104-IX-3A EOCT – Reading

Why being bored is stimulating – and useful, too

This most common of emotions is turning out to be more interesting than we thought

A We all know how it feels – it’s impossible to keep your mind on anything, time stretches out, and all the things you could do seem equally unlikely to make you feel better. But defining boredom so that it can be studied in the lab has proved difficult. For a start, it can include a lot of other mental states, such as frustration, apathy, depression and indifference. There isn’t even agreement over whether boredom is always a low-energy, flat kind of emotion or whether feeling agitated and restless counts as boredom, too. In his book, Boredom: A Lively History, Peter Toohey at the University of Calgary, Canada, compares it to disgust – an emotion that motivates us to stay away from certain situations. ‘If disgust protects humans from infection, boredom may protect them from “infectious” social situations,’ he suggests.

B By asking people about their experiences of boredom, Thomas Goetz and his team at the University of Konstanz in Germany have recently identified five distinct types: indifferent, calibrating, searching, reactant and apathetic. These can be plotted on two axes – one running left to right, which measures low to high arousal, and the other from top to bottom, which measures how positive or negative the feeling is. Intriguingly, Goetz has found that while people experience all kinds of boredom, they tend to specialise in one. Of the five types, the most damaging is ‘reactant’ boredom with its explosive combination of high arousal and negative emotion. The most useful is what Goetz calls ‘indifferent’ boredom: someone isn’t engaged in anything satisfying but still feels relaxed and calm. However, it remains to be seen whether there are any character traits that predict the kind of boredom each of us might be prone to.

C Psychologist Sandi Mann at the University of Central Lancashire, UK, goes further. ‘All emotions are there for a reason, including boredom,’ she says. Mann has found that being bored makes us more creative. ‘We’re all afraid of being bored but in actual fact it can lead to all kinds of amazing things,’ she says. In experiments published last year, Mann found that people who had been made to feel bored by copying numbers out of the phone book for 15 minutes came up with more creative ideas about how to use a polystyrene cup than a control group. Mann concluded that a passive, boring activity is best for creativity because it allows the mind to wander. In fact, she goes so far as to suggest that we should seek out more boredom in our lives.

D Psychologist John Eastwood at York University in Toronto, Canada, isn’t convinced. ‘If you are in a state of mind-wandering you are not bored,’ he says. ‘In my view, by definition boredom is an undesirable state.’ That doesn’t necessarily mean that it isn’t adaptive, he adds. ‘Pain is adaptive – if we didn’t have physical pain, bad things would happen to us. Does that mean that we should actively cause pain? No. But even if boredom has evolved to help us survive, it can still be toxic if allowed to fester.’ For Eastwood, the central feature of boredom is a failure to put our ‘attention system’ into gear. This causes an inability to focus on anything, which makes time seem to go painfully slowly. What’s more, your efforts to improve the situation can end up making you feel worse. ‘People try to connect with the world and if they are not successful there’s that frustration and irritability,’ he says. Perhaps most worryingly, says Eastwood, repeatedly failing to engage attention can lead to state where we don’t know what to do any more, and no longer care.

E Eastwood’s team is now trying to explore why the attention system fails. It’s early days but they think that at least some of it comes down to personality. Boredom proneness has been linked with a variety of traits. People who are motivated by pleasure seem to suffer particularly badly. Other personality traits, such as curiosity, are associated with a high boredom threshold. More evidence that boredom has detrimental effects comes from studies of people who are more or less prone to boredom. It seems those who bore easily face poorer prospects in education, their career and even life in general. But of course, boredom itself cannot kill – it’s the things we do to deal with it that may put us in danger. What can we do to alleviate it before it comes to that? Goetz’s group has one suggestion. Working with teenagers, they found that those who ‘approach’ a boring situation – in other words, see that it’s boring and get stuck in anyway – report less boredom than those who try to avoid it by using snacks, TV or social media for distraction.

F Psychologist Francoise Wemelsfelder speculates that our over-connected lifestyles might even be a new source of boredom. ‘In modern human society there is a lot of overstimulation but still a lot of problems finding meaning,’ she says. So instead of seeking yet more mental stimulation, perhaps we should leave our phones alone, and use boredom to motivate us to engage with the world in a more meaningful way.

European Transport Systems 1990 - 2010

What have been the trends and what are the prospects for European transport systems?

A       It is difficult to conceive of vigorous economic growth without an efficient transport system. Although modern information technologies can reduce the demand for physical transport by facilitating teleworking and teleservices, the requirement for transport continues to increase. There are two key factors behind this trend. For passenger transport, the determining factor is the spectacular growth in car use. The number of cars on European Union (EU) roads saw an increase of three million cars each year from 1990 to 2010, and in the next decade, the EU will see a further substantial increase in its fleet.
B       As far as goods transport is concerned, growth is due to a large extent to changes in the European economy and its system of production. In the last 20 years, as internal frontiers have been abolished, the EU has moved from a ”stock” economy to a ”flow” economy. This phenomenon has been emphasised by the relocation of some industries, particularly those which are labour intensive, to reduce production costs, even though the production site is hundreds or even thousands of kilometres away from the final assembly plant or away from users.
C       The strong economic growth expected in countries which are candidates for entry to the EU will also increase transport flows, in particular, road haulage traffic. In 1998, some of these countries already exported more than twice their 1990 volumes and imported more than five times their 1990 volumes. And although many candidate countries inherited a transport system which encourages rail, the distribution between modes has tipped sharply in favour of road transport since the 1990s. Between 1990 and 1998，road haulage increased by 19.4%, while during the same period rail haulage decreased by 43.5%, although – and this could benefit the enlarged EU – it is still on average at a much higher level than in existing member states.
D       However, a new imperative-sustainable development – offers an opportunity for adapting the EU's common transport policy. This objective, agreed by the Gothenburg European Council, has to be achieved by integrating environmental considerations into Community policies, and shifting the balance between modes of transport lies at the heart of its strategy. The ambitious objective can only be fully achieved by 2020, but proposed measures are nonetheless a first essential step towards a sustainable transport system which will ideally be in place in 30 years‟ time, that is by 2040.
E       In 1998, energy consumption in the transport sector was to blame for 28% of emissions of CO2，the leading greenhouse gas. According to the latest estimates, if nothing is done to reverse the traffic growth trend, CO2 emissions from transport can be expected to increase by around 50% to 1,113 billion tonnes by 2020，compared with the 739 billion tonnes recorded in 1990. Once again, road transport is the main culprit since it alone accounts for 84% of the CO2 emissions attributable to transport. Using alternative fuels and improving energy efficiency is thus both an ecological necessity and a technological challenge.
F       At the same time, greater efforts must be made to achieve a modal shift. Such a change cannot be achieved overnight, all the less so after over half a century of constant deterioration in favour of road. This has reached such a pitch that today rail freight services are facing marginalisation, with just 8% of market share, and with international goods trains struggling along at an average speed of 18km/h. Three possible options have emerged.
G       The first approach would consist of focusing on road transport solely through pricing. This option would not be accompanied by complementary measures in the other modes of transport. In the short term, it might curb the growth in road transport through the better loading ratio of goods vehicles and occupancy rates of passenger vehicles expected as a result of the increase in the price of transport. However, the lack of measures available to revitalise other modes of transport would make it impossible for more sustainable modes of transport to take up the baton.
H       The second approach also concentrates on road transport pricing but is accompanied by measures to increase the efficiency of the other modes (better quality of services, logistics, technology). However, this approach does not include investment in new infrastructure, nor does it guarantee better regional cohesion. It could help to achieve greater uncoupling than the first approach, but road transport would keep the lion‟s share of the market and continue to concentrate on saturated arteries, despite being the most polluting of the modes. It is therefore not enough to guarantee the necessary shift of the balance.
I        The third approach, which is not new, comprises a series of measures ranging from pricing to revitalising alternative modes of transport and targeting investment in the trans-European network. This integrated approach would allow the market shares of the other modes to return to their 1998 levels and thus make a shift of balance. It is far more ambitious than it looks, bearing in mind the historical imbalance in favour of roads for the last fifty years, but would achieve a marked break in the link between road transport growth and economic growth, without placing restrictions on the mobility of people and goods.

MUSEUMS OF FINE ART AND THEIR PUBLIC

The fact that people go to the Louvre museum in Paris to see the original painting Mona Lisa when they can see a reproduction anywhere leads us to question some assumptions about the role of museums of fine art in today’s world.

One of the most famous works of art in the world is Leonardo da Vinci’s Mona Lisa. Nearly everyone who goes to see the original will already be familiar with it from reproductions, but they accept that fine art is more rewardingly viewed in its original form.

However, if Mona Lisa was a famous novel, few people would bother to go to a museum to read the writer’s actual manuscript rather than a printed reproduction. This might be explained by the fact that the novel has evolved precisely because of technological developments that made it possible to print out huge numbers of texts, whereas oil paintings have always been produced as unique objects. In addition, it could be argued that the practice of interpreting or ‘reading’ each medium follows different conventions. With novels, the reader attends mainly to the meaning of words rather than the way they are printed on the page, whereas the ‘reader’ of a painting must attend just as closely to the material form of marks and shapes in the picture as to any ideas they may signify.

Yet it has always been possible to make very accurate facsimiles of pretty well any fine art work. The seven surviving versions of Mona Lisa bear witness to the fact that in the 16th century, artists seemed perfectly content to assign the reproduction of their creations to their workshop apprentices as regular ‘bread and butter’ work. And today the task of reproducing pictures is incomparably more simple and reliable, with reprographic techniques that allow the production of high-quality prints made exactly to the original scale, with faithful colour values, and even with duplication of the surface relief of the painting.

But despite an implicit recognition that the spread of good reproductions can be culturally valuable, museums continue to promote the special status of original work. Unfortunately, this seems to place severe limitations on the kind of experience offered to visitors.

One limitation is related to the way the museum presents its exhibits. As repositories of unique historical objects, art museums are often called ‘treasure houses’. We are reminded of this even before we view a collection by the presence of security guards, attendants, ropes and display cases to keep us away from the exhibits. In many cases, the architectural style of the building further reinforces that notion. In addition, a major collection like that of London’s National Gallery is housed in numerous rooms, each with dozens of works, any one of which is likely to be worth more than all the average visitor possesses. In a society that judges the personal status of the individual so much by their material worth, it is, therefore, difficult not to be impressed by one’s own relative ‘worthlessness’ in such an environment.

Furthermore, consideration of the ‘value’ of the original work in its treasure house setting impresses upon the viewer that, since these works were originally produced, they have been assigned a huge monetary value by some person or institution more powerful than themselves. Evidently, nothing the viewer thinks about the work is going to alter that value, and so today’s viewer is deterred from trying to extend that spontaneous, immediate, self-reliant kind of reading which would originally have met the work.

The visitor may then be struck by the strangeness of seeing such diverse paintings, drawings and sculptures brought together in an environment for which they were not originally created. This ‘displacement effect’ is further heightened by the sheer volume of exhibits. In the case of a major collection, there are probably more works on display than we could realistically view in weeks or even months.

This is particularly distressing because time seems to be a vital factor in the appreciation of all art forms. A fundamental difference between paintings and other art forms is that there is no prescribed time over which a painting is viewed. By contrast, the audience encourages an opera or a play over a specific time, which is the duration of the performance. Similarly, novels and poems are read in a prescribed temporal sequence, whereas a picture has no clear place at which to start viewing, or at which to finish. Thus artworks themselves encourage us to view them superficially, without appreciating the richness of detail and labour that is involved.

Consequently, the dominant critical approach becomes that of the art historian, a specialised academic approach devoted to ‘discovering the meaning’ of art within the cultural context of its time. This is in perfect harmony with the museum's function, since the approach is dedicated to seeking out and conserving ‘authentic’, original, readings of the exhibits. Again, this seems to put paid to that spontaneous, participators criticism which can be found in abundance in criticism of classic works of literature, but is absent from most art history.

The displays of art museums serve as a warning of what critical practices can emerge when spontaneous criticism is suppressed. The museum public, like any other audience, experience art more rewardingly when given the confidence to express their views. If appropriate works of fine art could be rendered permanently accessible to the public by means of high-fidelity reproductions, as literature and music already are, the public may feel somewhat less in awe of them. Unfortunately, that may be too much to ask from those who seek to maintain and control the art establishment.