There are three types of boredom, all of which involve problems of engagement of attention. These include times when we are prevented from engaging in wanted activity, when we are forced to engage in unwanted activity, or when we are simply unable for some other reason to maintain engagement in an activity. Boredom proneness is a tendency to experience boredom of all types. This is typically assessed by the Boredom Proneness Scale. Recent research has found that boredom proneness is clearly and consistently associated with failures of attention. Boredom and its proneness are both theoretically and empirically linked to depression and similar symptoms. Nonetheless, boredom proneness has been found to be as strongly correlated with attentional lapses as with depression. Although boredom is often viewed as a trivial and mild irritant, proneness to boredom has been linked to a very diverse range of possible psychological, physical, educational, and social problems.
The people who heard the barely noticeable TV rated themselves as more bored than either the ones who heard the loud TV or heard no soundtrack. The idea is that both the loud TV and the soft TV were distracting, but for those who heard the loud TV it was clear why they were distracted from the article. Thus, they may have been frustrated with the noise, but they were not bored. Those who heard the soft soundtrack had difficulty concentrating, but they were not sure why, and so they attributed the difficulty concentrating to boredom.
"Meh" is an interjection used as an expression of indifference or boredom. It may also mean "be it as it may". It is often regarded as a verbal shrug of the shoulders. The use of the term "meh" shows that the speaker is apathetic, uninterested, or indifferent to the question or subject at hand. It is occasionally used as an adjective, meaning something is mediocre or unremarkable.
The bored antihero became prominent in early 20th century existentialist works such as Franz Kafka's The Metamorphosis (1915), Jean-Paul Sartre's La Nausée (1938) (French for 'Nausea'), and Albert Camus' L'Étranger (1942) (French for 'The Stranger'). The protagonist in these works is an indecisive central character who drifts through his life and is marked by ennui, angst, and alienation.
When the antiproton was discovered … it sent a wave of ennui through the physics community. Not that its discovery was unimportant, but on the basis of Dirac's theory, everybody expected it. — Roger G. Newton, The Truth of Science, 1997 Chauncey and I were keen enough about our aesthetic solution to the ennui of war to try to proselytize others. He organized discussion groups with the crew; I took volunteers to visit landmarks … — Louis Auchincloss, "Atlantic War," in Authors at Sea, ed. Robert Shenk, 1997 The attendant outside was standing on tennis balls, exercising the soles of her feet, her body swaying back and forth with the ennui of jelly. — Edna O'Brien, New Yorker, 17 June 1991 Thus the days of life are consumed, one by one, without an object beyond the present moment; ever flying from the ennui of that, yet carrying it with us … — Thomas Jefferson, in a letter dated 7 Feb. 1787 Thomas Jefferson: Writings, 1984 the kind of ennui that comes from having too much time on one's hands and too little will to find something productive to do