The author proposes an analysis of boredom. The analysis he proposes is that boredom is an unpleasant mental state consisting of weariness, restlessness, and lack of interest, where certain causal relations exist among the components. He goes on to elaborate on and defend his analysis, concluding with some thoughts on the idea that boredom has some grand metaphysical significance.

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

The aim of this essay is to argue that the human capacity for boredom is philosophically interesting because it illuminates the kinds of problems that evaluators face just in being evaluators. I aim to challenge the “boredom as problem” approach to understanding boredom that is pervasive throughout the multi-disciplinary literature on boredom. I examine five quite different contexts of boredom that illuminate five different reasons why evaluators sometimes find the world not worth their attention and address a set of puzzles (...) about boredom, e.g., why meaningless diversions are an especially attractive method of escaping boredom and why both regimented work time and unregimented leisure time might be primary occasions for boredom. (shrink)