“To me, at least in retrospect, the really interesting question is why dullness proves to be such a powerful impediment to attention. Why we recoil from the dull. Maybe it’s because dullness is intrinsically painful; maybe that’s where phrases like ‘deadly dull’ or ‘excruciatingly dull’ come from. But there might be more to it. Maybe dullness is associated with psychic pain because something that’s dull or opaque fails to provide enough stimulation to distract people from some other, deeper type of pain that is always there, if only in an ambient, low-level way, and which most of us spend nearly all our time and energy trying to distract ourselves from feeling, or at least from feeling directly or with our full attention. Admittedly, the whole thing’s pretty confusing, and hard to talk about abstractly…but surely something must lie behind not just Muzak in dull or tedious places any more but now also actual TV in waiting rooms, supermarkets’ checkouts, airport gates, SUVs’ backseats. Walkman, iPods, BlackBerries, cell phones that attach to your head. This terror of silence with nothing diverting to do. I can’t think anyone really believes that today’s so-called ‘information society’ is just about information. Everyone knows it’s about something else, way down.”
“When I have neither pleasure nor pain and have been breathing for a while the lukewarm insipid air of these so called good and tolerable days, I feel so bad in my childish soul that I smash my moldering lyre of thanksgiving in the face of the slumbering god of contentment and would rather feel the very devil burn in me than this warmth of a well-heated room. A wild longing for strong emotions and sensations seethes in me, a rage against this toneless, flat, normal and sterile life. I have a mad impulse to smash something, a warehouse, perhaps, or a cathedral, or myself, to commit outrages, to pull off the wigs of a few revered idols...”
In Experience Without Qualities: Boredom and Modernity, Elizabeth Goodstein traces the modern discourse on boredom through literary, philosophical, and sociological texts to find that as "a discursively articulated phenomenon...boredom is at once objective and subjective, emotion and intellectualization—not just a response to the modern world but also a historically constituted strategy for coping with its discontents." In both conceptions, boredom has to do fundamentally with an experience of time and problems of meaning.
If he can maintain his concentration, Goetz intends to continue his own research into understanding the nature of boredom. He wants to measure physiological signs of arousal, which could one day add a new component to wearable health trackers. He’s also interested in investigating whether specific boredom types correspond to different age levels and cultures. “There are many important questions to be answered related to the boredom types,” he says.
The highest levels of arousal and negative emotions. A person in a reactant boredom state has a strong motivation to escape his or her boring situation and avoid those responsible for it (such as teachers or a boss). Reflects significant restlessness and aggression. There are persistent thoughts about specific, “more highly valued alternative situations.”
The French loanword ennui comes from the very same Late Latin word that gave us annoy — inodiare ("to make loathsome"). We borrowed ennui several centuries after absorbing annoy into the language. Ennui deals more with boredom than irritation - and a somewhat specific sort of boredom at that. It generally refers to the feeling of jadedness that can result from living a life of too much ease. The poet Charles Lloyd described it well in his 1823 Stanzas to Ennui when he referred to that world-weary sensation as a "soul-destroying fiend" which visits with its "pale unrest / The chambers of the human breast / Where too much happiness hath fixed its home."