What drives us to create? Reflecting on her carefree creative expression as a child, struggles with self-consciousness, and industry pressures, Laura Stavinoha confronts the role her desire for validation had on her music and comes to understand why, ultimately, she creates.
You asked. We answered. What is this thing we named our magazine after, and what are the first and second factors? And why is this concept from Kazimierz Dabrowski’s theory of positive disintegration so much more important than his more well-known construct of overexcitability?
We’re trying to cultivate a high-quality space for Third Factor’s intellectually engaged readers to develop meaningful connections and have robust discussions. So why is this so hard on Facebook? Our editor in chief ponders why our new forum, at least so far, seems to suit us better than Facebook.
What stops a bright, intense, gifted person from blossoming? The Daimon Institute’s Sue Jackson sits down with us to talk about the hurdles her clients often face—and how they can begin to put out the roots they need to bloom.
Issue 14 is here! And we’d also love your feedback on community platforms.
Michael Piechowski shares why he’s updated the way he thinks about Dabrowski’s levels of development.
Sherlock Holmes is known for his remarkable mind. But as Boris Glebov sees it, one of Holmes’ most powerful mind tricks is accessible to anyone—and can be especially helpful to creative writers.
Jessie just can’t help trying to understand why people think about politics the way they do. She’s betting plenty of others with high intellectual and emotional excitability might feel the same.
Both Democrats and Republicans are spiraling into echo chambers and out of control. Now Dan Greco’s primary allegiance is to a plurality of voices.
