Boredom

“Boredom 1.0 no longer exists… no one is bored (yet) everything is boring.” — Mark Fisher

I don’t think I can summarize the state of the 21st century mind better than Mark Fisher does in the above quote. We’re flooded with wanting, bombarded by data and detail yet we’ve never felt more apathetic towards things. It’s as if we’re simultaneously complaining that there’s no time for anything yet tormentedly woe when there’s nothing to do, so hungry are we to fill up that time as soon as it arrives. We’ve become, as a species, almost incapable of living in the immediate present; we fail to embrace what we feel in the moment without ever trying to control it.

“The present moment is the richest apex of being.” — Terence McKenna

On top of that, one can say that it’s perhaps never been more confusing to be a man or a woman in contemporary society today. Traditions, despite their flaws in outdated rituals or irrational doctrines, at least provided an approximate blueprint as to how to behave, how to live. Today, we are denied this by our institutionalized culture of money and commoditization — everything has become a buy/sell, win/lose utilitarian transaction. This destroys the immediacy and connection with things, be it materials or other sentient creatures. We have forgotten that we’re all connected in ways we’ve yet to fully understand. But understanding takes time, something our fast-forward culture denies.

“Time is money.” — common everyday proverb

We’re still failing to understand that striving for authenticity is not the same thing as the promotion of selfishness. In fact, individuality has never been more publicly condoned yet everything looks and feels more and more the same; there is nothing original. Whether it be products like housing, clothing and entertainment or even our psychological outlook regarding our anxieties about the world, they all carry that same banal commonality to them. There’s so much stuff, so much self-pursuit, yet we’re still so undoubtably unfulfilled and unforgivingly empty. And this phenomenon plays itself out almost wherever we go, regardless of climate or geography; global markets and technology has assured that this new reality is to be shared by all.

“Under the compulsion of performance and production, there’s no possible freedom. [If] I force myself to produce more, to perform more [and] I optimize myself to the point of death… that’s not freedom.” — Byung Chul Han

Perhaps this plight is even more significant than we typically think, even more so than the global concerns such as climate or energy. A man bored is a frightening thing or so we’re told. But perhaps we’re wrong about this? Just as we’re wrong about isolation and aloneness.

Making art is a solitary endeavour. Modernist painter Barnett Newman in his studio.

“A man can be himself only so long as he is alone; and if he does not love solitude, he will not love freedom; for it is only when he is alone that he is really free.” — Arthur Schopenhauer

I believe boredom is a gift — albeit an uncommon one — that comes to us just when we need it. Like a vacation, time spent in boredom is freed time to do nothing or more importantly, with nothing to do. Afterall, to vacate means to escape into space, that space between activity or event. In animation, we call spacing timing because it is the space between poses (or action) that gives the animation pace and variation, that gives it movement. In modern life, we’ve forgotten about the importance of that space, that silence that gives perspective and meaning to the actions around it.

For example, a couple of weeks ago, I had to spend some time in the hospital. Sitting in my gown, on the bed waiting, I had nothing to do or could do. I was hooked up to IV (intravenous solution) and didn’t have my phone with me (which was intentional). With the procedure delayed by many hours, I found myself fighting the urge to read, get hold of my smartphone or talk to someone. But knowing the importance of the moment, I let things play out and I could feel the environment engage with me (like when I’m in deep meditation, usually outdoors). My seeing was sharper, as was my hearing. Then, with remarkable clarity, profound and grateful thoughts began to form in my head, like the fact that I lived in a country with excellent free medical care. Everywhere I looked, I can see the immaculate design of medical apparatus and tools that was required in a place such as this, in all its shiny newness and meticilous cleanliness. I saw all the materials in a different light — such as how much design and comtemplation went into the making of each one of those tools and the people who made them and used them — the often under-appreciated medical and medically-associated personal — whose lives revolved around treating and caring for the sick and dying.

“It seems clear that the more we exercise our sensitivity, the stronger it becomes… When it is not exercised, sensitivity tends to weaken.” — Sophie de Grouchy

It’s incredible how boredom can do this — awaken us, that is. It brings forth our empathy and heightens our sensibilities. I personally do not live very often in fear, at least not anymore. But I do fear for us as a people; will we destroy the opportunity to be bored just as we’ve destroyed the many countless peoples and traditions in our seemingly endless quest for power, productivity, profit and progress? If we lose our ability to be alone and bored or even to make time for boredom to happen, we risk losing our humanity and along with it maybe even our ability to imagine and dream.

“The artist works by locating the world in himself.” — Gertrude Stein

Joining Things

Paul Klee was a phenomenally skilled traditional draftsman who morphed his love of nature with the rich imaginations of his heart. His work is both playful yet mature, both real yet abstract all at the same time.

“You adapt yourself, Paul Klee said, to the contents of the paintbox. Adapting yourself to the contents of the paintbox, he said, is more important than nature and its study. The painter, in other words, does not fit the paints to the world. He most certainly does not fit the world to himself. He fits himself to the paint. The self is the servant who bears the paintbox and its inherited contents.” — Annie Dillard

Great things happen when we join things: people to people, people to nature, and ideas to materials. This is what makes our humanity and its innovativeness. It’s also what makes art and how we arrive at synergy; the combinatory effect being greater than the sum of the parts. To make great art we need to join things together in ways both unique and personal. We see one idea and join it with another to arrive at something entirely new.

Here are some quick thoughts about the what and how of putting different things together:

  • Develop a workflow that allows you to comfortably flow between seeing the big picture and working the details. A painter does this when after applying a series of brush strokes, he periodically steps back to see the whole composition.
  • Work on both quality and quantity. Do not test drive one version of an idea but many versions. Make not one painting but ten (and maybe one will be good). Only by multiplying quality of attention by quantity of effort can art be elevated to the next level.
  • In posing, look hard to see both line and form. Line is primarily on the outside; it divides the positive space against the negative (background) space. Form is the shape of what’s inside, its mass, and gives depth and substance.
  • Make sure your compositions — whether an individual layout, or a choreography of movement — have both places of busyness (action) and areas to breathe (silence). This is paramount for creating good contrast and texture. Remember things don’t read without contrast or change.
  • Work both straights and curves into your poses/designs. There’s no formula in terms of a ratio of how much of each but an instinct can be developed. Look to the works of masters to get a better feel for it.
  • Put big things against small things. Creating visual hierarchies of “status” in a composition creates interest and harmony. It also strengthens storytelling.
  • Make sure there are elements in your work that indicate some sort of depth by placing items that are closer/larger against that which is smaller/farther. Sometimes, altering the depth of focus is helpful to create this when adding more physical elements is neither possible or desirable.
  • Join elements of different stylistic choices. Eg. It looks like Klimt but carries the vibrancy of Van Gogh.
  • Join together ideas that seem disparate. Eg. it’s a horror story but one about family values.
  • Find darkness or tragedy in something funny or sweet. Surprise the audience again, not with more information but the quality of information.
  • Consider using a wider camera on an acting shot. Let the characters action say something rich and emotional without depending on facial acting or lip sync. Alternatively, generate action with a series of closeups. For reference, see the final the climax in Sergio Leone’s The Good, The Bad and The Ugly.
  • Consider breaking the rules like using a series of jump cuts during a quiet or intimate action. This idea was successfully employed in Steven Soderberg’s movie Out of Sight.
  • Experiment approaching your work like an artist you admire who works very differently from you. Not only will you expand your knowledge/skills but you’ll develop techniques uniquely your own when you combine YOU to THEIR methods.
  • Work with people with ideas different from your own. Find out what can come out of such a challenge or the conflicts that may arise. Then work together as team once you discover new possibilities.
  • If you always fight your fear with boldness, then consider giving into the unknown and see where that takes you. If you tend to always give in to the situation, do the opposite; charge head with vigor and defiance.
  • Sometimes, just let the materials guide you. At other times, let your feelings push those materials around. Work with things like you would in a dance of togetherness, each of you taking turns.

This, of course, is by no means a comprehensive list of options but what you’ll find by exploring and joining things, is that it’s very nice to discover — especially as you age — that you can still surprise yourself. Such a happening is what’s both uniquely and beautifully human. And, in a time of accelerated domination of technology over human activity, nothing could be more relevant.