’arte-influenced improv?

It’s a tru­ly ther­a­peu­tic fit, as Actors Gang ensem­ble mem­ber Sabra Williams, the founder of the Prison Project, explains in her TED Talk, below.

Par­tic­i­pants are sub­ject­ed and held to the rig­or­ous phys­i­cal­i­ty and emo­tion­al hon­esty at the core of this group’s aes­thet­ic. Per­son­al con­nec­tion to the vis­i­tors is lim­it­ed to what­ev­er may tran­spire in-the-moment, but with­in the prison pop­u­la­tion, rela­tion­ships blos­som. Both guards and pris­on­ers speak of new­found empa­thy.

The emo­tion­al insights aris­ing from these spon­ta­neous explo­rations teach par­tic­i­pants how to dif­fuse aggres­sive sit­u­a­tions, present a more pos­i­tive face to the world, and inter­act gen­er­ous­ly with oth­ers. In between class­es, par­tic­i­pants write in jour­nals, with a goal of shar­ing aloud.

Gang signs, mimed weapons, and bod­i­ly con­tact are out of bounds. Wild inven­tion often car­ries the day.

Par­tic­i­pants have zero recidi­vism, and a wait­ing list in the hun­dreds attests to the program’s pop­u­lar­i­ty.

You can learn more about the Actors’ Gang ten-year-old Prison Project here.

Relat­ed Con­tent:

B.B. King Plays Live at Sing Sing Prison in One of His Great­est Per­for­mances (1972)

Inmates in New York Prison Defeat Harvard’s Debate Team: A Look Inside the Bard Prison Ini­tia­tive

What Pris­on­ers Ate at Alca­traz in 1946: A Vin­tage Prison Menu

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

The Psychology That Leads People to Vote for Extremists & Autocrats: The Theory of Cognitive Closure

There’s a polit­i­cal dis­con­nect in the Unit­ed States. We have two polit­i­cal par­ties, each now liv­ing in its own real­i­ty and work­ing with its own set of facts. The com­mon ground between them? Next to none.

How to explain this dis­con­nect? Maybe the answer lies in the the­o­ry of “cog­ni­tive closure”–a the­o­ry first worked out by social psy­chol­o­gist Arie Kruglan­s­ki back in 1989.

“Peo­ple’s pol­i­tics are dri­ven by their psy­cho­log­i­cal needs,” Kruglan­s­ki explains in the short doc­u­men­tary above. “Peo­ple who are anx­ious because of the uncer­tain­ty that sur­rounds them are going to be attract­ed to mes­sages that offer cer­tain­ty.”

He sips a soda, then con­tin­ues, “The need for clo­sure is the need for cer­tain­ty, to have clear cut knowl­edge. You feel that you need to stop pro­cess­ing too much infor­ma­tion, to stop lis­ten­ing to a vari­ety of view­points, and zero in on what appears to be, to you, the truth.” “The need for clo­sure tricks your mind to believe you have the truth, even though you haven’t exam­ined the evi­dence very care­ful­ly.” And that, unfor­tu­nate­ly, can be very dan­ger­ous.

Kruglan­ski’s the­o­ry could help explain the rise of Nazism in the eco­nom­i­cal­ly-depressed Weimar Ger­many. And it’s per­haps why, across much of our eco­nom­i­cal­ly stag­nat­ing world, we’re see­ing pop­u­la­tions lurch toward extreme ide­olo­gies and auto­crat­ic per­son­al­i­ties. “The divi­sions, the polar­iza­tion, it’s all part of the same psy­cho­log­i­cal syn­drome,” says Kruglan­s­ki.

So what’s the cure? Lis­ten to oth­er points of view. Look at all avail­able infor­ma­tion. And, most of all, be sus­pi­cious of your own sense of right­eous.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Free Online Psy­chol­o­gy & Neu­ro­science Cours­es

The Pow­er of Con­for­mi­ty: 1962 Episode of Can­did Cam­er­aRe­veals the Strange Psy­chol­o­gy of Rid­ing Ele­va­tors

Free Online Polit­i­cal Sci­ence Cours­es

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Zen Master Alan Watts Explains What Made Carl Jung Such an Influential Thinker

The twen­ti­eth cen­tu­ry pro­duced a fair few thinkers on the human mind whose obser­va­tions still res­onate today. The Swiss psy­chi­a­trist and psy­chother­a­pist Carl Gus­tav Jung cer­tain­ly appears in that group, as does the British philoso­pher and inter­preter of Bud­dhism Alan Watts, and though not a week goes by when I don’t hear their words cit­ed, I sel­dom hear the words of both of them cit­ed by the same per­son. Though near­ly two gen­er­a­tions (among oth­er things) sep­a­rat­ed Watts and Jung, the two men did once meet, in 1958, as Watts trav­eled through Europe with his father. Three years lat­er, Jung passed on and Watts record­ed the lec­ture above.

What made Jung such an impor­tant observ­er of human­i­ty? Watts points to “one fun­da­men­tal prin­ci­ple that under­lay all his work and that was most extra­or­di­nar­i­ly exem­pli­fied in Jung him­self as a per­son,” which he calls Jung’s “recog­ni­tion of the polar­i­ty of life. That is to say, his resis­tance to what is to my mind the dis­as­trous and absurd hypoth­e­sis, that there is in this uni­verse a rad­i­cal and absolute con­flict between good and evil, light and dark­ness that can nev­er nev­er nev­er be har­mo­nized.”

He goes on to talk for a lit­tle under an hour about about Jung him­self, Jung’s influ­ence on his own work as a “com­par­a­tive philoso­pher,” and the con­tin­u­ing rel­e­vance of Jung’s ideas to the mod­ern world — all of which he ties togeth­er in an inte­grat­ed trib­ute to this “inte­grat­ed char­ac­ter.”

“There is a nice Ger­man word, hin­tergedanken, which means a thought in the very far far back of your mind,” says Watts. “Jung had a hin­tergedanken in the back of his mind that showed in the twin­kle in his eye. It showed that he knew and rec­og­nized what I some­times call the ele­ment of irre­ducible ras­cal­i­ty in him­self. And he knew it so strong­ly and so clear­ly, and in a way so lov­ing­ly, that he would not con­demn the same thing in oth­ers, and would there­fore not be led into those thoughts, feel­ings, and acts of vio­lence towards oth­ers which are always char­ac­ter­is­tic of the peo­ple who project the dev­il in them­selves upon the out­side, upon some­body else, upon the scape­goat.” And so, whether we enter into this field of thought through Watts, through Jung, or through any­one else, it always seems to comes back to the ancient Greeks: “Know thy­self.”

Relat­ed Con­tent:

Carl Jung’s Hand-Drawn, Rarely-Seen Man­u­script The Red Book: A Whis­pered Intro­duc­tion

Carl Jung Explains His Ground­break­ing The­o­ries About Psy­chol­o­gy in Rare Inter­view (1957)

Carl Jung’s Fas­ci­nat­ing 1957 Let­ter on UFOs

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear “Weightless,” the Most Relaxing Song Ever Made, According to Researchers (You’ll Need It Today)

As I write this, it’s elec­tion night, and I do not need to tell you about the thick haze of fear in the air. I have already had a cou­ple friends ask me about resources for med­i­ta­tion and relax­ation. I’m no expert, but I have looked into var­i­ous ways to deal with stress and hyper­ten­sion. Med­i­ta­tion tops my list (and those of many men­tal health pro­fes­sion­als). At a very close sec­ond place: Music.

We’ve brought you many med­i­ta­tion resources in the past (see here, here, here, and here). And we’ve point­ed you toward four hours of free orig­i­nal med­i­ta­tion music to help you “not pan­ic,” cour­tesy of Moby. We’ve also brought you music to help you sleep, from com­pos­er Max Richter and many oth­ers. Now, we bring you what “a team of sci­en­tists and sound ther­a­pists” claim is “the most relax­ing song ever,” as Elec­tron­ic Beats informs us. You can hear the track, “Weightless”—by Man­ches­ter band Mar­coni Union and Lyz Coop­er, founder of the British Acad­e­my of Sound Therapy—above.

The song’s relax­ing prop­er­ties sup­pos­ed­ly work “by using spe­cif­ic rhythms, tones, fre­quen­cies and inter­vals to relax the lis­ten­er,” writes Short­List. I’ve had it on repeat for an hour and will tes­ti­fy to its effi­ca­cy. So can 40 women who “found it to be more effec­tive at help­ing them relax than songs by Enya, Mozart and Cold­play.” In this exper­i­ment and oth­ers, says UK stress spe­cial­ist Dr. David Lewis, “Brain imag­ing stud­ies have shown that music works at a very deep lev­el with­in the brain, stim­u­lat­ing not only those regions respon­si­ble for pro­cess­ing sound but also ones asso­ci­at­ed with emo­tions.”

Emotions—fear, rage, and disgust—are run­ning wild nation­wide. Jus­ti­fi­able or not, they can wreak hav­oc on our men­tal and phys­i­cal health if we can’t find ways to relax. “Weight­less,” reports The Tele­graph, “induced a 65 per cent reduc­tion in over­all anx­i­ety and brought [study par­tic­i­pants] to a lev­el 35 per cent low­er than their usu­al rest­ing rates.” That’s no small change in atti­tude, but if you find this atmos­pher­ic track doesn’t do it for you, maybe try out some oth­er tunes from the research team’s top 10 list of most relax­ing (hear them all in the playlist above):

  1. Mar­coni Union and Lyz Coop­er – Weight­less
  2. Airstream – Elec­tra
  3. DJ Shah – Mel­lo­ma­ni­ac (Chill Out Mix)
  4. Enya – Water­mark
  5. Cold­play – Straw­ber­ry Swing
  6. Barcelona – Please Don’t Go
  7. All Saints – Pure Shores
  8. Adelev­Some­one Like You
  9. Mozart – Can­zonet­ta Sull’aria
  10. Cafe Del Mar – We Can Fly

And then, again, there’s Moby’s four hours of ambi­ent sounds, Max Richter’s eight-hour Sleep, the work of Ger­man ambi­ent com­pos­er Gas, and hun­dreds of oth­er supreme­ly relax­ing pieces of music to bring your stress lev­els down to man­age­able. Maybe keep some relax­ing music on hand for extra-stress­ful moments, and as always, don’t for­get to breathe.

Relat­ed Con­tent:

Moby Lets You Down­load 4 Hours of Ambi­ent Music to Help You Sleep, Med­i­tate, Do Yoga & Not Pan­ic

Music That Helps You Sleep: Min­i­mal­ist Com­pos­er Max Richter, Pop Phe­nom Ed Sheer­an & Your Favorites

How a Good Night’s Sleep — and a Bad Night’s Sleep — Can Enhance Your Cre­ativ­i­ty

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Power of Conformity: 1962 Episode of Candid Camera Reveals the Strange Psychology of Riding Elevators

Watch tele­vi­sion cre­ator Allen Funt pre­dict flash mobs in the 1962 episode of Can­did Cam­era above, filmed some forty years before Harp­er’s mag­a­zine edi­tor, Bill Wasik, found­ed the move­ment with anony­mous­ly e‑mailed instruc­tions for a coor­di­nat­ed pub­lic action.

The stunt, enti­tled “Face the Rear,” was pulled off by a hand­ful of “agents”—a phrase coined by Improv Everywhere’s founder Char­lie Todd to describe the pok­er-faced par­tic­i­pants con­jur­ing a secret­ly agreed upon alter­nate real­i­ty to con­found (and not always delight) its tar­get sub­ject, along with unsus­pect­ing bystanders.

Com­pared to the grand-scale the­atrics that have trans­formed an upscale mar­ket into a scene from La Travi­a­ta and infil­trate sub­ways world­wide with thou­sands of pants-less rid­ers every year, this prank is quite sub­tle in the exe­cu­tion.

It suc­ceeds on our tac­it under­stand­ing of what con­sti­tutes prop­er ele­va­tor behav­ior when oth­ers pas­sen­gers are present. Left to our own devices, we can sing, dance, and let the mask of pro­pri­ety slip in any num­ber of ways. Once oth­ers enter? We share the space and face for­ward.

But what if every­one who enters inex­plic­a­bly faces the back wall?

What would you do?

As hypo­thet­i­cals go, this one’s not near­ly so weighty as con­sid­er­ing whether you’d have fol­lowed the script of Stan­ley Milgram’s obe­di­ence exper­i­ments or put your own fam­i­ly at risk by hid­ing Anne Frank.

Still…

For the sub­jects of Can­did Cam­era’s ele­va­tor gag, the pres­sure to suc­cumb to group think quick­ly over­ruled years of learned phys­i­cal behav­ior.

And nor­ma­tive ele­va­tor phys­i­cal­i­ty def­i­nite­ly springs from social cues, as John Dono­van, host of NPR’s “Around the Nation” said, in an inter­view with Lee Gray, author of From Ascend­ing Rooms to Express Ele­va­tors: A His­to­ry of the Pas­sen­ger Ele­va­tor in the 19th Cen­tu­ry:

I know a psy­chol­o­gist who works with teenagers who have autism who—he uses encour­ag­ing to learn skills that will allow them to be inde­pen­dent in the world to get out on their own. And one of his lessons with some of the teenagers is what to do in an ele­va­tor because he says that the typ­i­cal kid that he works with, when the door is opened, and he’s been told that he should step inside, will step inside and face the back wall because nobody has told him that every­body else in the ele­va­tor is going to turn around and face the front doors…

Can­did Camera’s stunts were always framed as com­e­dy, though its cre­ator, Funt, was well versed in psy­chol­o­gy, hav­ing served as child psy­chol­o­gist Kurt Lewin’s research assis­tant at Cor­nell Uni­ver­si­ty.

In an arti­cle for the Archive of Amer­i­can Tele­vi­sion, writer Amy Loomis iden­ti­fied five premis­es into which the aver­age Can­did Cam­era gag could fall:

  1. Revers­ing nor­mal or antic­i­pat­ed pro­ce­dures
  2. Expos­ing basic human weak­ness­es such as igno­rance or van­i­ty
  3. Using the ele­ment of sur­prise
  4. Ful­fill­ing fan­tasies
  5. Plac­ing some­thing in a bizarre or inap­pro­pri­ate set­ting

“Face the Rear” was a case where con­for­mi­ty born of an unex­pect­ed rever­sal in nor­mal pro­ce­dure yield­ed laughs, at the gen­tle expense of a series of unsus­pect­ing sub­jects, whose solo rides were dis­rupt­ed by a bunch of Can­did Cam­era oper­a­tives.

Relat­ed Con­tent:

Watch Footage from the Psy­chol­o­gy Exper­i­ment That Shocked the World: Milgram’s Obe­di­ence Study (1961)

The Lit­tle Albert Exper­i­ment: The Per­verse 1920 Study That Made a Baby Afraid of San­ta Claus & Bun­nies

This is Your Brain on Sex and Reli­gion: Exper­i­ments in Neu­ro­science

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

 

An Animated David Lynch Explains Where He Gets His Ideas

“Where do you get your ideas?” Every artist dreads hav­ing to answer that most com­mon of all ques­tions. Well, every artist with the excep­tion of David Lynch. The direc­tor of such mod­ern cin­e­mat­ic qua­si-night­mares as Eraser­head, Blue Vel­vet, and Mul­hol­land Dri­ve will glad­ly explain exact­ly where he gets his ideas: from his own con­scious­ness, “the TV in your mind.”

He’ll also glad­ly explain how he gets them by, not to mix the metaphor too much, using the folksy terms of fish­ing: “Ideas are like fish. If you want to catch lit­tle fish, you can stay in the shal­low water. But if you want to catch the big fish, you’ve got to go deep­er.” And to bait the hook with? Why, bits of oth­er ideas. Those words come from his 2006 book Catch­ing the Big Fish: Med­i­ta­tion, Con­scious­ness, and Cre­ativ­i­ty, a slim vol­ume on this and that which gets into some detail about his use of Tran­scen­den­tal Med­i­ta­tion as a kind of fish­ing pole to reel those espe­cial­ly com­pelling ideas in from one’s con­scious­ness. 

A cou­ple of years after that, Lynch sat down with The Atlantic to talk about his spe­cial brand of cre­ativ­i­ty (as dis­tinct from his spe­cial brand of cof­fee, no doubt also a fuel for thought). They’ve just recent­ly ani­mat­ed his remarks to make the short video above, a visu­al­iza­tion of his idea-get­ting process­es, includ­ing day­dream­ing, trav­el­ing, and look­ing into a pud­dle in the gut­ter.

“I always say it’s like there’s a man in anoth­er room with the whole film togeth­er, but they’re in puz­zle parts,” says Lynch as hands chop a fish into frames of cel­lu­loid. “He’s flip­ping one piece at a time into me. At first it’s very abstract; I don’t have a clue. More pieces come, more ideas are caught. It starts form­ing a thing. And then one day, there it is. In a way, there’s no orig­i­nal ideas. It’s just the ideas that you caught.”

The ideas Lynch has caught have become, among oth­er things, some of the most mem­o­rable films of the late 20th cen­tu­ry — and, accord­ing to last mon­th’s BBC poll, the best film of the 21st cen­tu­ry so far. What’s more, he claims not to have suf­fered for them, illus­trat­ing his argu­ment of suf­fer­ing as anti­thet­i­cal to cre­ativ­i­ty with an imag­i­nary sce­nario of a diar­rhea-afflict­ed Van Gogh. As for what part of his con­scious­ness he fished that image out of, per­haps we’d rather not know.

Relat­ed Con­tent:

David Lynch Explains Where His Ideas Come From

Pat­ti Smith and David Lynch Talk About the Source of Their Ideas & Cre­ative Inspi­ra­tion

David Lynch Explains How Med­i­ta­tion Enhances Our Cre­ativ­i­ty

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Oscar-Winning Filmmaker Errol Morris Creates a Commercial for Depend Adult Diapers

There’s a gen­der assump­tion for every stage of life these days. From gen­der-cod­ed Lego play sets and teen mag­a­zines, we progress to light­weight, pink tool sets or their more tra­di­tion­al, appar­ent­ly “mas­cu­line” coun­ter­part.

After that?

Adult dia­pers.

Phys­i­cal­ly, it makes sense that the lat­ter would divide along assigned gen­der lines. Biol­o­gy may not be the trump card it was once con­sid­ered to be, but, in gen­er­al, it con­tin­ues to vis­it wider hips on those born female organs than those rock­ing the frank n’ beans.  

(That said, as the moth­er of babies, I always appre­ci­at­ed when a reli­able brand went the extra mile with uni­sex pat­terns on the tapes or waist band.)

Film­mak­er Errol Mor­ris chose to widen the gen­der divide in 2009, when he was hired to direct a Depend spot, fea­tur­ing the company’s new line of gen­der-spe­cif­ic adult dia­pers, above.

In the end, the prod­uct itself was wait­ing in the wings, so a cou­ple of cute midlife inter­vie­wees could take turns describ­ing their impres­sions of a sin­gle Rorschach blot. 

Don’t wor­ry. It’s got noth­ing to do with absorben­cy.

The female sub­ject imme­di­ate­ly begins to spin a fan­ci­ful tale involv­ing two cute birds, while the male hems and haws, appar­ent­ly the vic­tim of some trag­ic gen­der-based lack of imag­i­na­tion. I bet he doesn’t like stop­ping to ask for direc­tions either.

Giv­en this director’s track record of grip­ping doc­u­men­taries, I think I’d have pre­ferred a more straight­for­ward approach. I’d be up for a full-length doc­u­men­tary about the expe­ri­ence of actu­al­ly wear­ing those things, espe­cial­ly if Mor­ris used his Inter­ro­tron to elic­it frank eye con­tact, as he does above. 

It’s an uncom­fort­able sub­ject for sure, but I’d like to hear how adult dia­pers impact an indi­vid­u­al’s sense of attrac­tive­ness and self-worth. I would­n’t want Mor­ris to gen­er­al­ize, but by and large, is it a rad­i­cal­ly dif­fer­ent expe­ri­ence for men than it is for women?

Per­haps the riff­ing pair in the com­mer­cial spot have more famil­iar­i­ty with the prod­uct than they were allowed to let on? If so, I’d imag­ine it’s from car­ing for an elder­ly rel­a­tive, but I could be wrong. Either way, those would be sto­ries I’d like to hear.

Per­haps this is a top­ic best tack­led by Wern­er Her­zog…

Relat­ed Con­tent:

“They Were There” — Errol Mor­ris Final­ly Directs a Film for IBM

Bob Geld­of Talks About the Great­est Day of His Life, Step­ping on the Stage of Live Aid, in a Short Doc by Errol Mor­ris

Her­mann Rorschach’s Orig­i­nal Rorschach Test: What Do You See? (1921)

Fellini’s Fan­tas­tic TV Com­mer­cials

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her lat­est script, Fawn­book, is avail­able in a dig­i­tal edi­tion from Indie The­ater Now.  Fol­low her @AyunHalliday.

The Neuroscience & Psychology of Procrastination, and How to Overcome It

Pro­cras­ti­na­tion is a skill, an art, a slight-of-hand tech­nique. I’m pro­cras­ti­nat­ing right now, but you’d nev­er know it. How many tabs do I have open in my mul­ti­ple brows­er win­dows? Pick a num­ber, any num­ber. How many tasks have I put off today? How many dreams have I deferred? I’ll nev­er tell. The unskilled pro­cras­ti­na­tors stick out, they’re easy to spot. They talk a lot about what they’re not doing. They run around in cir­cles of bewil­der­ment like the trou­bled hero of Dr. Seuss’s Hunch­es in Bunch­es. The skilled prac­ti­tion­er makes it look easy.

But no mat­ter how much Face­book time you get in before lunch and still man­age to ace those per­for­mance reviews, you’re real­ly only cheat­ing your­self, am I right? You want­ed to fin­ish that novel/symphony/improv class/physics the­o­rem. But some­thing stopped you. Some­thing in your brain per­haps. That’s where these things usu­al­ly hap­pen. When Stu­art Lang­field asked a neu­ro­sci­en­tist about the neu­ro­science of pro­cras­ti­na­tion, he got the fol­low­ing answer: “Peo­ple think that you can turn on an MRI and see where something’s hap­pen­ing in the brain, but the truth is that’s not so. This stuff is vast­ly more com­pli­cat­ed, so we have the­o­ries.”

There are the­o­ries aplen­ty that tell us, says Lang­field, “what’s prob­a­bly hap­pen­ing” in the brain. Lang­field explains his own: the prim­i­tive, plea­sure-seek­ing, pain-avoid­ing lim­bic sys­tem acts too quick­ly for our more delib­er­a­tive, ratio­nal pre­frontal cor­tex to catch up, ren­der­ing us stu­pe­fied by dis­trac­tions. Piers Steel, Dis­tin­guished Research Chair at the Uni­ver­si­ty of Cal­gary and a pro­cras­ti­na­tion expert, shares this view. You can see him explain it in the short video below. The evo­lu­tion­ary “design flaw,” says Lang­field, might make the sit­u­a­tion seem hope­less, were it not for “neu­ro­plas­tic­i­ty,” a fan­cy buzz­word that means we have the abil­i­ty to change our brains.

Langfield’s pur­pose in his short video is not only to under­stand the biol­o­gy of pro­cras­ti­na­tion, but to over­come it. He asks psy­chol­o­gist Tim Pychyl, whose answers we see and hear as an incom­pre­hen­si­ble jum­ble of ideas. But then Pychyl reduces the com­pli­cat­ed the­o­ries to a sim­ple solu­tion. You guessed it, mind­ful­ness meditation—to “down­reg­u­late the lim­bic sys­tem.” Real­ly, that’s it? Just med­i­tate? It is a proven way to reduce anx­i­ety and improve con­cen­tra­tion.

But Pychyl and his research team at Car­leton Uni­ver­si­ty have a few more very prac­ti­cal sug­ges­tions, based on exper­i­men­tal data gath­ered by Steel and oth­ers. The Wall Street Jour­nal offers this con­densed list of tips:

Break a long-term project down into spe­cif­ic sub-goals. State the exact start time and how long (not just “tomor­row”) you plan to work on the task.

Just get start­ed. It isn’t nec­es­sary to write a long list of tasks, or each inter­me­di­ate step.

Remind your­self that fin­ish­ing the task now helps you in the future. Putting off the task won’t make it more enjoy­able.

Imple­ment “micro­costs,” or mini-delays, that require you to make a small effort to pro­cras­ti­nate, such as hav­ing to log on to a sep­a­rate com­put­er account for games.

Reward your­self not only for com­plet­ing the entire project but also the sub-goals.

A Stock­holm Uni­ver­si­ty study test­ed these strate­gies, assign­ing a group of 150 self-report­ed “high pro­cras­ti­na­tors” sev­er­al of the self-help instruc­tions over 10 weeks, and employ­ing a reward sys­tem and vary­ing lev­els of guid­ance. “The results,” WSJ reports, “showed that after inter­ven­tion with both guid­ed and unguid­ed self-help, peo­ple improved their pro­cras­ti­na­tion, though the guid­ed ther­a­py seemed to show greater ben­e­fit.”

Oth­er times, adding self-help tasks to get us to the tasks we’re putting off doesn’t work so well. We can all take com­fort in the fact that pro­cras­ti­na­tion has a long his­to­ry, dat­ing back to ancient Egypt, Rome, and 18th cen­tu­ry Eng­land. The wis­dom of the ages could not defeat it, or as Samuel John­son wrote, “even they who most steadi­ly with­stand it find it, if not the most vio­lent, the most per­ti­na­cious of their pas­sions, always renew­ing its attacks, and, though often van­quished, nev­er destroyed.”

But there are peo­ple who pro­cras­ti­nate, beset by its per­ti­nac­i­ty, and then there are chron­ic pro­cras­ti­na­tors. “If you’re an occa­sion­al pro­cras­ti­na­tor, says Pychyl, “quit think­ing about your feel­ings and get to the next task.” Suck it up, in oth­er words, and walk it off—maybe after a short course of self-help. For all the con­flict­ing neu­ro­sci­en­tif­ic the­o­ry, “there is a qui­et sci­ence behind pro­cras­ti­na­tion,” writes Big Think, and “accord­ing to recent stud­ies, pro­cras­ti­na­tion is a learned habit.” Most research agrees it’s one we can unlearn through med­i­ta­tion and/or patient retrain­ing of our­selves.

How­ev­er if you’re of the chron­ic sub­set, say Pychyl, “you might need ther­a­py to bet­ter under­stand your emo­tions and how you’re cop­ing with them through avoid­ance.” Psy­chol­o­gist Joseph Fer­rari at DePaul Uni­ver­si­ty agrees. Cit­ing a fig­ure of “20 per­cent of U.S. men and women” who “make pro­cras­ti­na­tion their way of life,” he adds, “it is the per­son who does that habit­u­al­ly, always with plau­si­ble ‘excus­es’ that has issues to address.” Only you can deter­mine whether your trou­ble relates to bad habits or deep­er psy­cho­log­i­cal issues.

What­ev­er the caus­es, what might moti­vate us to med­i­tate or seek ther­a­py are the effects. Chron­ic pro­cras­ti­na­tion is “not a time man­age­ment issue,” says Fer­rari, “it is a mal­adap­tive lifestyle.” Habit­u­al pro­cras­ti­na­tors, the WSJ writes, “have high­er rates of depres­sion and anx­i­ety and poor­er well-being.” We may think, writes Eric Jaffe at the Asso­ci­a­tion for Psy­cho­log­i­cal Science’s jour­nal, of pro­cras­ti­na­tion as “an innocu­ous habit at worst, and maybe even a help­ful one at best,” a strat­e­gy Stan­ford phi­los­o­phy pro­fes­sor John Per­ry argued for in The Art of Pro­cras­ti­na­tion. Instead, Jaffe says, in a sober­ing sum­ma­ry of Pychyl’s research, “pro­cras­ti­na­tion is real­ly a self-inflict­ed wound that grad­u­al­ly chips away at the most valu­able resource in the world: time.”

Relat­ed Con­tent:

Free Online Psy­chol­o­gy & Neu­ro­science Cours­es

Dai­ly Med­i­ta­tion Boosts & Revi­tal­izes the Brain and Reduces Stress, Har­vard Study Finds

Miran­da July Teach­es You How to Avoid Pro­cras­ti­na­tion

The Art of Struc­tured Pro­cras­ti­na­tion

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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