It is certainly true that one could feel almost nostalgic for Boredom 1.0. The dreary void of Sundays, the night hours after television stopped broadcasting, even the endless dragging minutes waiting in queues or for public transport: for anyone who has a smartphone, this empty time has now been effectively eliminated. In the intensive, 24/7 environment of capitalist cyberspace, the brain is no longer allowed any time to idle; instead, it is inundated with a seamless flow of low-level stimulus.

Yet boredom was ambivalent; it wasn’t simply a negative feeling that one simply wanted rid of. For punk, the vacancy of boredom was a challenge, an injunction and an opportunity: if we are bored, then it is for us to produce something that will fill up the space. Yet, it is through this demand for participation that capitalism has neutralised boredom. Now, rather than imposing a pacifying spectacle on us, capitalist corporations go out of their way to invite us to interact, to generate our own content, to join the debate. There is now neither an excuse nor an opportunity to be bored.

But if the contemporary form of capitalism has extirpated boredom, it has not vanquished the boring. On the contrary — you could argue that the boring is ubiquitous. For the most part, we’ve given up any expectation of being surprised by culture — and that goes for “experimental” culture as much as popular culture. Whether it is music that sounds like it could have come out twenty, thirty, forty years ago, Hollywood blockbusters that recycle and reboot concepts, characters and tropes that were exhausted long ago, or the tired gestures of so much contemporary art, the boring is everywhere. It is just that no one is bored — because there is no longer any subject capable of being bored.

— from an extract of k-punk: The Collected and Unpublished Writings of Mark Fisher (2004-2016), published on 3:AM Magazine

2011 (2018)