Claims that talk of life’s meaning is misguided, unmanageable or, worse, nonsensical, are overblown. Such claims especially track the cosmically focused the meaning of life. “The meaning of life” is perfectly intelligible, and is centered on a cluster of ideas encapsulated by what I call the “meaning triad.” One component of this triad—I-MEANING—provides the hermeneutical and conceptual resources for understanding the question “What is the meaning of life?” as asking for a single thing, in contrast to amalgam and pluralist views. (...) I will investigate the meaning triad en route to defending meaning of life holism. (shrink)

Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...

In this article we reflect on the phenomenon of waiting, interpreted in our own context, but drawn from a text by Heidegger. The text implies that the bored person is waiting for the moment in which something will, as they presume, dissipate their boredom. We will proceed to show the internal structure of time as a lived experience of the phenomenon of waiting while bored, and how this time is existentially configured as pain. To do this, the temporal structure of (...) such waiting will be examined phenomenologically to demonstrate how it transforms the existence of whoever is waiting while bored. (shrink)

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.

In this essay I develop a case for games as a primitive form of culture and an early arrival at our ancestors’ cultural gates. I analyze the modest intellectual prerequisites for game behavior including the use of metaphor, a reliance on constitutive rules, and an ability to understand the logic of entailment. In arguing for its early arrival during the late Middle and Upper Paleolithic, I develop a case for its powerful adaptive qualities in terms of both natural and sexual (...) selection. I accept ecological dominance coupled with an increasing sense of self as primary sources of selection pressure. I show how these two factors threatened homeostatic balances ranging from low arousal and atrophy to malaise, depression, and anomie. I suggest that an antidote or adaptation was found in culturally-enhanced forms of play — that is, formal, rule-governed games. The upshot of this analysis is a broadened discussion of cultural adaptation from one that often focuses on cooperation, social complexity, and language to other fundamental issues related to survival — namely, increased leisure time, enhanced arousal needs, and the health and physical skills required for a hunter-forager existence. (shrink)

This paper recognizes that we become bored in our post-modern, consumerist Western world and that boredom is related to this existence and hidden within it. Through Heidegger, it seeks to provide a way to structure our understanding of boredom and suggest ways of acknowledging its cause, and then to allow it to liberate our authentic appreciation of the world of our workplace and what can be learnt through it. Using the approach of focusing on being in a societal workplace environment, (...) and the link to Heidegger’s notion of mood, revealed in Being and Time, boredom’s fundamental role is shown as a complex temporal manifold. Our superficial attempts to deal with things in datable time means that we miss the essential importance of the temporal manifold through which our being is revealed and where the Augenblick, (moment of vision) is the authentic present and temporalises itself of the authentic future (Heidegger in Being and time (trans: J. Macquarrie and E. Robinson). Blackwell, Oxford, 1962 , p. 338). For Heidegger this is to be understood as ecstasis (ibid, p. 338) when the resolute Dasein “is carried away to whatever possibilities and circumstances are encountered (ibid, p. 338). Such resoluteness enables the private capabilities to arise in public practice, not, however, in the conformity of what ‘one does’ (Das Man) but as an authentically choosing being. The challenge of an ontological pedagogy, regardless of its place of revelation that this prescribes a possibly be edifying mission for Dasein. Instead of chasing away boredom through busyness, a moment of vision could produce creative and authentic ways of being. (shrink)

The relationship of Marxist thought to the phenomena of everyday life and utopia, both separately and in terms of their intersection, is a complex and often ambiguous one. In this article, I seek to trace some of the theoretical filiations of a critical Marxist approach to their convergence (as stemming mainly from a Central European tradition), in order to tease out some of the more significant ambivalences and semantic shifts involved in its theorization. This lineage originates in the work of (...) Karl Marx and Friedrich Engels, then stretches to Georg Lukács and the so-called ‘Gnostic Marxism’ of Walter Benjamin (as mediated by the important figure of Georg Simmel), and culminating most recently in the work of Agnes Heller. Such a Marxist theory is inseparable from a political project that seeks to unveil and critique what it takes to be the debased, routinized and ideological qualities of daily existence under the auspices of modern capitalist society, but also attempts to locate certain emancipatory tendencies within this selfsame terrain, an orientation that can be summed up in the phrase ‘everyday utopianism’. Although there are occasional lapses into dualistic modes of thinking in the work of these writers, the key insight they present to us is the need to overcome the pervasive dichotomy between the everyday/immanent and the utopian/transcendental, of a sort that has bedevilled the work of many other theorists and intellectual traditions. (shrink)

The intensifying speed-up of contemporary economic, social and political life troubles democratic theorists because they assume that democracy depends on patience. This article turns to Martin Luther King, Jr. to challenge democratic theory’s temporal bias. I argue that King demonstrates that impatience, too, is a democratic virtue. Building on impatient knowledge, democratic impatience aides in overcoming undemocratic legacies, fosters democratic subjectivity and agency, ensures political accountability, and creates a more inclusive practice of democratic belonging. I furthermore show that King reveals (...) the temporal sophistication of democratic impatience, thereby contradicting the prevailing interpretation of self-defeating instantaneousness. In particular, democratic impatience’s temporal origins of centuries of injustice, human mortality, and the context of social acceleration provide a mature impetus for democratic action. Moreover, democratic impatience persists over time. On the one hand, it does so because injustice persists. On the other hand, democratic impatience contains within itself a subordinate operational patience. In other words, democratic impatience is always already somewhat ‘patient.’ King’s democratic impatience therefore not only redresses democratic theory’s shortcomings, but it also generates a renewed sense of democratic possibility in our age, as democratic impatience is well suited to help us in redressing the crises and injustices deepened or generated by social acceleration. (shrink)

The essay argues that boredom is an affective state that monitors and regulates our behavior. Boredom informs us when we are out of tune with our interests and motivates us to engage in situations that are perceived by us as fulfilling or meaningful. Boredom is thus important. It promotes our interests by trying to keep us in touch with what we care about. And it safeguards us from emotional traps and long-term dullness. -/- .

This paper explores the themes of apathy and activism by contrasting the conventionally negative concept of motivational desire-lack with Deleuze and Guattari's positive concept of ‘desiring-production’. I suggest that apathy and activism are both problematically tied to the same motivational force: the conventional negativity of desire, which results in a ‘split subject’ always already ‘undone’ by difference. The philosophy of positive desiring-production provides alternative concepts of motivation and selfhood, not characterised by generative lack or alienation. On the contrary, this alternative (...) ontology describes an identity that is not primarily ‘undone’ by difference, but ‘done’ or ‘made’ through the complex and piecemeal relations it forges with various aspects of the bodies it encounters. Understood as a complex multiplicity, the self or community accordingly has a primary, immediate and active interest in the quality of its multifaceted relations with others. Finally, I argue that some contemporary forms of activism can be read as practices aimed at creating and safeguarding the social conditions that foster the complex relational composition of selves and communities. (shrink)

By focusing on the unique velocity and over-stimulation of metropolitan life, Georg Simmel pioneered an interpretation of cultural boredom that has had a significant impact on contemporary social theory by viewing it through the modern experience of time-pressure and social acceleration. This paper explores Simmel's account of boredom by showing how--in the frenzy of modern life--it has become increasingly difficult to qualitatively distinguish which choices and commitments actually matter to us. Furthermore, this emotional indifference invariably pushes us towards more excessive (...) and risky behavior, towards, what I call, "extreme aesthesia." Insofar as novel experiences quickly become routine in the technological age, it appears that only extreme sensations and experiences can break the spell of boredom, allowing us to momentarily feel strongly for something. (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 present treatise tackles the phenomenon of boredom by first providing reasons for evading the dualistic approach to the phenomenon addressed. Based on the Cartesian criticism of the oversimplified dualist approach of neuroscience, the paper delves into the phenomenological approach to the phenomenon of boredom, as could be only indirectly surmised from Husserl’s transcendental phenomenology of time consciousness. The next chapter deals with Heidegger’s hermeneutic phenomenology as implicated in his compelling and as of yet unsurpassed analysis of the phenomenon of (...) boredom. Through approaching the phenomenon of boredom via Husserl and Heidegger, the basic discontinuity between Husserl’s transcendental and Heidegger’s hermeneutic phenomenology comes clearly to the fore. (shrink)

In a Covid-19 world, everyone’s circumstances changed. Most of us are living and or working in quarantine or lockdown. There is evidence that lockdown itself can have serious negative psychological impact (Brooks et al., 2020). Nonetheless, strategies are being proposed which, arguably, mitigate these harms. Artmaking is one such strategy. As ‘art therapy’, it has been usefully deployed to address a wide range of mental health challenges including anxiety, depression, fatigue and post-traumatic stress (Regev & Cohen-Yatziv, 2018). Given that these (...) self-same impacts profile the mental health challenges identified in relation to pandemic isolation, art may be useful in mitigating mental health issues associated with lockdown. This paper does not address how the role art can play in the therapeutic mix for serious mental health disorders. More specifically it is focused on a narrower brief of ills – predominantly those associated with boredom and a loss of stimulation associated with the constrained circumstances of lockdown. The kind of ‘art therapy’ this paper has in mind is more accurately described as ‘art engagement’ as it concerns individuals actively engaging with art. Art engagement is taken as self-administered utilising the time-out imposed by lockdown as an opportunity to take stock and reset. I will argue that to be of optimal benefit to people in lockdown, the art engagement model should support art practices that are easily accessible to a wide range of people, and be broadly scoped regarding areas to explore. Finally, because the benefits flowing from art engagement are central to this quest, our art engagement model will need to be able to track how art enriches or impoverishes its practitioners. This paper will set up a framework for art engagement that provides an apt account of art practices suited to people in lockdown. I will examine how the resolution of two art puzzles point the way forward in developing an art engagement model. Adventitiously, understanding these puzzles will also prove useful for art making in constrained living arrangements. Managing the first of these puzzles requires a rejection of the notion that art can be determinately defined. Instead we opt for a model that privileges practices and products that enrich the lives of practitioners. The second puzzle assumes creativity relies to varying degrees on appropriation and so appropriation acts need to be included in the model. However, this comes at a cost. Appropriation disrupts any notion that art works are stable things situated forever in the realm of art. It will be shown that appropriation causes us to adopt a more expansive view about the fluidity of what counts as an artwork. This fluidity may take us into and out of the realm of what is traditionally thought of as ‘art’ entirely and leads us to abandon any dependency on art masters and art institutions in our artmaking quests. The paper will conclude by using the model described to outline three art engagement examples that demonstrate how sometimes ordinary everyday experiences can be enriched by taking an art-engaging stance even in the highly constrained environment of lockdown. (shrink)