Boredom is an affective experience that can involve pervasive feelings of meaninglessness, emptiness, restlessness, frustration, weariness and indifference, as well as the slowing down of time. An increasing focus of research in many disciplines, interest in boredom has been intensified by the recent Covid-19 pandemic, where social distancing measures have induced both a widespread loss of meaning and a significant disturbance of temporal experience. This article explores the philosophical significance of this aversive experience of ‘pandemic boredom.’ Using Heidegger’s work as (...) a unique vantage point, this article draws on survey data collected by researchers in an ongoing project titled ‘Experiences of Social Distancing During the Covid-19 Pandemic’ to give an original phenomenological interpretation of the meaninglessness and monotony of pandemic boredom. On a Heideggerian interpretation, pandemic boredom involves either a situative confrontation with relative meaninglessness that upholds our absorption in the everyday world, or an existential confrontation with absolute meaninglessness that forces us to take up the question of our existence. Arguing that boredom during the pandemic makes this distinction difficult to sustain, I consider some of the ways in which pandemic boredom might be seen to expose and then exceed the distinctive methodological limitations of Heidegger’s philosophical interpretation of boredom. (shrink)

Unpleasant emotions can be strongly “propulsive,” spurring us to make changes to our situation, perspective, values, and commitments. These changes are often positive, even crucial to our pursuit of the good life. But under what conditions are unpleasant emotions strongly propulsive? I argue that the source of affective propulsion should not be located in the mere unpleasantness of a given emotion, but, rather, in the emotional context in which the emotion arises. Drawing on Martin Heidegger’s comparative analysis of “shallow” and (...) “deep” boredom, I claim that the propulsive quality of an emotion arises not from its intrinsic properties but from the ambivalence generated when two affective states simultaneously influence our sense-making activity in opposing ways. (shrink)

The commentaries by Contesi, Hardcastle, Pismenny, and Gallegos pose pressing questions about the nature of boredom, frustration, and anticipation. Although their questions concern specific claims that I make in Propelled, they are of broad philosophical interest for, ultimately, they pave the way for a better understanding of these three psychological states. In my responses to the commentators, I clarify certain claims made in Propelled; provide additional support for my understanding of frustration; articulate the relationship between effort and value; defend the (...) claim that boredom is an emotion and discuss its formal object; and finally, consider the relationship between boredom (ordinarily understood) and deep or profound boredom. I am grateful to the commentators for engaging with Propelled. (shrink)

The functional theory of boredom maintains that boredom ought to be defined in terms of its role in our mental and behavioral economy. Although the functional theory has recently received considerable attention, presentations of this theory have not specified with sufficient precision either its commitments or its consequences for the ontology of boredom. This essay offers an in-depth examination of the functional theory. It explains what boredom is according to the functional view; it shows how the functional theory can account (...) for the known characteristics of boredom; and it articulates the theory’s basic commitments, virtues, and limitations. Ultimately, by furthering our understanding of the functional theory of boredom, the essay contributes to a better theoretical grounding of boredom. (shrink)

This is the introductory chapter to The Moral Psychology of Boredom (Rowman & Littlefield, 2021). It discusses the various ways in which boredom is morally significant and offers a summary of the experiential profile of boredom.

The aim of this chapter is to articulate the ways in which our social standing, and particularly our socio-economic status (SES), affects, even transforms, the experience of boredom. Even if boredom can be said to be democratic, in the sense that it can potentially affect all of us, it does not actually affect all of us in the same way. Boredom, I argue, is unjust—some groups are disproportionately negatively impacted by boredom through no fault of their own. Depending on our (...) social position and self and others’ perceptions of our SES, we can experience it more frequently, more intensely, and in ways that either leave us incapable of alleviating it or push us to harmful and maladaptive responses to it. Hence, seen in a socio-economic light, boredom can become a serious threat to our physical and psychological well-being. Insofar as freedom to pursue and achieve one’s well-being is essential to human life and a primary concern of contemporary liberal societies, boredom should be considered to be a social justice issue. The disproportionately negative effects of boredom on lower SES groups indicate the profound ways that boredom affects individuals and further disadvantages those who are already in marginalized positions. Contrary to many historical accounts, boredom is not only the experience of the elite, the wealthy, or those with ample free time. In our current political, social, and economic climate, boredom is primarily the experience of the less privileged, the disadvantaged, and the marginalized. (shrink)

There is little question as to whether there is good boring art, though its existence raises a number of questions for both the philosophy of art and the philosophy of emotions. How can boredom ever be a desideratum of art? How can our standing commitments concerning the nature of aesthetic experience and artistic value accommodate the existence of boring art? How can being bored constitute an appropriate mode of engagement with a work of art as a work of art? More (...) broadly, how can there be works of art whose very success requires the experience of boredom? Our goal in this paper is threefold. After offering a brief survey of kinds of boring art, we: i) derive a set of questions that we argue constitutes the philosophical problem of boring art; ii) elaborate an empirically informed theory of boredom that furnishes the philosophical problem with a deeper sense of the affect at the heart of the phenomenon; and iii) conclude by offering and defending a solution to the problem that explains why and how artworks might wish to make the experience of boredom key to their aesthetic and artistic success. (shrink)

Boredom is a frequently experienced and unpleasant state (Bench & Lench, 2019; Danckert et al., 2018; Eastwood et al., 2012) that people are experiencing more frequently (Weybright et al., 2020). W...

Bernard Williams has famously argued that an immortal life would necessarily be boring. Despite the obvious importance that boredom occupies in Williams’ argument, he says very little about the nature of boredom. In this paper, I argue that attention to the empirical literature on boredom reveals a serious flaw in Williams’ argument. Specifically, I show that there is no available explication of boredom that is supported by the empirical research and which at the same time establishes Williams’ conclusions.

Given the importance of emotions in our everyday lives, it is no surprise that in recent decades the study of emotions has received tremendous attention by a number of different disciplines. Yet despite the many and great advantages that have been made in understanding the nature of emotions, there remains a class of emotional states that is understudied and that demands further elucidation. All contributions to this issue consider either emotions or aspects of emotions that deserve the label ‘neglected’. In (...) doing so, they break new theoretical ground and further our understanding of the nature of the emotions that they consider. The aim of the present paper is to introduce the special issue on neglected emotions by articulating the different ways in which emotions can be said to be neglected. (shrink)

By presenting and synthesizing findings on the character of boredom, the article advances a theoretical account of the function of the state of boredom. The article argues that the state of boredom should be understood as a functional emotion that is both informative and regulatory of one's behavior. Boredom informs one of the presence of an unsatisfactory situation and, at the same time, it motivates one to pursue a new goal when the current goal ceases to be satisfactory, attractive or (...) meaningful. Boredom ultimately promotes both movement and the restoration of the perception that one's activities are meaningful and congruent with one's overall projects. (shrink)

I argue that the state of boredom (i.e., the transitory and non-pathological experience of boredom) should be understood to be a regulatory psychological state that has the capacity to promote our well-being by contributing to personal growth and to the construction (or reconstruction) of a meaningful life.

By examining boredom through the lens of Sartre’s account of the emotions, I argue for the significance of boredom. Boredom matters, I show, for it is both informative and regulatory of one’s behavior: it informs one of the presence of an unsatisfactory situation; and, at the same time, owing to its affective, cognitive, and volitional character, boredom motivates the pursuit of a new goal when the current goal ceases to be satisfactory, attractive, or meaningful. In the absent of boredom, one (...) would remain trapped in unfulfilling situations, thereby missing out on many rewarding experiences. In helping us to articulate the function and significance of boredom, Sartre’s account provides a much-needed counterbalance to accounts of boredom that portray it as a distinctively negative state. (shrink)

Media multitasking entails simultaneously engaging in multiple tasks when at least one of the tasks involves media. Across two studies, we investigated one potential trigger of media multitasking, state boredom, and its relation to media multitasking. To this end, we manipulated participants’ levels of state boredom using video mood inductions prior to administering an attention-demanding 2-back task during which participants could media multitask by playing a task-irrelevant video. We also examined whether trait boredom proneness was associated media multitasking. We found (...) no direct evidence that state boredom leads to media multitasking. However, trait boredom proneness correlated with greater amounts of media multitasking in Experiment 1, but not in Experiment 2. Surprisingly, in both experiments, post-task ratings of state boredom were equivalent across conditions, alerting us to the short-lived effects of video mood inductions and the boring nature of cognitive tasks. (shrink)

Despite great progress in our theoretical and empirical investigations of boredom, a basic issue regarding boredom remains unresolved: it is still unclear whether the construct of boredom is a unitary one or not. By surveying the relevant literature on boredom and arousal, the paper makes a case for the unity of the construct of boredom. It argues, first, that extant empirical findings do not support the heterogeneity of boredom, and, second, that a theoretically motivated and empirically grounded model of boredom (...) (the functional account) supports the view that the construct of boredom is a unitary one. (shrink)

Despite the impressive progress that has been made on both the empirical and conceptual fronts of boredom research, there is one facet of boredom that has received remarkably little attention. This is boredom's relationship to morality. The aim of this article is to explore the moral dimensions of boredom and to argue that boredom is a morally relevant personality trait. The presence of trait boredom hinders our capacity to flourish and in doing so hurts our prospects for a moral life. (...) -/- . (shrink)

Conditions of low and high perceived control often lead to boredom, albeit for different reasons. Whereas, high perceived control may be experienced as boring because the situation lacks challenge, low perceived control may be experienced as boring because the situation precludes effective engagement. In two experiments we test this proposed quadratic relationship. In the first experiment we had participants play different versions of the children's game “rock-paper-scissors” in which they arbitrarily won or lost. Despite having only dichotomous conditions, participants reported (...) experiencing a broad range of levels of perceived control. Consistent with our predictions, boredom was highest at low and high levels of perceived control. Experiment 2 tested the notion that the mere prospect of gaining control may mitigate boredom. Participants given to believe that they could gain control over the game of rock, paper, scissors were less bored than those who believed there was no possibility of winning at greater than chance levels. This suggests that beliefs concerning prospective control, rather than a given level of perceived control per se, may predict engagement and boredom. (shrink)

Governments have adopted strict home quarantine measures during the COVID-19 pandemic. A monotonous, barren, and under-stimulating environment can cause state boredom, and people often deal with boredom via novelty-seeking behavior. Novelty-seeking behavior can be divided into “novelty input” and “novelty output.” The former refers to obtaining novel information such as browsing the Web; the latter refers to engaging in creative behavior such as literary creation. This study explores the relationship between two types of novelty-seeking behavior and individual state boredom during (...) home quarantine, along with the moderation effect of trait creativity. The study sample consists of 582 Chinese college students who were quarantined at home during the COVID-19 pandemic. Participants completed the Multidimensional State Boredom Scale, the Williams Creativity Aptitude Test, and self-compiled questionnaires of novelty input and novelty output. The results show that there is no significant relationship between novelty input or novelty output and boredom during the COVID-19 quarantine. Trait creativity is found to negatively moderate the relationship between the two means of novelty seeking and boredom. Specifically, novelty output negatively predicts the state boredom of individuals with high creativity, while novelty input positively predicts the state boredom of individuals with low creativity. Our findings suggest that different novelty-seeking behaviors may have different effects on the boredom level of individuals with high versus low creativity during quarantine. During a quarantine period, individuals should avoid excessively engaging in novelty input behaviors aimed at escaping boring situations. (shrink)

In response to the coronavirus disease 2019 schools around the world have been closed to protect against the spread of coronavirus. In several countries, homeschooling has been introduced to replace classroom schooling. With a focus on individual differences, the present study examined 138 schoolers regarding their self-control and boredom proneness. The results showed that both traits were important in predicting adherence to homeschooling. Schoolers with higher levels of self-control perceived homeschooling as less difficult, which in turn increased homeschooling adherence. In (...) contrast, schoolers with higher levels of boredom proneness perceived homeschooling as more difficult, which in turn reduced homeschooling adherence. These results partially hold when it comes to studying in the classroom. However, boredom threatened adherence only in the homeschooling context. Our results indicate that boredom proneness is a critical construct to consider when educational systems switch to homeschooling during a pandemic. (shrink)

In this article, creativity is defined as a semiotic phenomenon, as a process in which the boundaries of habits and norms of social communication are exceeded and by which the challenges offered by the environment are solved. Here it is indicated that there is a direct link between attention and animal creativity and shown that there are at least two possibilities for creativity to work – one that needs attention and one which doesn’t. Animal creativity can work through several different (...) mechanisms, which are here combined into a new model. Adding the Uexküllian concepts of the functional cycle and search tone to the model of creativity makes it possible to describe some additional mechanisms of animal creative behaviours. Additional concepts compared include dual memory systems, the theory of associations, and finally Gregory Bateson’s double description. By considering that approach, it is possible to understand how animals find and adapt new behaviours to their repertoires. Researching the creative behaviours of animals and the spread of innovation between populations is important from a wider perspective to understand how animals can adapt to changing environmental conditions. (shrink)