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La psicología del enfoque

Concetta Cucchiarelli
julio 08, 2024 | 5 lectura mínima

Este artículo explora el fascinante funcionamiento de los sistemas de enfoque y atención en el cerebro. Conocer mejor los procesos cerebrales puede ayudarte a ser más productivo y a sentirte más realizado creativamente.

La psicología comenzó estudiando la atención para descubrir cómo las personas pueden mantenerse alerta. Pero después de muchos años, ahora comprendemos que la atención y la concentración son los sistemas más ocultos y poderosos que tenemos en el cerebro, los que dirigen todos nuestros pensamientos y acciones.

Una vez que comprendas más plenamente la complejidad de los procesos psicológicos que te hacen actuar como lo hacemos, podrás abordar y nutrir todos estos procesos para encontrar armonía y equilibrio en tus actividades.

En este artículo aprenderás:

Atención y concentración

Cuando hablamos de atención y concentración, a menudo lo hacemos como si fueran lo mismo. Pero no lo son.

Solemos pensar en la atención como el lugar donde ponemos nuestro foco y, a la inversa, en el enfoque como aquello a lo que prestamos atención. Pero profundicemos. Para usar una analogía, es como grabar un video:

"Atención" es como encuadrar una toma, mientras que "enfoque" es más como presionar el botón de grabación. Al presionarlo, filtramos todas las alternativas posibles alrededor de ese encuadre y nos comprometemos a permanecer allí un rato, desenfocando el fondo.

En segundo lugar, existen diferentes tipos de atención, como la selectiva , la sostenida y la dividida . Cuando hablamos de atención, solemos pensar solo en la capacidad de mantener la concentración en una tarea durante un período prolongado. Tendemos a creer que esta es la única función de la atención y que el resto son distracciones que debemos evitar.

Pero el sistema de atención es mucho más complejo.

Si tuviéramos la capacidad de concentrarnos en algo, estaríamos atrapados en una tarea cada vez que... Involucrados intencionalmente en algo, perdiéndonos información más relevante o importante que nos transmite nuestra mente, nuestro cuerpo o nuestro entorno. ¡Toda esa información es vital para nuestra seguridad y supervivencia!

El tipo de atención que más solemos considerar se denomina "de arriba a abajo". Impulsa la atención voluntaria, la fuerza de voluntad y las decisiones intencionales, y se produce en el neocórtex, una zona cerebral de desarrollo más reciente.

En la práctica, funciona así: decidimos intencionadamente prestar atención a algo (por ejemplo, leer un artículo) y movemos deliberadamente nuestra atención hacia la página.

Pero si tu teléfono vibra o suena el timbre, nuestra intencionalidad es... Inmediatamente secuestrado por un mecanismo diferente llamado "de abajo a arriba". Este mecanismo nos permite permanecer abiertos y conectados a toda la información que llega a nuestro cerebro, distinta a la tarea en cuestión. Este modo se produce en los circuitos subcorticales de la parte inferior y más antigua del cerebro.

Este cambio es posible gracias a otro factor en el sistema de atención, el filtro atencional . Este filtro es un sistema de neuronas que monitoriza constantemente el entorno y selecciona lo que vale la pena traer al nivel consciente. Podríamos pensar en él como el director, en la misma analogía de la grabación de un video: decide qué vale la pena encuadrar en primer lugar.

El papel del filtro atencional es vital para mantenernos seguros y evitar que nos abrume la cantidad de información disponible en nuestro cerebro en todo momento.

Y quizás lo más importante que debemos recordar: podemos pensar que la mayoría de nuestras operaciones mentales ocurren intencionalmente, de arriba hacia abajo, pero, de hecho, la mayoría de ellas ocurren en el fondo de nuestra mente.

Aprenda cómo podemos dirigir y controlar nuestra atención y enfoque en el artículo de Concetta "Cómo funciona el enfoque psicológicamente".

Enfoque y creatividad

Entonces, ¿qué sucede en nuestro cerebro cuando no estamos haciendo nada intencionalmente o cuando nuestra atención no es captada por algo no intencional, como un auto que se acerca o un teléfono que suena?

Existe un modo llamado “divagación mental” o, dado que es la forma en que el cerebro actúa por defecto, el “modo predeterminado”.

La divagación mental es lo opuesto al modo "concentrarse en la tarea", también llamado "ejecutivo central", y los dos están en un equilibrio muy delicado: cuando uno está activado, el otro está desactivado.

En general, el modo de concentración se relaciona con cosas o eventos externos e internos, pero cuando nuestra mente divaga, nos centramos en nuestro interior. Perdemos contacto con nuestra percepción; solo somos nosotros y nuestros pensamientos.

Esto puede resultar molesto, como cuando sin querer te dejas llevar por pensamientos no relacionados mientras lees un libro, pero el estado de divagación mental también es un recurso poderoso.

De hecho, se le conoce como la cuna de la creatividad. Si se gestiona correctamente, puede contribuir significativamente al proceso creativo. (Sí, puedes contribuir a que sea más productivo).

Si bien la divagación mental puede ser perjudicial para cualquier tarea en la que te estés concentrando inmediatamente, también ayuda a resolver problemas". Como dice el psicólogo Daniel Goleman en su libro Focus: The Hidden Driver of Excellence ,

"Mientras nuestra mente divaga, nos volvemos mejores en todo aquello que depende de un destello de intuición, desde crear juegos de palabras imaginativos hasta inventos y pensamientos originales".

Esto es posible porque, sin las restricciones o filtros que tenemos cuando prestamos atención intencionalmente, nuestro cerebro es libre de reensamblar y conectar cosas.

El problema es que la divagación mental parece ocurrir de forma impredecible, y no la hacemos por orden. Pero la buena noticia es que este modo "predeterminado" no es totalmente aleatorio.

En cambio, parece seleccionar los asuntos pendientes que pueblan nuestro inconsciente. Así, si alimentamos nuestra mente con preguntas abiertas o problemas que nos interesan o nos despiertan curiosidad, trabajará en ellos, buscando la solución, ensamblando todas las piezas y recopilando todas las pistas que, conscientemente, jamás combinaríamos.

Obtenga más información sobre cómo inducir este importante estado de creatividad en "El papel del enfoque en la creatividad".

Consumir vs. Crear

A menudo, el consumo de medios y creatividad ajenos puede inducir un estado de divagación mental. Por ejemplo, ver una película en Netflix a veces nos permite desconectar y empezar a pensar en otras cosas. Es una forma valiosa de descansar la mente y desconectarse de los pensamientos generados activamente.

Sin embargo, y esto es una gran salvedad, en el mundo actual es demasiado fácil quedar atrapado en el bucle de consumo infinito de maratones de series, desplazamientos interminables u horas que se evaporan en agujeros de conejo digitales.

De hecho, debemos recordar que el contenido actual, especialmente el digital, se crea con el propósito de mantenernos atrapados, aprovechando el sistema de recompensa de la dopamina para mantenernos enganchados y buscando nuevas dosis de dopamina. Nuestro tiempo en aplicaciones, sitios web y redes sociales es la forma en que estas plataformas generan ingresos.

Es por eso que a menudo nos encontramos navegando o viendo programas en streaming incluso cuando queremos ser creativos: queremos escribir, dibujar, pintar o crear algo de la nada.

Nuestros cerebros saben más. No queremos simplemente consumir los pensamientos ni el arte de otros.

Lo que realmente queremos es la capacidad de elegir y cambiar nuestro enfoque a voluntad. Queremos mantenernos enfocados, pero también dejar que nuestra mente descanse. ¿Cómo podemos ser, en la práctica, las personas más creativas y productivas de forma sostenible y saludable?

Tenemos muchos procesos que pueden tener resultados contraproducentes por defecto, pero si se gestionan correctamente, pueden convertirse en una superpotencia.

Aprenda cómo salir del bucle del consumo y hacer de la creación su superpoder en: "La batalla del consumo vs. la creación".

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Cada vez que escribo sobre la atención, me asombra cómo todo funciona en perfecta armonía y cómo este cerebro nuestro es capaz de crear maravillas de la nada.

El uso responsable de todo el circuito del cerebro puede llevarnos a una vida creativa, feliz y plena.

diciembre 30, 2025 3 lectura mínima

It’s Freewrite’s favorite time of year. When dictionaries around the world examine language use of the previous year and select a “Word of the Year.”

Of course, there are many different dictionaries in use in the English language, and they all have different ideas about what word was the most influential or saw the most growth in the previous year. They individually review new slang and culturally relevant vocabulary, examine spikes or dips in usage, and pour over internet trend data.

Let’s see what some of the biggest dictionaries decided for 2025. And read to the end for a chance to submit your own Word of the Year — and win a Freewrite gift card.

[SUBMIT YOUR WORD OF THE YEAR]


Merriam-Webster: "slop"

Merriam-Webster chose "slop" as its Word of the Year for 2025 to describe "all that stuff dumped on our screens, captured in just four letters."

The dictionary lists "absurd videos, off-kilter advertising images, cheesy propaganda, fake news that looks pretty real, junky AI-written books, 'workslop' reports that waste coworkers’ time … and lots of talking cats" as examples of slop.

The original sense of the word "slop" from the 1700s was “soft mud” and eventually evolved to mean "food waste" and "rubbish." 2025 linked the term to AI, and the rest is history.

Honorable mentions: conclave, gerrymander, touch grass, performative, tariff, 67.

Dictionary.com: "67"

The team at Dictionary.com likes to pick a word that serves as “a linguistic time capsule, reflecting social trends and global events that defined the year.”

For 2025, they decided that “word” was actually a number. Or two numbers, to be exact.

If you’re an old, like me, and don’t know many school-age children, you may not have heard “67” in use. (Note that this is not “sixty-seven,” but “six, seven.”)

Dictionary.com claims the origin of “67” is a song called “Doot Doot (6 7)” by Skrilla, quickly made infamous by viral TikTok videos, most notably featuring a child who will for the rest of his life be known as the “6-7 Kid.” But according to my nine-year-old cousin, the origins of something so mystical can’t ever truly be known.

(My third grade expert also demonstrated the accompanying signature hand gesture, where you place both hands palms up and alternately move up and down.)

And if you happen to find yourself in a fourth-grade classroom, watch your mouth, because there’s a good chance this term has been banned for the teacher’s sanity.

Annoyed yet? Don’t be. As Dictionary.com points out, 6-7 is a rather delightful example at how fast language can develop as a new generation joins the conversation.

Dictionary.com honorable mentions: agentic, aura farming, broligarchy, clanker, Gen Z stare, kiss cam, overtourism, tariff, tradwife.

Oxford Dictionary: "rage bait"

With input from more than 30,000 users and expert analysis, Oxford Dictionary chose "rage bait" for their word of the year.

Specifically, the dictionary pointed to 2025’s news cycle, online manipulation tactics, and growing awareness of where we spend our time and attention online.

While closely paralleling its etymological cousin "clickbait," rage bait more specifically denotes content that evokes anger, discord, or polarization.

Oxford's experts report that use of the term has tripled in the last 12 months.

Oxford Dictionary's honorable mentions:aura farming, biohack.

Cambridge Dictionary: "parasocial"

The Cambridge Dictionary examined a sustained trend of increased searches to choose "parasocial" as its Word of the Year.

Believe it or not, this term was coined by sociologists in 1956, combining “social” with the Greek-derived prefix para-, which in this case means “similar to or parallel to, but separate from.”

But interest in and use of the term exploded this year, finally moving from a mainly academic context to the mainstream.

Cambridge Dictionary's honorable mentions: slop, delulu, skibidi, tradwife

Freewrite: TBD

This year, the Freewrite Fam is picking our own Word of the Year.

Click below to submit what you think the Word of 2025 should be, and we'll pick one submission to receive a Freewrite gift card.

[SUBMIT HERE] 

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Sources

diciembre 18, 2025 5 lectura mínima

¿Qué pueden enseñar las cartas personales de Jane Austen a los escritores?

diciembre 10, 2025 6 lectura mínima

Singer-songwriter Abner James finds his creativity in the quiet freedom of analog tools. Learn how his creative process transcends different media.

Abner James went to school for film directing. But the success of the band he and his brother formed together, Eighty Ninety, knocked him onto a different trajectory.

The band has accrued more than 40 million streams since the release of their debut EP “Elizabeth," and their work was even co-signed by Taylor Swift when the singer added Eighty Ninety to her playlist "Songs Taylor Loves.”

Now, Abner is returning to long-form writing in addition to songwriting, and with a change in media comes an examination of the creative process. We sat down to chat about what's the same — and what's different. 

ANNIE COSBY: Tell us about your songwriting process.

ABNER JAMES: The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off.

And one of the things that occurred to me when I was traveling, actually, was that I would love to be able to do that but from a writing perspective. What would happen if I sat down and approached writing in the same way that I approached music? In a more intuitive and free-form kind of way? What would that dig up?

AC: That's basically the ethos of Freewrite.

AJ: Yes. We had just put out a record, and I was thinking about how to get into writing for the next one. It occurred to me that regardless of how I started, I always finished on a screen. And I wondered: what's the acoustic guitar version of writing?

Where there's not blue light hitting me in the face. Even if I'm using my Notes app, it's the same thing. It really gets me into a different mindset.

 "I wondered: what's the acoustic guitar version of writing?"

I grew up playing piano. That was my first instrument. And I found an old typewriter at a thrift store, and I love it. It actually reminded me a lot of playing piano, the kind of physical, the feeling of it. And it was really fun, but pretty impractical, especially because I travel a fair amount.

And so I wondered, is there such a thing as a digital typewriter? And I googled it, and I found Freewrite.

AC: What about Freewrite helps you write?

AJ:I think, pragmatically, just the E Ink screen is a huge deal, because it doesn't exhaust me in the same way. And the idea of having a tool specifically set aside for the process is appealing in an aesthetic way but also a mental-emotional way. When it comes out, it's kind of like ... It's like having an office you work out of. It's just for that.

"The way I tend to write my songs is hunched over a guitar and just seeing what comes. Sounds become words become shapes. It's a very physical process that is really about turning my brain off."

And all of the pragmatic limitations — like you're not getting texts on it, and you're not doing all that stuff on the internet — that's really helpful, too. But just having the mindset....

When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing. I find that to be really cool and inspiring.

"When I pick up a guitar, or I sit down at the piano, it very much puts me into that space. Having a tool just for words does the same thing."

AC: So mentally it gets you ready for writing.

AJ: Yeah, and also, when you write a Microsoft Word, it looks so finished that it's hard to keep going. If every time I strummed a chord, I was hearing it back, mixed and mastered and produced...?

It's hard to stay in that space when I'm seeing it fully written out and formatted in, like, Times New Roman, looking all seriously back at me.

AC: I get that. I have terrible instincts to edit stuff over and over again and never finish a story.

AJ:  Also, the way you just open it and it's ready to go. So you don't have the stages of the computer turning on, that kind of puts this pressure, this tension on.

It's working at the edges in all these different ways that on their own could feel a little bit like it's not really necessary. All these amorphous things where you could look at it and be like, well, I don't really need any of those. But they add up to a critical mass that actually is significant.

And sometimes, if I want to bring it on a plane, I've found it's replaced reading for me. Rather than pick up a book or bring a book on the plane, I bring Traveler and just kind of hang out in that space and see if anything comes up.

I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise. I've found that writing from words towards music, I get different kinds of songs than I have in the past, which has been interesting.

In that way, like sitting at a piano, you just write differently than you do on a guitar, or even a bass, because of the things those instruments tend to encourage or that they can do.

It feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me.

"I've found that it's kind of like writing songs on a different instrument, you get different styles of music that you wouldn't have otherwise... [Traveler] feels almost like a little synthesizer, a different kind of instrument that has unlocked a different kind of approach for me."

AC: As someone who doesn't know the first thing about writing music, that's fascinating. It's all magic to me.

AJ: Yeah.

AC: What else are you interested in writing?

AJ: I went to school for film directing. That was kind of what I thought I was going to do. And then my brother and I started the band and that kind of happened first and knocked me onto a different track for a little while after college.

Growing up, though, writing was my way into everything. In directing, I wanted to be in control of the thing that I wrote. And in music, it was the same — the songwriting really feels like it came from that same place. And then the idea of writing longer form, like fiction, almost feels just like the next step from song to EP to album to novel.

For whatever reason, that started feeling like a challenge that would be deeply related to the kinds of work that we do in the studio.

AC: Do you have any advice for aspiring songwriters?

AJ: This sounds like a cliche, but it's totally true: whatever success that I've had as a songwriter — judge that for yourself — but whatever success I have had, has been directly proportional to just writing the song that I wanted to hear.

What I mean by that is, even if you're being coldly, cynically, late-stage capitalist about it, it's by far the most success I've had. The good news is that you don't have to choose. And in fact, when you start making those little compromises, or even begin to inch in that direction, it just doesn't work. So you can forget about it.

Just make music you want to hear. And that will be the music that resonates with most people.

I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake. They're not real. None of those people are actually real people. You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one.

And I just don't think that we're that different, in the end. So that would be my advice.

AC: That seems like generally great creative advice. Because fiction writers talk about that too, right? Do you write to market or do you write the book you want to read. Same thing. And that imaginary focus group has been debilitating for me. I have to silence that focus group before I can write.

AJ: Absolutely.

"I think there's a temptation to have an imaginary focus group in your head of like 500 people. But the problem is all those people are fake... You're a focus group of one, you're one real person. There are more real people in that focus group than in the imaginary one."

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Learn more about Abner James, his brother, and their band, Eighty Ninety, on Instagram.