Why do we get bored? Photo: Flickr/CollegeDegrees360
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Familiarity breeds contempt: why do we get bored, and what is the point of boredom?

The science of being sick and tired.

A couple of years ago, I went to see Joanna Murray-Smith’s adaptation of Ingmar Bergman’s Scenes from a Marriage (1973) at the St James Theatre in London. Like the TV series of the same name, the play was centred on the crumbling of a once happy marriage.

The production, though wondrously engaging and well-acted, really unsettled me. The couple were once very much in love with one another. Why did being with the same stimuli (each other) for a respectable amount of time (20 years) cause their psychology’s interest for one another to fade?

Did they just become bored of each other? Surely not – it seems too facile to blame it on boredom. Or perhaps I’m not giving the word "boredom" enough credit? 

Boredom manifests itself throughout our lives, right from infancy.

For example, collect all your hard-earned pennies to buy a baby a toy. Give the baby the toy. The baby, with the attention span of a squirrel, will be intrigued by the toy for five seconds. The baby will probably drop the toy and move on to the next intriguing item (most likely something hazardous). Give the baby the toy again and they’ll look at it for 1.5 seconds and drop it again. Give the baby the toy again and they’ll probably get pissed off and start to cry.

More examples: when your room, which your eyes have become accustomed to, looks dull and homogenous until something new is introduced, or when your wardrobe feels bland and you’re compelled to buy new clothes, or when you protect your new iPhone like a newborn baby until it starts to age, etc.

All of this is because of boredom, and it’s quite compelling.

“Boredom is extremely common,” Bill Griesar tells me, a behavioural neuroscientist of Washington State University Vancouver. “And it's found across cultures, so the pervasive nature of this experience suggests that it serves some critical role in behaviour.”

So, what is exactly is boredom? The Oxford dictionary describes it as: “Feeling weary and impatient because one is unoccupied or lacks interest in one’s current activity”.

For a feeling so common, it's surprising that the word first appeared written down in 1852, in Charles Dickens’ Bleak House. In it, Lady Dedlock says she is “bored to death” with her marriage.

The late Robert Plutchik, a Professor Emeritus at the Albert Einstein College of Medicine, created a “Wheel of Emotions” (extended in order of intensity) in 1980, and placed boredom after disgust, as a milder form of disgust:

Plutchik's Wheel of Emotions. Image: Robert Plutchik

Although boredom is essential for human development it’s been given a bad rap. “Boredom has traditionally been associated with a range of negative outcomes, both within the workplace and outside it,” Sandi Mann and Rebekah Cadman of the University of Central Lancashire write in their 2014 paper. Mann and Cadman examined the relationship between boredom and creative potential on a range of tasks in two studies.

In the first study, 80 eager volunteers visited their lab only to be given the dull, monotonous chore of copying out lengthy lists of telephone numbers, or to be excluded from it (this was the control group), followed by the creative task of thinking of as many possible uses for a pair of plastic cups.

In the second study, a further 90 volunteers were split into three groups, each group being assigned to various types of boring activities (copying numbers, reading the numbers, or being excused from the whole thing  again, a control), followed by a creative task.

“Results suggested that boring activities resulted in increased creativity and that boring reading activities lead to more creativity in some circumstances,” the authors write. 

Mann dubbed boredom as “the Cinderella of psychology”: “Boredom is neglected in psychology! Stress, etc, gets to go to the ball, but never boredom!” she tells me.

In a similar another study, researchers Karen Gasper and Brianna Middlewood of Pennsylvania State University found participants who were bored outperformed those who were relaxed, elated or distressed on creative tasks.

Griesar tells me that, as a graduate student, he was struck by how nicotine reduced subjective reports of boredom in non-smoking subjects, who had to complete a deadly dull computer-based task. These subjects reported much less boredom when on nicotine, a stimulant drug, delivered by patch (without knowing they were on the drug), while their physiological state of attentiveness (as measured by a electroencephalogram, or EEG, a test used to record brain activity), and their performance on the boring task, both improved. Most subjects even claimed to enjoy the computer task while on the drug.

In newer research on this topic, Colleen Merrifield and James Danckert of the University of Waterloo found boredom was linked to a faster heart rate and increased release of the stress hormone, cortisol, but lower skin conductance response to stimuli. In short: when you’re bored, you’re more stressed and alert – unmotivated by your surroundings, and perhaps less able to sustain attention on what’s at hand.

So, what is boredom for, exactly? Well, a recent paper examined that question in some detail.

Heather Lench of Texas A&M University and Shane Bench of Washington State University suggest that boredom motivates you to seek something new – some new goals or situations or stimuli that offer you a better chance for motivated engagement. From the paper, "By motivating desire for change from the current state, boredom increases opportunities to attain social, cognitive, emotional and experiential stimulation that could have been missed.”

So, is our level of boredom relative, depending on the country we’re in?

“So I've lived in the UK and Japan, and have definitely experienced culture shock in both places, which involves periods of boredom," Griesar tells me. "Perhaps all the new stimuli, including confusing and even occasionally upsetting social experiences, are novel and alerting  so you get a faster heart rate, and more stress. But effective, adaptive social responses aren’t yet so clear…  As new social skills are built, through direct social engagement), there are more opportunities to get productively involved in interesting, and less boring situations."

What’s the neuroscience behind boredom? Our brain’s motivational networks involve the release of a neurotransmitter called dopamine. Dopamine is reliably released in response to novel, unexpected, rewarding stimuli – and to stimuli that predict, based on past experience, the delivery of some reward.

“That new iPhone, toy, pair of shoes, etc, are both novel  they always offer exciting new features  and predict rewards, like a positive or envious social response from others, or perhaps a longer battery life, bigger screen, that you anticipate will make your life better or easier,” Griesar tells me. “But once you’ve got the shiny, new thing, your brain is on the lookout for additional opportunities. Dopamine release is linked to anticipation, and helps promote movement/behaviour towards obtaining that reward. And of course, the anticipation is often much better than that actual reward itself,” he adds.  

One of my favourites YouTubers, Michael Stevens, aka Vsauce, gives his own awesome take on boredom:

He concludes:

Boredom protects us. Monotonous speakers, mind-numbing tasks, and an overload of sameness – those things aren’t dirty or poisonous [like disgust, an emotion more intense than boredom], they’re just not stimulating enough. [Like the studies shown above] Boredom compels us to new [creative] things – fresh stimulation  and when it can be overcome, a propensity to boredom is a sign of a healthy mind […] So the next time you’re a little bored, be proud. Thank your ancestors – you are participating in a life-improving drive, like hunger or thirst that pushes us towards new and better things".

***

Now listen to Tosin discussing the science behind boredom on the NS podcast:

 

Tosin Thompson writes about science and was the New Statesman's 2015 Wellcome Trust Scholar. 

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The one where she turns into a USB stick: the worst uses of tech in films

The new film Worst Tinder Date Ever will join a long tradition of poorly-thought-through tech storylines.

News just in from Hollywood: someone is making a film about Tinder. What will they call it? Swipe Right, perhaps? I Super Like You? Some subtle allusion to the app’s small role in the plotline? Nope – according to Hollywood Reporterthe film has been christened Worst Tinder Date Ever.

With the exception of its heavily branded title (You’ve Got Gmail, anyone?), Worst Tinder Date Ever follows neatly in the tradition of writers manhandling tech into storylines. Because really, why does it matter if it was a Tinder date? This “rom com with action elements” reportedly focuses on the couple’s exploits after they meet on the app, so the dogged focus on it is presumably just a ploy to get millennial bums on cinema seats.  

Like the films on this list, it sounds like the tech in Worst Tinder Date Ever is just a byword for “modern and cool” – even as it demonstrates that the script is anything but.

Warning: spoilers ahead.

Lucy (2014)

Scarlett Johansson plays Lucy, a young woman who accidentally ingests large quantities of a new drug which promises to evolve your brain beyond normal human limits.

She evolves and evolves, gaining superhuman powers, until she hits peak human, and turns into first a supercomputer, and then a very long USB stick. USB-Lucy then texts Morgan Freeman's character on his fliphone to prove that: “I am everywhere.”

Beyond the obvious holes in this plotline (this wouldn’t happen if someone’s brain evolved; texting a phone is not a sign of omnipotence), USB sticks aren’t even that good – as Business Insider points out: “Flash drives are losing relevance because they can’t compete in speed and flexibility with cloud computing services . . . Flashdrives also can’t carry that much information.”

Star Wars: The Force Awakens (2015)

If you stare at it hard enough, the plotline in the latest Star Wars film boils down to the following: a gaggle of people travels across space in order to find a map showing Luke Skywalker’s location, held on a memory stick in a drawer in a spherical robot. Yep, those pesky flash drives again.

It later turns out that the map is incomplete, and the rest of it is in the hands of another robot, R2-D2, who won’t wake up for most of the film in order to spit out the missing fragment. Between them, creator George Lucas and writer and director JJ Abrams have dreamed up a dark vision of the future in which robots can talk and make decisions, but can’t email you a map.

Willy Wonka and the Chocolate Factory (1971)

In which a scientist uses a computer to find the “precise location of the three remaining golden tickets sent out into the world by Willy Wonka. When he asks it to spill the beans, it announces: “I won’t tell, that would be cheating.


Image: Paramount Pictures. 

The film inhabits a world where artificial intelligence has been achieved, but no one has thought to pull Charlie's poor grandparents out of extreme poverty, or design a computer with more than three buttons.

Independence Day (1996)

When an alien invasion threatens Earth, David Levinson (Jeff Goldblum) manages to stop it by hacking the alien spaceship and installing a virus. Using his Mac. Amazing, really, that aliens from across the universe would somehow use computing systems so similar to our own. 

Skyfall (2012)

In the Daniel Craig reboot of the series, MI6’s “Q” character (played by Ben Whishaw) becomes a computer expert, rather than just a gadget wizard. Unfortunately, this heralded some truly cringeworthy moments of “hacking” and “coding” in both Skyfall and Spectre (2014).

In the former, Bond and Q puzzle over a screen filled with a large, complex, web shape. They eventually realise it’s a map of subterranean London, but then the words security breach flash up, along with a skull. File under “films which make up their own operating systems because a command prompt box on a Windows desktop looks too boring”.

An honourable mention: Nelly and Kelly Rowland’s “Dilemma” (2009)

Not a movie, but how could we leave out a music video in which Kelly Rowland texts Nelly on a Microsoft Excel spreadsheet on a weird Nokia palm pilot?


Image: Vevo.

You’ll be waiting a long time for that response, Kelly. Try Tinder instead.

Barbara Speed is a technology and digital culture writer at the New Statesman and a staff writer at CityMetric.