On tedium

The tedium of the repetitious task: how could it be otherwise? But we all know a few people — saints of a kind — who so enjoy setting the world to rights that no essential task seems to weigh them down, and they add figures or enter data with perfect equanimity. What most of us would experience as a boring necessity strikes them as an opportunity to enjoy the seamless functioning of mind or body.

And it is really all about mindset, isn’t it? Those elders who had no choice but to knit if they wanted to stay warm in the winter might think today’s hobbyist knitters slightly mad, unless back in the day they happened to be of a creative bent. But I’m told that when an Amish man draws up a cost/benefit analysis of a project, the labor required to complete it will be listed as a benefit rather than a cost.

I imagine it was only after the Industrial Revolution that tedium became a nearly inescapable condition of life — and with it the necessity for diversion on an industrial scale. Most sports, too, seem mind-numbingly dull to the uninitiated: soccer with its endless running up and down the field, American football with its constant, sometimes lengthy breaks in play, baseball and golf with their general lack of excitement. A NASCAR race would be the very embodiment of treadmill monotony were it not for the thrill of the occasional crash. Commercial TV in the U.S. has 20 minutes of highly repetitive, typically stupid advertising per hour. If people can learn to find that kind of tedium entertaining, why not data entry?

I’m wondering whether the high levels of distraction produced by the modern diversion machine might not make tasks traditionally seen as tedious more desirable now, as rare opportunities for sustained attention. That might explain why, this evening, I had a hard time tearing myself away from a highly monotonous repair job at one of my websites that involves doing essentially the same thing to each of a couple hundred posts in sequence. The rain was drumming on the roof, the furnace cycled on from time to time, and there was no other sound but the clicking of my fingers on the keypad. I was tired but not quite exhausted, happy but not actively excited about anything in particular, and it was only after I reminded myself that the task at hand was, in fact, monotonous as hell that I remembered to be bored, and stopped so I could write yet another goddamned blog post.

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(Update 1/12) Thinking about this further in the shower this morning, I’ve decided that the supposed link between repetition and tedium is even more of a red herring than I thought. Further to my example of repetitious things we tend to find pleasurable, it occurred to me that music is the ultimate in repetition — except when it isn’t. Over the years, I’ve learned to appreciate types of music at two extremes: atonal Western art music with virtually no repetition of anything, and highly repetitive, trance-inducing forms of world music. And remembering back to the first times I heard examples of musical genres I later came to love, such as blues, Appalachian string-band music and thrash metal, I remember in each case thinking, “This stuff all sounds alike! No way will I ever learn to like it.” We like to think that some tunes are inherently infectious, but I suggest they probably wouldn’t be so perceived by people from a radically different culture who hadn’t trained their ears to appreciate (in this case) Western melodic music on a diatonic scale.

So music may be the prototypical example of repetitiousness that we’ve learned to perceive as pleasurable. With the advent of mass-produced recorded music, we are for the first time in human history able to summon up virtually any kind of music on a whim — and I would argue that we do it largely to fight what we perceive as tedium. In this kind of use, as partly listened-to artificial soundscape, a lack of sufficient repetition can in fact be a real liability. To pick the extreme example I mentioned above, more challenging avant-garde music has few fans. But even traditional, melodic classical music, with its frequent changes in tempo and volume, is less than ideal as accompaniment to many tedious tasks in an industrial society, such as shopping, housework, or commuting by automobile. Pop music is much more effective at cutting through the noise, and perhaps inducing a state of mild trance.

I think the comments below by John Miedema and “mostly quiet regular” get at the essence of tedium: it is intimately associated with powerlessness. Thus while I can enjoy sitting on my front porch watching the rain or hanging out on a street corner watching people go by, I’m very likely to perceive sitting in a doctor’s waiting room as tedious, even if it’s full of interesting people. Sports — my example above — can be of absorbing interest because fans identify closely enough with the teams or players to feel enmeshed in the action, and of course certain kinds of crowd behavior can produce intense feelings of shared power. And with music, once we become attuned to a particular piece or genre, our entire mind-body is engaged, and one experiences — for lack of a better term — harmoniousness.

A final idea, then: what makes a tedious task tedious is the split it perpetuates, and perhaps exacerbates, between thinking and feeling. And I’ll stop here before this argument itself becomes too unbearably tedious by attempting to cover all the bases (sports metaphor FTW!) and thus in a way disempowering the reader, who after all, on the Internet, has a certain expectation of being an active participant in the exchange of ideas and not merely a passive consumer of them. (But I’m beginning to understand how real philosophers can write entire books on, for example, happiness.)

Dark Body

This entry is part 15 of 73 in the series Morning Porch Poems: Winter 2011-12

Dark-promised, soot-colored, life-size statue of the Nuestro Padre Nazareno— Clear sky, bright sun that stripes his rickety carriage, borne on the shoulders of hundreds of men. Carpenter, boat-builder, cop and cobbler; plumber, electrician out of work, not yet sober tuba-drinker; husband, overseas worker, skirt-chaser, wife-beater. They’ve all come to touch this visage of coal, this visage of charred ship lumber. Fire translates into scars on the body’s timber. Any piece of clothing will do to daub its flesh-like surfaces: torn t-shirt, scrap of cotton, burlap sack, polyester, old gym towel. They pull on ropes, conveying this likeness cloaked in saffron and red velvet. In the choked streets, see how urgent the desire to touch, be touched, be filled with fleeting grace. Some have fainted. Some have lost a finger, crushed a rib, a clavicle. For miracle, what does it matter that one might be trampled?

 

In response to an entry from the Morning Porch.

Poems to be shaved into the hair of the author’s back

This entry is part 5 of 29 in the series Conversari

Cutting words:
so warm at first & then
such a chill

*

The fewer the words
the more sensibility
surrounds them

*

Every word is a clearing
that grows
out

*

The absence of language
is not silence
but wilderness

*

If you want a sacred text
use a branding iron

*

Only through poems
can I get all
the way naked

*

Time
is my
eraser

*

Notes: These are not haiku. They are simply poem-like things short enough to fit on my back if shaved with a small razor. To enact these properly, I would need at least one assistant, possibly two — one to cut the words, the other to record the process on video. A time-lapse photo sequence of the words growing in and disappearing each time would probably also form part of the final video document. Maybe someday when I am a proper silverback.

(UPDATE 2/5/12) See the photographic response by Rachel Rawlins, “Buddleia.”

(Not So) Silent Night

Bethlehem Wall

Last night I was, um, treated to a special broadcast from the Church of Jesus Christ of Latter-day Saints — the 2011 First Presidency Christmas Devotional, which included a reenactment of the story of baby Jesus in the deserts of Utah and some sermons from top leaders, including President Thomas S. Monson, in between a few carols from the Mormon Tabernacle Choir. They ended with “Silent Night.” It sounded a little like this…


Listen on SoundCloud

…or not. (Who needs an actual electric guitar when you have fancy audio software?)

The photo, incidentally, is a scene from the modern-day Bethlehem, some of the colorful Christmas decorations put up by the natives to make their prison walls a bit more festive and homey. It was uploaded to Flickr by someone named Tracy Hunter, part of her 2009 Palestine set.

It occurred to me to wonder last night how many, out of the millions of people world-wide who must sing “Silent Night” every year, have ever experienced a truly silent night. Or a dark one, for that matter. As is suggested rather forcefully by the graffiti art above, I think we have become adept at walling out all the violence and squalor that might otherwise threaten our cherished domestic tranquility, especially this time of year when we so fetishize hearth and home. It would perhaps be in poor taste to mention the 3000+ inhabitants of the Aida refugee camp in Bethlehem, which is adjacent to a new 4-star hotel. For homeless Palestinians, it seems, there’s still no room at the inn.

Tezcatlipoca

A small toad carved from obsidian
regards me with what
could pass for a smile:
for I am hunched, torsioned,
oblique as any letter
in the insect alphabet.
Its sightless eyes freeze me
between a tick & a tock.
What will I do for a knife?
The night holds its tongue
like a secret agent.

This is not a blackness that absorbs light
but a blackness that reflects.
If it were water, I would enter it
incrementally, yielding to absence
like a zipper coming apart.
If it were a mirror, I would mount it
on the stump that used to be my left foot,
so as I walked over the earth, my enemies
would see only themselves
& learn to take the blame for
all their ills.

Saint Death

Santa Muerte, hear me: you are my last shot.
Lady of the Night: my jealous skeleton.
I promise to tell no one about us—
how you inhabit me, put the world in my hands.
How I dress you in red robes
& in green.
How your hourglass almost stops time.
People might guess when they smell
your incense on my clothes
& see me glowing
from the decomposition of my troubles.
We’ll exchange knowing glances,
your other admirers & I—
we are in this together.
Our shadows don’t disappear
when the sun goes down;
they simply become one.
Señora, you have us for life.

*

See the Wikipedia article.

Woodrat Podcast 46: A philosophical lunch with Will Buckingham (Part 2)

Will Buckingham with Sea Legs, Moomins, and the sea

The second half of my epic bull session wide-ranging conversation with British novelist, philosopher and blogger Will Buckingham (listen to Part 1). Will talks about how he got into Buddhism and why he eventually drifted away from it; how he turned his doctoral thesis about the literary qualities of Emmanuel Levinas’ writings into a work of philosophy for a popular audience (Finding Our Sea Legs: Ethics, Experience and the Ocean of Stories); and why he’s so fascinated with the I Ching.

“What I love more than anything in life,” Will says at one point, “is to have interesting conversations.” I couldn’t agree more. This conversation was definitely a high point of my two weeks in the U.K.

Podcast feed | Subscribe in iTunes

Theme music: “Le grand sequoia,” by Innvivo (Creative Commons Attribution-Noncommercial-Share Alike licence).

Woodrat Podcast 45: A philosophical lunch with Will Buckingham (Part 1 of 2)

Will Buckingham

On my visit to the U.K. last spring, I arranged to meet with the novelist and philosopher Will Buckingham in a restaurant near the Birmingham train station on my way from Aberystwyth to London. I’m a long-time reader of his blog ThinkBuddha (and more recently of his personal blog) and a fan of his first novel, Cargo Fever. So knowing that he was a guy with wide-ranging interests and a gift for translating abstruse ideas into ordinary language, I figured he had to be pretty interesting to chat with. I wasn’t disappointed.

In this first half of our conversation, I got Will talking about the philosophy in the Moomin books of Tove Jannson; the ancient Chinese Daoist text Zhuangzi (actually, I’ve spared you most of that — Will and I share a great fondness for the work, but I realize most listeners won’t have read it); the pervasive sense of loss in the Western philosophical tradition; teaching and writing; Martin Heidegger; why existentialism is no longer popular; Emmanuel Levinas; and parallels between Indian and Greek philosophy.

Podcast feed | Subscribe in iTunes

Theme music: “Le grand sequoia,” by Innvivo (Creative Commons Attribution-Noncommercial-Share Alike licence).

Kay Ryan on nonsense, poetry, and knowledge


Watch on Vimeo. The Lannan Foundation has also uploaded a video of the reading that directly preceded the conversation.

I usually share other people’s videos only on Facebook or (for poetry-related stuff) Moving Poems, but the length and via negativistic content of this conversation might make it a better fit here, I thought. I love what Kay Ryan has to say about poetry and knowing, and about knowing and making stuff up. You have to watch the video to really get a feel for how unseriously she takes herself, but I spent some time this morning making a transcript of a few of my favorite parts of this conversation, which occur somewhere near the middle. This helps me understand a little bit better what I do myself in my writing — especially the part about the need for coldness.

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Kay Ryan: “I think nonsense is extremely close to poetry. Nonsense — I figured this out when I was fairly young — nonsense operates by rules. You cannot have nonsense outside the context of sense. It, uh — it’s in tension with sense.”

Atsuro Riley: “You like to make a statement in your poetry. You’re quite willing to do it, you like to do it, you seem insistent upon it — ”

Ryan: “A lot of them are bogus, though. They’re bogus. You know. I like the fake — I think you pointed this out! — the sort of, you know, the pedant, the mock polemic. Yeah. And they’re just ridiculous, you know. Like uh, oh, what’s the one about the, uh, extraordinary lengths… Oh yeah, right — I don’t know, uh, ‘Extraordinary lengths are always accompanied by extraordinary distances.’ And, you know, that’s just such a stupid thing to say! I just love to say something like that. I, uh —

“Well, let me explain that. I like to make — well, boy, I’m glad you brought that up. Because I, I think that I’m really interested in something that is so hard to perceive. Like light coming from the furthest star. It’s, it’s, it’s very frail when it gets here. Very frail. But looked at another way, it’s incredibly strong, ’cause it’s gotten all the way here from the furthest star. So it’s something incredible strong, but we’re getting just a little bit of it!

“So what I do, what I try to do with this thing that I can just barely perceive, is to jack up the intensity like crazy. Make a cartoon out of it? You know. Make a diorama, have puppets do it. You know — overdo it. I’ve gotta magnify it because it’s — and I have to sound more sure than I am. Because — because I don’t know. I only a teeny tiny bit know! Maybe. I’m trying to know. So I build up — I build something that I hope has a lot of, uh — well, as my step-daughter would say, flavor-punch. I like flavor-punch. I love Southwestern food! But I like to give a lot of color. And reality. Of course it’s all specious, but, uh, you know — ”

Riley: “But to help you think through the question.”

Ryan: “To help me think, yeah. It’s like setting up — and I think you said, too — ”

Riley: “Magnified conundra.”

Ryan: “Yeah. And little, uh, models. You know? Einstein — and I always like to connect myself with Einstein! — Einstein, you know, worked in the patent office. Before he was — before he thought his really great thoughts. And I think it shaped his mind to a certain degree. That business of seeing in terms of models. And I think that that’s what we do in poems. (I mean, not just me, but — ) We make a model, and it’s really a model for something different. I mean, this is the model, but it’s really trying to talk about that starlight somehow. That little thing we just know with some interior part of our brain, to which we have very little access.”

Riley: “Let’s talk about coldness. What is it in a poem — I’m not sure I exactly understand — and, um, why do you like it?”

Ryan: “Well, I mean I think it’s just constitutional. I think — I think one of the things that we do when we write, or one of the things I’ve done, is try to make a world I could live in. You know? I make in my poems a world that is, uh, congenial to me. ‘I like how she thinks!’ You know? It makes me feel at ease to articulate those things. It, uh — I can make a world that has the rules that I want. And I think that, as most people here [in the audience are], I am sensitive. I feel under… I am too stimulated. There’s too much coming in all the time. There’s too much heat. There’s too much closeness. There’s too much personal. There’s too much giving away of secrets. There’s not enough, ah, distance. There’s not enough chill. And if I can do my small part to add a little coldness and distance to the world, I will not have written in vain.”

[…]

Ryan: “I discovered a long time ago — and it seems so counter-intuitive, but I found that I had to start writing about things when I was just on the front edge of knowing about them. I mean, just — I hardly knew about them. If I waited, I would be paralyzed by knowing too much. And I, I couldn’t write. There always has to be a large sense of, ‘Oh, I’m just inventing this.’ But then later you can look back and say, ‘No actually I wasn’t inventing it. I still think that I, that there’s something there that I will stick with.’ But I always have to write it before. And if I’m overwhelmed by knowledge, or feeling, or something, it’s just no — I just can’t write.”