By Lars Svendsen
It's been defined as a "tame longing with none specific object" by means of Schopenhauer, "a bestial and indefinable affliction" through Dostoevsky, and "time's invasion of your global system" by means of Joseph Brodsky, yet nonetheless only a few people this present day can clarify accurately what boredom is. A Philosophy of Boredom investigates one of many significant preoccupations of our age because it probes the character of boredom, the way it originated, how and why it afflicts us, and why we won't appear to triumph over it by way of any act of will.
Lars Svendsen brings jointly observations from philosophy, literature, psychology, theology, and pop culture, interpreting boredom's pre-Romantic manifestations in medieval torpor, philosophical musings on boredom from Pascal to Nietzsche, and smooth explorations into alienation and transgression through twentieth-century artists from Beckett to Warhol. A witty and unique account of our dullest moments and such a lot maddening days, A Philosophy of Boredom will entice a person curious to understand what lies underneath the overpowering inertia of state of being inactive.
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Additional resources for A Philosophy of Boredom
Mapping as a way of relating the projects with the spaces of the hospital, and overlaying onto the drawings of the hospital, were suggested, as was a process of “correcting” the first inscriptions later. In the end a single constraint was chosen: “to prepare an inscription in three hours or less which explores location and TOSW”. Five inscriptions were returned in response to this invitation, and a statement that arrived with the inscription or came out of discussion. Inscription 1: Volant I will try to speak from my position of voluntariness.
In formulating how the multitude occupies this middle region, Virno draws on the work of Gilbert Simondon (Virno et al. 2004, p. 79) and his principle of individuation, in which the collective, the collective experience, the life of the group, is not, as we usually believe, the sphere within which the salient traits of a singular individual diminish or disappear; on the contrary, it is the terrain of the new and more radical individuation. By participating in a collective, the subject, far from surrendering the most unique individual traits, has the opportunity to individuate, at least in part, the share of pre-individual reality which all individuals carry within themselves.
This resonates with the somewhat unmanicured surfaces, which seem to inhabit these gaps in a celebration of untrimmed pubic and underarm hair. At the level of intricate texture rather than form, this surface treatment enacts a similar movement: almost but not quite swarming, being similarly repetitious and having some sense of flow, but being much more lumpy, bumpy and inelegant. And then, this set of jumpy, furry funnels offer a notable spatial experience. In a review of the project, Trevor Patt compares it with the “Soane House in that it sets out a non-linear sequence of verticals without hierarchical order.