Boredom Art Quotes

The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist; a refusal to admit the banality of evil and the terrible boredom of pain.

The writer's curse is that even in solitude, no matter its duration, he never grows lonely or bored.

I wonder what life will be like a millennium from now, when the average age will be nearer to one thousand. Will we all be renaissance children, skilled at every art and science, because we’ve had time to master them? Or will boredom and slavish routine plague us even more than it does today, giving us less of a reason to live limitless lives? I dream of the former, but I suspect the latter.

At the end of the day your ability to connect with your readers comes down to how you make them feel.

Madness is too glamorous a term to convey what happens to most people who are losing their minds. That word is too exciting, too literary, too interesting in its connotations, to convey the boredom, the slowness, the dreariness, the dampness of depression…depression is pure dullness, tedium straight up. Depression is, especially these days, an overused term to be sure, but never one associated with anything wild, anything about dancing all night with a lampshade on your head and then going home and killing yourself…The word madness allows its users to celebrate the pain of its sufferers, to forget that underneath all the acting-out and quests for fabulousness and fine poetry, there is a person in huge amounts of dull, ugly agony...Remember that when you’re at the point at which you’re doing something as desperate and violent as sticking your head in an oven, it is only because the life that preceded this act felt even worse. Think about living in depression from moment to moment, and know it is not worth any of the great art that comes as its by-product.

... an artist should paint from the heart, and not always what people expect. Predictability often leads to the dullest work, in my opinion, and we have been bored stiff long enough I think.

The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. If you can't lick 'em, join 'em. If it hurts, repeat it. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else.

My favorite cure for boredom is sleep. It's very easy to get to sleep when bored and very hard to get bored after a long rest.

No child, still less a fetus, has ever mastered the art of small talk, or would ever want to. It's an adult device, a covenant with boredom and deceit.

Flight from boredom is the mother of all art.

We humans are unhappy in large part because we are insatiable; after working hard to get what we want, we routinely lose interest in the object of our desire. Rather than feeling satisfied, we feel a bit bored, and in response to this boredom, we go on to form new, even grander desires.

This process of assimilation, which takes place in depth, requires a state of relaxation that is becoming rarer and rarer. If sleep is the apogee of physical relaxation, boredom is the apogee of mental relaxation. Boredom is the dream bird that hatches the egg of experience. A rustling in the leaves drives him away. His nesting places - the activities that are intimately associated with boredom - are already extinct in the cities and are declining in the country as well. With this the gift for listening is lost and the community of listeners disappears. For storytelling is always the art of repeated stories, and this art is lost when the stories are no longer retained.

But is it not already an insult to call chess anything so narrow as a game? Is it not also a science, an art, hovering between these categories like Muhammad's coffin between heaven and earth, a unique yoking of opposites, ancient and yet eternally new, mechanically constituted and yet an activity of the imagination alone, limited to a fixed geometric area but unlimited in its permutations, constantly evolving and yet sterile, a cogitation producing nothing, a mathematics calculating nothing, an art without an artwork, an architecture without substance and yet demonstrably more durable in its essence and actual form than all books and works, the only game that belongs to all peoples and all eras, while no one knows what god put it on earth to deaden boredom, sharpen the mind, and fortify the spirit?

She seems so depressed sometimes by the monotony and boredom of her city life, I thought maybe in this endless grass and wind she would see a thing that sometimes comes when monotony and boredom are accepted. It's here, but I have no names for it.

He was a master in the art of spreading boredom and playing the clumsy fool-though never so egregiously that people might enjoy making fun of him or use him as the butt of some crude practical joke inside the guild. He succeeded in being considered totally uninteresting. People left him alone. And that was all he wanted.

Religious despair is often a defense against boredom and the daily grind of existence. Lacking intensity in our lives, we say that we are distant from God and then seek to make that distance into an intense experience. It is among the most difficult spiritual ailments to heal, because it is usually wholly illusory. There are definitely times when we must suffer God’s absence, when we are called to enter the dark night of the soul in order to pass into some new understanding of God, some deeper communion with him and with all creation. But this is very rare, and for the most part our dark nights of the soul are, in a way this is more pathetic than tragic, wishful thinking. God is not absent. He is everywhere in the world we are too dispirited to love. To feel him — to find him — does not usually require that we renounce all worldly possessions and enter a monastery, or give our lives over to some cause of social justice, or create some sort of sacred art, or begin spontaneously speaking in tongues. All to often the task to which we are called is simply to show a kindness to the irritating person in the cubicle next to us, say, or to touch the face of a spouse from whom we ourselves have been long absent, letting grace wake love from our intense, self-enclosed sleep.

NEUTRALITY, BOREDOM become worse sins than murder, worse than illicit love affairs,” she told her Smith College students in 1958. “BE RIGHT OR WRONG, don’t be indifferent, don’t be NOTHING.

I remember walking in art galleries, through the nineteenth century: the obsession they had then with harems. Dozens of paintings of harems, fat women lolling on divans, turbans on their heads or velvet caps, being fanned with peacock tails, a eunuch in the background standing guard. Studies of sedentary flesh, painted by men who'd never been there. These pictures were supposed to be erotic, and I thought they were, at the time; but I see now what they were really about. They were paintings about suspended animation; about waiting, about objects not in use. They were paintings about boredom. But maybe boredom is erotic, when women do it, for men.

It is commonly supposed that the art of pleasing is a wonderful aid in the pursuit of fortune; but the art of being bored is infinitely more successful.

Up to a point, having fun is good for you. But it’s not an adequate substitute for serious, purposeful activity. For lack of this kind of activity people in our society get bored. They try to relieve their boredom by having fun. They seek new kicks, new thrills, new adventures. They masturbate their emotions by experimenting with new religions, new art-forms, travel, new cultures, new philosophies, new technologies. But still they are never satisfied, they always want more, because all of these activities are purposeless. People don’t realize that what they really lack is serious, practical, purposeful work—work that is under their own control and is directed to the satisfaction of their own most essential, practical needs.

In a way, her strangeness, her naivete, her craving for the other half of her equation was the consequence of idle imagination. Had she paints, or clay, or knew the discipline of the dance, or strings; had she anything to engage her tremendous curiosity and her gift for metaphor, she might have exchanged the restlessness and preoccupation with whim for an activity that provided her with all she yearned for. And like any artist with no art from, she became dangerous.

We have come to think that duty should come first. I disagree. Duty should be a by-product. Writing, the creative effort, the use of the imagination, should come first – at least, for some part of every day of your life. It is a wonderful blessing if you use it. You will become happier, more enlightened, alive, impassioned, light-hearted and generous to everybody else. Even your health will improve. Colds will disappear and all the other ailments of discouragement and boredom.

A storyteller who provided us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearing us out with repetition, misleading emphases and inconsequential plot lines. It insists on showing us Bardak Electronics, the saftey handle in the car, a stray dog, a Christmas card and a fly that lands first on the rim and then in the centre of the ashtray. Which explains how the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting wooliness of the present.

Valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress, they cut away the periods of boredom and direct our attention to critical moments and, without either lying or embellishing, thus lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.

He was prepared to die for it, as one of Baudelaire's dandies might have been prepared to kill himself in order to preserve himself in the condition of a work of art, for he wanted to make this experience a masterpiece of experience which absolutely transcended the everyday. And this would annihilate the effects of the cruel drug, boredom, to which he was addicted although, perhaps, the element of boredom which is implicit in an affair so isolated from the real world was its principle appeal for him.

The mixture of the grotesque and the tragic is agreeable to the spirit, as are discords to the jaded ear.

One thing is certain: the arts keep you alive. They stimulate, encourage, challenge, and, most of all, guarantee a future free from boredom. They allow growth and even demand it in that time of life we call maturity but too often enter it with a childish faith that what we learned in youth is sustenance enough for the years when most men are mentally famished but won't admit it—or when they are apt to curb their hunger with the sops of complacency, security, and the assurance of death.

There, then, is the role of the amateur: to look the world back to grace. There, too, is the necessity of his work: His tribe must be in short supply; his job has gone begging. The world looks as if it has been left in the custody of a pack of trolls. Indeed, the whole distinction between art and trash, between food and garbage, depends on the presence or absence of the loving eye. Turn a statue over to a boor, and his boredom will break it to bits - witness the ruined monuments of antiquity. On the other hand, turn a shack over to a lover; for all its poverty, its lights and shadows warm a little and its numbed surfaces prickle with feeling.

The world may or may not need another cookbook, but it needs all the lovers – amateurs – it can get. It is a gorgeous old place, full of clownish graces and beautiful drolleries, and it has enough textures, tastes, and smells to keep us intrigued for more time than we have. Unfortunately, however, our response to its loveliness is not always delight: It is, far more often than it should be, boredom. And that is not only odd, it is tragic; for boredom is not neutral – it is the fertilizing principle of unloveliness. In such a situation, the amateur – the lover, the man who thinks heedlessness is a sin and boredom a heresy – is just the man you need. More than that, whether you think you need him or not, he is a man who is bound, by his love, to speak. If he loves Wisdom or the Arts, so much the better for him and for all of us. But if he loves only the way meat browns or onions peel, if he delights simply in the curds of his cheese or the color of his wine, he is, by every one of those enthusiasms, commanded to speak. A silent lover is one who doesn't know his job.

you should view each new travel frustration—sickness, fear, loneliness, boredom, conflict—as just another curious facet in the vagabonding adventure.

Books are the best remedy for boredom, but it's a remedy you have to discover for yourself.

No child, still less a foetus, has ever mastered the art of small talk, or would ever want to. It’s an adult device, a covenant with boredom and deceit.

boredom is the impetus to creativity.

It is well known that in exchange for visionary powers, artists often suffer with extreme sensitivity and violent changeability of temperament. A philosophical crisis, or simply boredom of inactivity, could send [Holmes] spinning into a paralysed gloom from which [I] could not retrieve him.

In any first-class work of art, you can find passages that in themselves are extremely boring, but try to cut them out, as they are in an abridged edition, and you lose the life of the work. Don't think that art that is alive can remain on the same level of interest throughout — and the same is true of life.

In my mind, when I look at these fields, I say to her, “See?…See?” and I think she does. I hope later she will see and feel a thing about these prairies I have given up talking to others about; a thing that exists here because everything else does not and can be noticed because other things are absent. She seems so depressed sometimes by the monotony and boredom of her city life, I thought maybe in this endless grass and wind she would see a thing that sometimes comes when monotony and boredom are accepted. It’s here, but I have no names for it.

A sign that part of your spirit has vacated the premises of your body is when you feel constant boredom or sadness, or like something is missing from your life but you can’t figure out what it is. What is missing may be you!

If you don’t know the art of disappearance, learn it because you will need it every time you get bored of the society you are living in!

AVERT DISASTER, in fact, would have been a perfect school motto—the purpose of the place, as far as Schwartz could tell, was to keep three thousand would-be maniacs sedated by boredom until a succession of birthdays transformed them into adults.

Without rich people who want it done now, who would animate the free world? In theory, you want everyone to live peacefully according to their needs, along the banks of a river. In fact, you worry that you'd die of boredom there. In fact, you get a buzz from someone like Carole Potter, who keeps prize chickens and could teach a graduate course in landscaping; who maintains a staff of four (more in the summers, during High Guest Season); a handsome, slightly ridiculous husband; a beautiful daughter at Harvard and an incorrigible son doing something or other on Bondi Beach; Carole who is charming and self-deprecating and capable, if pushed, of a hostile indifference crueler than any form of rage; who reads novels and goes to movies and theater and yes, yes, bless her, buys art, serious art, about which she actually fucking knows a thing or two.

Humans can grow bored of all things, somehow. This is one of our great blessings. They say that art, that beauty, is what allows us to endure times of great horror—but no. It is our bottomless capacity for boredom.

If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'. A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray. Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.

There are six canons of conservative thought: 1) Belief in a transcendent order, or body of natural law, which rules society as well as conscience. Political problems, at bottom, are religious and moral problems. A narrow rationality, what Coleridge called the Understanding, cannot of itself satisfy human needs. "Every Tory is a realist," says Keith Feiling: "he knows that there are great forces in heaven and earth that man's philosophy cannot plumb or fathom." True politics is the art of apprehending and applying the Justice which ought to prevail in a community of souls. 2) Affection for the proliferating variety and mystery of human existence, as opposed to the narrowing uniformity, egalitarianism, and utilitarian aims of most radical systems; conservatives resist what Robert Graves calls "Logicalism" in society. This prejudice has been called "the conservatism of enjoyment"--a sense that life is worth living, according to Walter Bagehot "the proper source of an animated Conservatism." 3) Conviction that civilized society requires orders and classes, as against the notion of a "classless society." With reason, conservatives have been called "the party of order." If natural distinctions are effaced among men, oligarchs fill the vacuum. Ultimate equality in the judgment of God, and equality before courts of law, are recognized by conservatives; but equality of condition, they think, means equality in servitude and boredom. 4) Persuasion that freedom and property are closely linked: separate property from private possession, and Leviathan becomes master of all. Economic levelling, they maintain, is not economic progress. 5) Faith in prescription and distrust of "sophisters, calculators, and economists" who would reconstruct society upon abstract designs. Custom, convention, and old prescription are checks both upon man's anarchic impulse and upon the innovator's lust for power. 6) Recognition that change may not be salutary reform: hasty innovation may be a devouring conflagration, rather than a torch of progress. Society must alter, for prudent change is the means of social preservation; but a statesman must take Providence into his calculations, and a statesman's chief virtue, according to Plato and Burke, is prudence.

Impatience is close to boredom but always results from one cause: an underestimation of the amount of time the job will take.

No child, still less a foetus, has ever mastered the art of small talk, or would ever want to. It's an adult device, a covenant with boredom and deceit.

Most of the walking books I have come across over the years get bogged down in obsessive attention to safety and equipment. I have rarely found myself enjoying these books, because I do not go walking with the purpose of staying within a world of perfect safety and comfort. Personally, I would rather die walking than die of boredom reading about how to walk safely.

In such a situation, the amateur—the lover, the man who thinks heedlessness a sin and boredom a heresy—is just the man you need. More than that, whether you think you need him or not, he is a man who is bound, by his love, to speak. If he loves Wisdom or the Arts, so much the better for him and for all of us. But if he loves only the way meat browns or onions peel, if he delights simply in the curds of his cheese or the color of his wine, he is, by every one of those enthusiasms, commanded to speak. A silent lover is one who doesn’t know his job.

Love conquers all.” But love doesn't conquer all. It doesn't conquer anything but boredom and horniness. Dictators with lots of brainwashed followers and state-of-the-art weaponry conquer all.

For those beings with a broader perspective of Planet Earth, boredom is sometimes accompanied by a darker companion—guilt. We know that compared to many others, our lives are actually quite comfortable. We don’t live in a war zone or in abject poverty; we don’t have to dwell in the shadows on account of our gender or religious opinions. We’re free to eat, dress, live, and walk however we like, thank you very much. But even so, we’re bored beyond measure.

He who has not lived in the eighteenth century before the Revolution does not know the sweetness of life and can not imagine that there can be happiness in life. This is the century that has shaped all the conquering arms against this elusive adversary called boredom. Love, Poetry, Music, Theatre, Painting, Architecture, Court, Salons, Parks and Gardens, Gastronomy, Letters, Arts, Science, all contributed to the satisfaction of physical appetites, intellectual and even moral refinement of all pleasures, all the elegance and all the pleasures. The existence was so well filled that if the seventeenth century was the Great Age of glories, the eighteenth was that of indigestion.

Text of pleasure: the text that contents, fills, grants euphoria; the text that comes from culture and does not break with it, is linked to a comfortable practice of reading. Text of bliss: the text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain boredom), unsettles the reader's historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language. Now the subject who keeps the two texts in his field and in his hands the reins of pleasure and bliss is an anachronic subject, for he simultaneously and contradictorily participates in the profound hedonism of all culture (which permeates him quietly under the cover of an "art de vivre" shared by the old books) and in the destruction of that culture: he enjoys the consistency of his selfhood (that is his pleasure) and seeks its loss (that is his bliss). He is a subject split twice over, doubly perverse.

When we strike a balance between the challenge of an activity and our skill at performing it, when the rhythm of the work itself feels in sync with our pulse, when we know that what we're doing matters, we can get totally absorbed in our task. That is happiness. The life coach Martha Beck asks new potential clients, "Is there anything you do regularly that makes you forget what time it is?" That forgetting -- that pure absorption -- is what the psychologist Mihaly Csikzentmihalyi calls "flow" or optimal experience. In an interview with Wired magazine, he described flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost." In a typical day that teeters between anxiety and boredom, flow experiences are those flashes of intense living -- bright against the dull. These optimal experiences can happen when we're engaged in work paid and unpaid, in sports, in music, in art. The researchers Maria Allison and Margaret Duncan have studied the role of flow in women's lives and looked at factors that contributed to what they call "antiflow." Antiflow was associated with repetitive household tasks, repetitive tasks at work, unchallenging tasks, and work we see as meaningless. But there's an element of chaos when it comes to flow. Even if we're doing meaningful and challenging work, that sense of total absoprtion can elude us. We might get completely and beautifully lost in something today, and, try as we might to re-create the same conditions tomorrow, our task might jsut feel like, well, work. In A Life of One's Own, Marion Milner described her effort to re-create teh conditions of her own recorded moments of happiness, saying, "Often when I felt certain that I had discovered the little mental act which produced the change I walked on air, exulting that I had found the key to my garden of delight and could slip through the door whenever I wished. But most often when I came again the place seemed different, the door overgrown with thorns and my key stuck in the lock. It was as if the first time I had said 'abracadabra' the door had opened, but the next time I must use a different word. (123-124).

He hardly went out at all. He took part in corporate life - in the regular meetings and processions of the journeymen - only just often enough as to be conspicuous neither by his absence nor by his presence. He had no friends or close aquantances, but took careful pains not to be considered arrogant or a misfit. He left it to the other journeymen to find his society dull and unprofitable. He was a master in the art of spreading boredom and playing the clumsy fool - though never so egregiously that people might enjoy making fun of him or use him as the butt of some crude practical joke inside the guild. He suceeded in being considered totally uninteresting. People left him alone. And that was all he wanted.

Art has something to do with beauty. The act of creating beauty pulls the portion of your soul to the surface that is true to the way you were created.

The contemporary world, scientific, technical, and sensualist, sees itself without exit - that is, without God - not because everything there is permitted and, by the way of technology, possible, but because everything there is equal. The unknown is immediately made familiar [...] The enchantment of sites, hyperbole of metaphorical concepts, the artifice of art, exaltation of ceremonies, the magic of solemnities - everywhere is suspected and denounced a theatrical apparatus, a purely rhetorical transcendence, the game. Vanity of vanities: the echo of our own voices, taken for a response to the few prayers that still remain to us; everywhere we have fallen back upon our own feet, as after the ecstasies of a drug. Except the other whom, in all this boredom, we cannot let go.

I wonder what life will be like a millennium from now, when the average age will be nearer to one thousand. Will we all be renaissance children, skilled at every art and science, because we’ve had the time to master them? Or will boredom and slavish routine plague us even more than it does today, giving us less of a reason to live limitless lives? I dream of the former, but suspect the latter.

The ultimate lesson games give is not about gratification and reward, nor about media and technology, nor about art and design. It is a lesson about modesty, attention, and care. Play cultivates humility, for it requires us to treat things as they are rather than as we wish them to be. If we let it, play can be the secret to contentment. Not because it provides happiness or pleasure—although it certainly can—but because it helps us pursue a greater respect for the things, people, and situations around us.

humans are unhappy in large part because we are insatiable; after working hard to get what we want, we routinely lose interest in the object of our desire. Rather than feeling satisfied, we feel a bit bored, and in response to this boredom, we go on to form new, even grander desires.

Seasonality (eating the best at its peak) and seasoning (the art of choosing and combining flavors to complement food) are vital for fighting off the food lover’s worst enemy: not calories, but boredom. Eat the same thing in the same way time and again, and you’ll need more just to achieve the same pleasure. (Think of it as “taste tolerance.”) Have just one taste experience as your dinner (the big bowl of pasta, a big piece of meat), and you are bound to eat too much, as you seek satisfaction from volume instead of the interplay of flavor and texture that comes from a well thought out meal.

Life is going on, but there is no drama, no expectation of an outcome, no sense of getting anywhere. Rather than this being a condition of boredom or frustration, though, it feels exactly right. It is tranquil but not tired. It is immensely peaceful but not inert. In a strange way, the picture is filled with a sense of delight in existence expressed quietly. It is not the light in itself that is so attractive; rather, it is the condition of the soul it evinces. The picture captures a part of who one is – a part that isn’t particularly verbal. You could point to this image and say, ‘That’s what I’m like, sometimes; and I wish I were like that more often.’ It could be the beginning of an important friendship if somebody else understood this too.

Much of the colony’s musical experimenting was, quite consciously, concerned with what might be called “time span.” What was the briefest note that the mind could grasp—or the longest that it could tolerate without boredom? Could the result be varied by conditioning or by the use of appropriate orchestration? Such problems were discussed endlessly, and the arguments were not purely academic. They had resulted in some extremely interesting compositions. But it was in the art of the cartoon film, with its limitless possibilities, that New Athens had made its most successful experiments. The hundred years since the time of Disney had still left much undone in this most flexible of all mediums. On the purely realistic side, results could be produced indistinguishable from actual photography—much to the contempt of those who were developing the cartoon along abstract lines.

And are we not guilty of offensive disparagement in calling chess a game? Is it not also a science and an art, hovering between those categories as Muhammad’s coffin hovered between heaven and earth, a unique link between pairs of opposites: ancient yet eternally new; mechanical in structure, yet made effective only by the imagination; limited to a geometrically fixed space, yet with unlimited combinations; constantly developing, yet sterile; thought that leads nowhere; mathematics calculating nothing; art without works of art; architecture without substance – but nonetheless shown to be more durable in its entity and existence than all books and works of art; the only game that belongs to all nations and all eras, although no one knows what god brought it down to earth to vanquish boredom, sharpen the senses and stretch the mind. Where does it begin and where does it end? Every child can learn its basic rules, every bungler can try his luck at it, yet within that immutable little square it is able to bring forth a particular species of masters who cannot be compared to anyone else, people with a gift solely designed for chess, geniuses in their specific field who unite vision, patience and technique in just the same proportions as do mathematicians, poets, musicians, but in different stratifications and combinations. In the old days of the enthusiasm for physiognomy, a physician like Gall might perhaps have dissected a chess champion’s brain to find out whether some particular twist or turn in the grey matter, a kind of chess muscle or chess bump, is more developed in such chess geniuses than in the skulls of other mortals. And how intrigued such a physiognomist would have been by the case of Czentovic, where that specific genius appeared in a setting of absolute intellectual lethargy, like a single vein of gold in a hundredweight of dull stone. In principle, I had always realized that such a unique, brilliant game must create its own matadors, but how difficult and indeed impossible it is to imagine the life of an intellectually active human being whose world is reduced entirely to the narrow one-way traffic between black and white, who seeks the triumphs of his life in the mere movement to and fro, forward and back of thirty-two chessmen, someone to whom a new opening, moving knight rather than pawn, is a great deed, and his little corner of immortality is tucked away in a book about chess – a human being, an intellectual human being who constantly bends the entire force of his mind on the ridiculous task of forcing a wooden king into the corner of a wooden board, and does it without going mad!

In the comprehension of familiar truths guaranteed by authority, the age is much less concerned with originality of interpretation than with the confirmation and corroboration of the truths themselves. It regards the rediscovery of what has already been established, the reforming of what has already been formed and the reinterpretation of truth as pointless and meaningless. The supreme values are beyond question and contained in eternally valid forms; the desire to change them, merely for the sake of changing them, would be pure presumption. The purpose of life is possession of the eternal values, not mental activity for its own sake. This is a calm, firmly established age, strong in faith, never losing its confidence in the validity of its own conception of truth and moral law, having no intellectual dissension and no conflicts of conscience, feeling no yearning for the new and no boredom with the old. At any rate, it does not lend any support to such ideas and feelings.

But over the years, of pain and distaste for what her mother had once called 'the horrible side of married life', of lonely days filled with aimless pursuits or downright boredom, of pregnancies, nurses, servants and the ordering of endless meals, it had come to seem as though she had given up of everything for not very much. She had journeyed towards this conclusion by stages hardly perceptible to herself, disguising discontent with some new activity which, as she was a perfectionist, would quickly absorb her. But when she had mastered the art, or the craft, or the technique involved in whatever it was, she realised that her boredom was intact and was simply waiting for her to stop playing with a loom, a musical instrument, a philosophy, a language, a charity or a sport and return to recognising the essential futility of her life. Then, bereft of distracton, she would relapse into a kind of despair as each pursuit betrayed her, failing to provide the raison d'être that had been her reason for taking it up in the first place.

In other words, is it better to live than not to live? His answer is negative: existence has no value in itself. A “life, by its whole tendency and disposition, is not capable of any true bliss or happiness, but is essentially suffering in many forms and a tragic state in every way.” Living creatures oscillate between painful desire and striving and boredom. It may seem that happiness is achieved when one gains what one desires, but, according to Schopenhauer, what that achieves is merely the cessation of the painful desire. “Happiness” is merely the negative state of the removal of pain. This “happiness” does not remain long, however. We become bored, and our painful wants propel us forward again to some other goal. How can we relieve ourselves of boredom and suffering, apart from simply committing suicide? One temporary respite from the suffering that is “the essence” of life is the aesthetic experience of beauty and the arts. It lifts us away from the striving of the will, releasing us from its painful effects, and leading to something like a tranquil state. Art can help us escape from the “essence of life,” “the suffering of the ever-striving will.

Darkness will always be a servant of light. Sound will always be a servant of motion. Matter will always be a servant of space. Time will always be a servant of eternity. Chance will always be a servant of fate. Speech will always be a servant of silence. Perception will always be a servant of awareness. Truth will always be a servant of reality. Freedom will always be a servant of responsibility. Desire will always be a servant of pleasure. Boredom will always be a servant of monotony. Experience will always be a servant of consciousness. Weakness will always be a servant of strength. Maturity will always be a servant of growth. Certainty will always be a servant of conviction. Curiosity will always be a servant of fascination. Ignorance will always be a servant of knowledge. Virtue will always be a servant of discipline. Wealth will always be a servant of risk. Power will always be a servant of influence. Science will always be a servant of nature. Philosophy will always be a servant of wisdom. Religion will always be a servant of customs. Art will always be a servant of creativity. The present will always be a servant of the future. The mind will always be a servant of the soul. The natural will always be a servant of the spiritual. The world will always be a servant of the universe.

Before every elementary school classroom had a 'Drop Everything and Read' period, before parents and educators agonized more about children being glued to Call of Duty or getting sucked into the vortex of the Internet, reading as a childhood activity was not always revered. Maybe it was in some families, in some towns, in some magical places that seemed to exist only in stories, but not where I was. Nobody trotted out the kid who read all the time as someone to be admired like the ones who did tennis and ballet and other feats requiring basic coordination. While those other kids pursued their after-school activities in earnest, I failed at art, gymnastics, ice skating, soccer, and ballet with a lethal mix of inability, fear and boredom. Coerced into any group endeavor, I wished I could just be home already. Rainy days were a godsend because you could curl up on a sofa without being banished into the outdoors with an ominous 'Go play outside.' Well into adulthood, I would chastise myself over not settling on a hobby—knitting or yoga or swing dancing or crosswords—and just reading instead. The default position. Everyone else had a passion; where was mine? How much happier I would have been to know that reading was itself a passion. Nobody treated it that way, and it didn't occur to me to think otherwise.

I’ve claimed—so far sort of vaguely—that what makes televisions hegemony so resistant to critique by the new Fiction of Image is that TV has coopted the distinctive forms of the same cynical, irreverent, ironic, absurdist post-WWII literature that the new Imagists use as touchstones. The fact is that TV’s re-use of postmodern cool has actually evolved as an inspired solution to the keep-Joe-at-once-alienated-from-and-part-of-the-million-eyed-crowd problem. The solution entailed a gradual shift from oversincerity to a kind of bad-boy irreverence in the Big Face that TV shows us. This in turn reflected a wider shift in U.S. perceptions of how art was supposed to work, a transition from art’s being a creative instantiation of real values to art’s being a creative rejection of bogus values. And this wider shift, in its turn, paralleled both the development of the postmodern aesthetic and some deep and serious changes in how Americans chose to view concepts like authority, sincerity, and passion in terms of our willingness to be pleased. Not only are sincerity and passion now “out,” TV-wise, but the very idea of pleasure has been undercut. As Mark C. Miller puts it, contemporary television “no longer solicits our rapt absorption or hearty agreement, but—like the ads that subsidize it—actually flatters us for the very boredom and distrust it inspires in us.” 24

Freedom sounds phenomenal to the preoccupied young. But when one is an adult and has “free days” there is simply not much to do. Even in Los Angeles, where everything was. There was an unspoken spell of solitude cast on the city. Once one has been to the main parts of town, and had their fair share at the beach, Los Angeles turned unbreathably lonely. The biggest risks took place in grocery stores where a quiet shopper chose to switch to multi-grain bread after two years on sourdough. One could use their afternoons to create art— maybe writing a poem or painting a picture—all of which pass time but are isolating activities in and of themselves. The child begs for freedom and the adult wants to be told what to do.

Our ability to detect and measure the passage of time is burdensome. The conception and sensation of time bears down upon all of us. It weighs us down; it compresses our souls. There is a variety of ways to escape the dull passage of time or the fearfulness of our accelerating march towards death. We must choose our mechanisms for dealing with the inexorability of time and our finiteness. We can fill our void with work or pleasure, laughter or pain, and fretfulness or courage. We can seek a sense of purposefulness or acknowledge the meaninglessness of life. We can seek to escape the drudgery and pain of life through alcohol, drugs, or pleasure seeking, or by working to support our families and create artistic testaments to our worldly existence.

The laws that keep us safe, these same laws condemn us to boredom. Without access to true chaos, we’ll never have true peace. Unless everything can get worse, it won’t get any better. This is all stuff the Mommy used to tell him. She used to say, “The only frontier you have left is the world of intangibles. Everything else is sewn up too tight.” Caged inside too many laws. By intangibles, she meant the Internet, movies, music, stories, art, rumors, computer programs, anything that isn’t real. Virtual realities. Make-believe stuff. The culture. The unreal is more powerful than the real. Because nothing is as perfect as you can imagine it. Because it’s only intangible ideas, concepts, beliefs, fantasies that last. Stone crumbles. Wood rots. People, well, they die. But things as fragile as a thought, a dream, a legend, they can go on and on.

It is easy for the student to feel that with all his labour he is collecting only a few leaves, many of them now torn or decayed, from the countless foliage of the Tree of Tales, with which the Forest of Days is carpeted. It seems vain to add to the litter. Who can design a new leaf? The patterns from bud to unfolding, and the colours from spring to autumn were all discovered by men long ago. But that is not true. The seed of the tree can be replanted in almost any soil, even in one so smoke-ridden (as Lang said) as that of England. Spring is, of course, not really less beautiful because we have seen or heard of other like events: like events, never from world's beginning to world's end the same event. Each leaf, of oak and ash and thorn, is a unique embodiment of the pattern, and for some this very year may be the embodiment, the first ever seen and recognized, though oaks have put forth leaves for countless generations of men. We do not, or need not, despair of drawing because all lines must be either curved or straight, nor of painting because there are only three 'primary' colours. We may indeed be older now, in so far as we are heirs in enjoyment or in practice of many generations of ancestors in the arts. In this inheritance of wealth there may be a danger of boredom or of anxiety to be original, and that may lead to a distaste for fine drawing, delicate pattern, and 'pretty' colours, or else to mere manipulation and over-elaboration of old material, clever and heartless. But the true road of escape from such weariness is not to be found in the willfully awkward, clumsy, or misshapen, not in making all things dark or unremittingly violent; nor in the mixing of colours on through subtlety to drabness, and the fantastical complication of shapes to the point of silliness and on towards delirium. Before we reach such states we need recovery. We should look at green again, and be startled anew (but not blinded) by blue and yellow and red. We should meet the centaur and the dragon, and then perhaps suddenly behold, like the ancient shepherds, sheep, and dogs, and horses – and wolves. This recovery fairy-stories help us to make. In that sense only a taste for them may make us, or keep us, childish.

Isn't it also a science, an art form, floating between those categories as the coffin of Mohammed betwixt heaven and earth, a one-off union of all opposing forces: ancient and yet forever new, technical in its layout and yet only operable through imagination, limited by a geometrically rigid space yet unlimited in its combinations, constantly evolving and yet lifeless, cogitation that leads to nothing, art without display, architecture without bricks and despite this, proven in its very being and existence to be more durable than all books and academic works; it is the only game that belongs to all races and all time, and nobody may know which heavenly power gave it to the world to slay boredom, sharpen the senses and capture the soul. Where is its beginning and where its end? Every child can grasp its basic principles, every dilettante can dabble at it, and yet it is capable within its fixed, tight square of producing a special species of master, bearing no comparison to others, people with a talent solely directed to chess, idiosyncratic geniuses in whom just as precise a proportion of vision, patience and technique is required as in a mathematician, a poet or a musician, merely in a different formula and combination.

The Search for Happiness Blessed is the man whose quiver is full of [children]. They will not be put to shame when they contend with their enemies in the gate. —PSALM 127:5     Storm Jameson, a twentieth-century English writer, wrote, “Happiness comes of the capacity to feel deeply, to enjoy simply, to think freely, to risk life, to be needed.” Parents want to make their children happy, employers want to make employees happy, married couples want a happy marriage, etc. “Just make me happy, and I’ll be satisfied!” Isn’t that what people (ourselves included) think and expect of others a lot of the time? Yet, we run into so many unhappy people—clearly these expectations are rarely met. Our newspapers are full of stories about unhappy people. They rob, they kill, they steal, they take drugs. They, they, they. Everywhere one looks, there is unhappiness. Then how does one become happy? I’ve found that happiness comes from one’s own perception. No one else is responsible for your happiness. Look in the mirror, and you can see who is responsible for your happiness! Gerald Brenan wrote: One road to happiness is to cultivate curiosity about everything. Not only about people but about subjects, not only about the arts but about history and foreign customs. Not only about countries and cities, but about plants and animals. Not only about lichened rocks and curious markings on the bark of trees, but about stars and atoms. Not only about friends but about that strange labyrinth we inhabit which we call ourselves. Then if we do that, we will never suffer a moment’s boredom.56 Happiness comes from within. It’s what you do: the choices you make, the interests you pursue, the attitudes you have, the friends you make, the faith you embrace, and the peace you live. You, you, you bring happiness to your life—no one else. Turn to the One who created you, inside and out, and follow His lead to happiness and wholeness.

The society’s ‘look’ is a self-publicizing one. The American flag itself bears witness to this by its omnipresence, in fields and built-up areas, at service stations, and on graves in the cemeteries, not as a heroic sign, but as the trademark of a good brand. It is simply the label of the finest successful international enterprise, the US. This explains why the hyperrealists were able to paint it naively, without either irony or protest (Jim Dine in the sixties), in much the same way as Pop Art gleefully transposed the amazing banality of consumer goods on to its canvases. There is nothing here of the fierce parodying of the American anthem by Jimi Hendrix, merely the light irony and neutral humour of things that have become banal, the humour of the mobile home and the giant hamburger on the sixteen-foot long billboard, the pop and hyper humour so characteristic of the atmosphere of America, where things almost seem endowed with a certain indulgence towards their own banality. But they are indulgent towards their own craziness too. Looked at more generally, they do not lay claim to being extraordinary; they simply are extraordinary. They have that extravagance which makes up odd, everyday America. This oddness is not surrealistic (surrealism is an extravagance that is still aesthetic in nature and as such very European in inspiration); here, the extravagance has passed into things. Madness, which with us is subjective, has here become objective, and irony which is subjective with us has also turned into something objective. The fantasmagoria and excess which we locate in the mind and the mental faculties have passed into things themselves. Whatever the boredom, the hellish tedium of the everyday in the US or anywhere else, American banality will always be a thousand times more interesting than the European - and especially the French - variety. Perhaps because banality here is born of extreme distances, of the monotony of wide-open spaces and the radical absence of culture. It is a native flower here, asis the opposite extreme, that of speed and verticality, of an excess that verges on abandon, and indifference to values bordering on immorality, whereas French banality is a hangover from bourgeois everyday life, born out of a dying aristocratic culture and transmuted into petty-bourgeois mannerism as the bourgeoisie shrank away throughout the nineteenth century. This is the crux: it is the corpse of the bourgeoisie that separates us. With us, it is that class that is the carrier of the chromosome of banality, whereas the Americans have succeeded in preserving some humour in the material signs of manifest reality and wealth. This also explains why Europeans experience anything relating to statistics as tragic. They immediately read in them their individual failure and take refuge in a pained denunciation of the merely quantitative. The Americans, by contrast, see statistics as an optimistic stimulus, as representing the dimensions of their good fortune, their joyous membership of the majority. Theirs is the only country where quantity can be extolled without compunction.

But…but that’s tragic! To go through life without color? Unable to appreciate art, or beauty?” He laughed. “Now, sweet-hold your brush before you paint me a martyr’s halo. It’s not as though I’m blind. I have a great appreciation for art, as I believe we’ve discussed. And as for beauty…I don’t need to know whether your eyes are blue or green or lavender to know that they’re uncommonly lovely.” “No one has lavender eyes.” “Don’t they?” His gaze caught hers and refused to let go. Leaning forward, he continued, “Did that tutor of yours ever tell you this? That your eyes are ringed with a perfect circle a few shades darker than the rest of the…don’t they call it the iris?” Sophia nodded. “The iris.” He propped his elbow on the table and leaned forward, his gaze searching hers intently. “An apt term it is, too. There are these lighter rays that fan out from the center, like petals. And when your pupils widen-like that, right there-your eyes are like two flowers just coming into bloom. Fresh. Innocent.” She bowed her head, mixing a touch of lead white into the sea-green paint on her palette. He leaned closer still, his voice a hypnotic whisper. “But when you take delight in teasing me, looking up through those thick lashes, so saucy and self-satisfied…” She gave him a sharp look. He snapped his fingers. “There! Just like that. Oh, sweet-then those eyes are like two opera dancers smiling from behind big, feathered fans. Coy. Beckoning.” Sophia felt a hot blush spreading from her bosom to her throat. He smiled and reclined in his chair. “I don’t need to know the color of your hair to see that it’s smooth and shiny as silk. I don’t need to know whether it’s yellow or orange or red to spend an inordinate amount of time wondering how it would feel brushing against my bare skin.” Opening his book to the marked page, he continued, “And don’t get me started on your lips, sweet. If I endeavored to discover the precise shade of red or pink or violet they are, I might never muster the concentration for anything else.” He turned a leaf of his book, then fell silent. Sophia stared at her canvas. Her pulse pounded in her ears. A bead of sweat trickled down the back of her neck, channeling down between her shoulder blades, and a hot, itchy longing pooled at the cleft of her legs. Drat him. He’d known she was taunting him with her stories. And now he sat there in an attitude of near-boredom, making love to her with his teasing, colorless words in a blatant attempt to fluster her. It was as though they were playing a game of cards, and he’d just raised the stakes. Sophia smiled. She always won at cards. “Balderdash,” she said calmly. He looked up at her, eyebrow raised. “No one has violet lips.” “Don’t they?” She laid aside her palette and crossed her arms on the table. “The slope of your nose is quite distinctive.” His lips quirked in a lopsided grin. “Really.” “Yes.” She leaned forward, allowing her bosom to spill against her stacked arms. His gaze dipped, but quickly returned to hers. “The way you have that little bump at the ridge…It’s proving quite a challenge.” “Is that so?” He bent his head and studied his book. Sophie stared at him, waiting one…two…three beats before he raised his hand to rub the bridge of his nose. Quite satisfactory progress, that. Definite beginnings of fluster.

Life has been reduced to a series of long periods of boredom in the office punctuated by high-octane “experiences” which you can rack up on your list of things to do before you die. That’s not really living: that is slavery with the occasional circus thrown in.

The proliferation of creative power can transform the world for all of its inhabitants.

I hide myself behind, a cloud of smoke; the smoke screen varies, dependent on the variable. The variable consists of: stress, anguish, boredom, madness, anger, depression, apathy, negativity, sex, violence & a little chunk of chaos.

• What difficult conversation do you need to have but have been putting off because you don’t want to upset the other person? Idea • An ambitious delegation requires you to give lots of both support and challenge to the delegatee. Idea • Too much challenge is the Zone of Stress, burn-out and uneven results. Too much support is the zone of complacency and slipping standards. Too little of each is the zone of inertia, apathy, isolation and boredom.

Everything was predictable. Cinema had act structures. Music had beats. Poets had tricks. Books had arcs. Food tasted delicious as long as it was on the surface of one’s tongue. Any chance of happiness was but one single carousel round, so naturally, after a while, the passenger felt expired. To Andrei, there ceased to be anything worth chasing and this feeling of “running out” in an abundant globe confused him. He wished there was something in the world that was infinite or lasted forever—or was at least worth remembering forever. This was why the sleeper could not dream—his imagination writhed in his true-to-life gluttony.

Unlike in the workplace, there’s also less pressure in a quiet home environment to multitask. While we like to believe that we’re good at multitasking, research suggests it’s rarely an effective strategy. What appears to us as tackling several activities at once often involves simply shuffling between tasks, for which there are serious consequences. When we multitask, our performance suffers, and our stress levels spike. In part, it’s because redirecting our attention from one task to another depletes our cognitive resources, leaving us with less mental energy than if we had simply devoted our full attention to one activity at a time. Researchers are also finding that chronic multitaskers—those of us who can’t help but read e-mails while talking on the phone, for example—are especially prone to experiencing boredom, anxiety, and depression.

In the boredom and pain of it no less than in the excitement and gladness: touch, taste, smell your way to the holy and hidden heart of it because in the last analysis all moments are key moments . . .

I hope later she will see and feel a thing about these parries I have given up talking to others about; a thing that exists here because everything else does not and can be noticed because other things are absent. She seems so depressed sometimes by the monotony and boredom of her city life, I thought maybe this endless grass and wind she would see a thing that sometimes comes when monotony and boredom are accepted.

Once you understand the logic behind modern schooling, its tricks and traps are fairly easy to avoid. School trains children to be employees and consumers; teach yours to be leaders and adventurers. School trains children to obey reflexively; teach yours to think critically and independently. Well-schooled kids have a low threshold for boredom; help your own to develop an inner life so that they'll never be bored. Urge them to take on the serious material, the grown-up material, in history, literature, philosophy, music, art, economics, theology — all the stuff schoolteachers know well enough to avoid. Challenge your kids with plenty of solitude so that they can learn to enjoy their own company, to conduct inner dialogues. Well-schooled people are conditioned to dread being alone; they seek constant companionship through the TV, the computer, the cell phone, and through shallow friendships quickly acquired, quickly abandoned. Your children should have a more important life, and they can. Don't let your own children have their childhoods extended, not even for a day. If David Farragut could take command of a captured British warship as a preteen, if Ben Franklin could apprentice himself to a printer at the same age, . . . there's no telling what your own kids could do. (p. xxii) — John Taylor Gatto, Weapons of Mass Instruction

In late 2014, Minecraft creator Markus “Notch” Persson sold his company to Microsoft for $2.5 billion. Notch published a depressive justification for his desire to recede from public life thanks to the impossibility of satisfying the onslaught of demands from his customers and fans—another thing that can turn on you, it turns out. Then he bought a $70 million Beverly Hills mansion, along with all the furnishings, accessories, art, even the cases of champagne and tequila, even the ultraluxury vehicles the real estate speculator who built the place had installed within its sprawling garage for staging. Notch, the man who made a blank canvas world in which you could make anything, used the spoils to buy a prepackaged, off-the-shelf billionaire’s life. As for his fans, undeterred, they dutifully reconstructed a version of the $70 million mansion in Minecraft.16 It’s an addict’s logic: only one more hand, only one more hit, then I’ll be satisfied. Then I can stop. But, of course, that’s not how addiction works. With every repetition, the effect of a compulsion reduces, requiring even more stimulation to produce formerly intoxicating results. Such

Why is this disengagement epidemic becoming the new norm? A few reasons I have witnessed in speaking with companies across the country include . . . • Information overload • Distractions • Stress/overwhelmed • Apathy/detachment • Short attention span • Fear, worry, anxiety • Rapidly changing technology • Entitlement • Poor leadership • Preoccupation • Social media • Interruptions • Multitasking • Budget cuts • Exhaustion • Boredom • Conflict • Social insecurity • Lack of longevity These challenges not only create separation and work dysfunction, but we are seeing it happen in relationships and personal interactions.

At the point in his lecture where he was saying that the representative element in a work of art is always irrelevant, that for one to appreciate a work of art one must bring to it nothing from life, no knowledge of life’s affairs and ideas, no familiarity with its emotions and desires, he was seized by the most stupefying boredom and he had to leave the stage.

The feeling is coming back. I’ve had it for years, an endless, aching boredom. Generally, when I start to feel the emptiness, my first line of defense is to catch it off guard with a distraction. I’ve done this more times than I can count with a variety of different activities—tennis, yachting, sky diving, elaborate trips to climb far-flung mountains. I have to say that all of them have worked to varying degrees. There is an art to finding a good distraction, one that will keep you from sinking into the abyss. There needs to be some action incorporated into it, and it needs to involve other people, so nothing too sedentary or isolating. No knitting or chess. But it can’t be just empty action. There needs to be some sort of goal, some way of bettering yourself or learning a new skill. Otherwise, you will start to question what the point of it even is, and you will become restless. And if you are at loose ends, you will leave yourself open, vulnerable, and the feeling will find you.

number of studies support a notion that’s obvious to many of us: Much of the time we spend in gatherings with other people disappoints us. “With the occasional exception, my mood in conferences usually swings between boredom, despair, and rage,” Duncan Green, a blogger and specialist in international development, confesses in the Guardian. Green’s take isn’t unique to conferences: The 2015 State of Enterprise Work survey found that “wasteful meetings” were employees’ top obstacle to getting work done.

As the two persons become better acquainted and more familiar to each other, their intimacy loses more and more its miraculous character, until their antagonism, their disappointments, their mutual boredom kill whatever is left of the initial excitement. Yet, in the beginning they do not know all this: in fact, they take the intensity of the infatuation, this being ‘crazy’ about each other, for proof of the intensity of their love, while it may only prove the degree of their preceding loneliness.

What do those two or three hundred members of a club actually do all day? Are they looking to enlighten themselves, in good faith, on important social issues? Do they talk about business and politics? Literature, theatre and fine arts, perhaps? No. They go there to eat well, drink good wines, play and escape the boredom of the household; they come there looking for a shelter from the tribulations of the day, and not to indulge in fatigue sustained by discussion on any topic. Besides, to whom could they chat? They remain unknown to each other; the membership of a club does not entail the obligation to speak to one’s associates, or even to greet them. And so everyone enters the lounges, a hat on his head, neither looking at, nor greeting, anyone. There is nothing more comical than seeing a hundred men gathered together in these large living rooms, as if they were furniture; one, sitting on an armchair, reads a new brochure; another writes on a table, next to an individual he has never spoken to; that one, sprawled across a sofa, sleeps; then there are those walking up and down; and not to disturb this sepulchral silence, there are some who speak low, as if they were in church. ‘What fun can these men find, to be reunited in this way?’, I thought when I saw them.

Of all existing entertainments, musical art is the most unfortunate, inactive, and uninteresting. The true function of music is not to entertain or distract, but to attract, collect, hypnotically concentrate the feelings and thoughts of the listeners. Our muse turns away from those who by their nature are not attracted to her. She punishes with severe boredom those who seek in her but the excitement of idle thought.

I hope later she will see and feel a thing about these prairies I have given up talking to others about; a thing that exists here because everything else does not and can be noticed because other things are absent. She seems so depressed sometimes by the monotony and boredom of her city life, I thought maybe in this endless grass and wind she would see a thing that sometimes comes when monotony and boredom are accepted. It’s here, but I have no names for it.

education C.S. Lewis makes many references to education in his fiction. Experiment House*, for instance, in The Voyage of the “Dawn Treader”*, embodies his dislike of modern educational methods. In his opinion Mark Studdock*, in That Hideous Strength*, is characteristic of many of Lewis’s contemporary intelligensia – uneducated by classical standards. Judged only by his satire, however, Lewis would seem intensely prejudiced. This is misleading. His powerful essay The Abolition of Man* suggested that anti-human values were being unwittingly embodied in some typical school textbooks of his time. Lewis nowhere more clearly put forward his vision of education than in his early essay “Our English Syllabus” in Rehabilitations and Other Essays*. He confesses: “Human life means to me the life of beings for whom the leisured activities of thought, art, literature, conversation are the end, and the preservation and propagation of life merely the means. That is why education seems to me so important: it actualizes that potentiality for leisure, if you like for amateurishness, which is man’s prerogative... Man is the only amateur animal; all the others are professionals… The lion cannot stop hunting, nor the beaver building dams… When God made the beasts dumb He saved the world from infinite boredom…

Speechless (From Eyes That Never Saw Skies) You sit in a dark room Imagining all the list of things you would do for revenge. This is how we bring the love back. You wake at night When you think everyone is quiet. You look at yourself through the broken windscreen; Life imitates art. You love yourself when you are speechless, The ceiling fan swirls around in annoyance. There’s nothing as painful as being a stranger in your own dreams. Even the neon lights you see when you shut your eyes Don’t want to see you anymore. You are speechless, Everyone around you is trying to murder someone. But you walk like you’re invisible, Strapped to memories of some foolish old man Who drinks champagne to a dying soul. You look at yourself again and mutter to yourself You cannot be a stranger anymore. Even ghosts have set themselves free from boredom. And when you go back to your room, It’s you and the annoying ceiling fan again. Dear self, Don’t you worry child, We will fight and win another day. Dear luck, Find me too like you find others. Dedicated to Kellie Elizabeth Jones

In cultures like these, entertainment often becomes paramount. When a culture's greatest enemy is boredom, its greatest savior is entertainment.

When art becomes a mere distraction from our first-world boredom, it will devolve into something less human. It will become animalistic and trite. But it will certainly be entertaining.

You have to practice being single but in a relationship. This is not a contradiction, it’s the art of sensual living.

For Humboldt, the question had been, ‘Why are there regional variations in nature?’ For the person standing before the Iglesia de San Francisco el Grande, the question might be, ‘Why have people felt the need to build churches?’ or even ‘Why do we worship God?’ From such a naive starting point, a chain of curiosity would have the chance to grow, involving questions such as ‘Why are churches different in different places?’, ‘What have been the main styles of churches?’ and ‘Who were the main architects, and why did they achieve success?’ Only through such a slow evolution of curiosity could a traveller stand a chance of greeting the news that the church’s vast neoclassical facade was by Sabatini with anything other than boredom or despair.