151.Boredomamusesonlyitscritics.Theystruggleagainsttheirownlassitudetokeeptheirindignationuptodate.TheodorAdorno:"Theteamsofmodernsport,whoseinteractionissopreciselyregulatedthatnomemberhasanydoubtabouthisrole,andwhichprov
ideareserveforeveryplayer,havetheirexactcounterpartinthesexualteamsofJuliette,whichemployeverymomentusefully,neglectnohumanorifice,andcarryouteveryfunction.Intensive,purposefulactivityprevailsinspiritineverybranchofmasscul
ture,whiletheinadequatelyinitiatedspectatorcannotdivinethedifferenceinthecombinations,orthemeaningofvariations,bythearbitrarilydeterminedrules."Ingamespace,porno,likesport,nowhasitsstarpitchersandhitters,specialistsforever
yposition,andtheinadequatelyinitiatedspectatoronceagaincannotdivinethedifferenceinthecombinations,orthemeaningofvariations,bythearbitrarilydeterminedrules.Butitisthesametoowithcriticaltheory,whichbecomesformallyindistingui
shablefrompornography.Thispornographyoftheconceptisameresubsetofgamespace,ahypocriticaltheory,withdifferentspecialists,playingbydifferentrules-equallyworthyofdeSade.152.AspectacletauntsAmerica-thespectacleofitsownboredom."
Thisspecterofboredom,anexquisitelybeautifulyoungmanwhoyawnsandwalksaroundwithabutterflynettocatchgoldfish.Hecarriesinhispocketapedometer,apairofnailscissors,apackofcards,andallsortsofgamesbasedonopticalillusions.Hereadsalo
udthewordingonpostersandsigns.Heknowsthenewspapersbyheart.Hetellsstoriesthatnobodylaughsat.Hepassesahandofshadowsoverhiseyes…punctuatinghiswordswithaterribleexpletive:What'sthegood?Hecannotseeaknobonanelectricdialwithouttu
rningit,ahousewithoutvisitingit,athresholdwithoutcrossingit,abookwithoutbuyingit.What'sthegood?Allwithoutcuriosityorpleasurebutsimplybecauseonehastodosomething,andbecausehereweareallthesame,afterall.AndwhatwasthisALLwhichs
wellsupinthevoicethatpronouncesit?"TheSurrealistpoetLouisAragonprovidestheanswer,aswellasthequestion:nothing.Boredomisnothing,nothingness,thefaintesttouchofthevoid.Inboredomyouopentowardsomethingthatdoesnotopeninreturn.Itl
eavesnothingbutindifference,neitheronenortheother,thegrungeoftime,thelintthatstickstoallthingsdigital.153.AsthatinconsolablephilosopherArthurSchopenhauerwrites:"Work,worry,toilandtroubleareindeedthelotofalmostallmentheirwh
olelifelong.Andyetifeverydesireweresatisfiedassoonasitarosehowwouldmenoccupytheirlives,howwouldtheypassthetime?Imaginethisracetransportedto[anA]topiawhereeverythinggrowsofitsownaccordandturkeysflyaroundready-roasted,wherel
oversfindoneanotherwithoutanydelayandkeeponeanotherwithoutanydifficulty:insuchaplacesomemenwoulddieofboredomorhangthemselves....".Asthistopologyoffunandgamesspreadsandcongeals,carvingoutmagickingdomsindifferenttoworkandsuf
fering,itcarrieswithinitthestrangeectoplasmthatbothdrivesitandcanoverturnit-boredom.InourfantasmicAmerica,adigitallogisticssendsturkeysflyingaroundthehighwaysready-roasted.Theycomehometoroostinthefrozenfoodssection.Loversm
eetwithfleetingeaseontheinternet,andafterwardsrankandratetheirencounters,accordingtoarbitrarilydeterminedrules.Andmanydo,indeed,dieofboredom.Eveniftheydon'tknowit.Thereservearmiesoftheboredzombietheearth,fiddlingwiththeirc
ellphones,checkingtheirwatches.Boredomisthemeterofhistory.154.Ifhistoryisanendlesslistofthingsthatshouldnothavehappened;boredomiswhatrefusesnottohappen.Historydistractsitselfwithheroicfablesaboutthestruggletowrestfreedomfr
omnecessity.Suchiscivilization,nottomentionCivilizationIII.Historyhassomuchlesstosayaboutthedecisivemomentwhenfreedomfromnecessityactuallyarrives.Neithercivilization,norCivilizationIII,knowswhattodoattheend,exceptperhapsdr
eamofasequelthatismoreofthesame.JohnBerger:"Necessityproducesbothtragedyandcomedy.Itiswhatyoukissandbangyourheadagainst."Withoutnecessity,thestorylinefalters.Buzzcocks:"I'mlivinginthismovie,butitdoesn'tmoveme."Whatmightbet
hecontentofthispositivefreedom,notfreedomfrombutfreedomto?Atsuchtimes,thereisnothingbutboredom,thestickylingeringwithnothingnessitself.Thisisthemomentofdanger.CyrilConnolly:"TheboredomofSundayafternoon,whichdrovedeQuinceyt
osmokeopium,alsogavebirthtoSurrealism:hourspropitiousformakingbombs."155."Onthewholeasocietyalwaysproducesmorethanisnecessaryforitssurvival;ithasasurplusatitsdisposal.Itispreciselytheuseitmakesofthissurplusthatdeterminesit
."SowritestherogueSurrealistGeorgesBataille.Thissurplusmaybegatheredupanddispersedinspiritualquestsorinmakinglifeoverasaworkofart.Itcanbesquanderedonbombs.Oritcanbeinvestedalongthelinesofstrategicexpansionoreconomicaccumul
ation.Thisinvestment,thislayingdownofnewlines,buildingfromtopictotopographytotopology,onlyincreasesthesurplus,andpostponesandmultipliestheproblem:Whattodowiththeidlecapacitiesofapeople?Whattodowithenergiesthatsoeasilyspill
overintoriotorrevolt?What'sthegood?Boredomistheambivalentgiftofthesurplus.Boredomarisesoutoftheabsenceofnecessity,ofayes,ano,astraightline.Boredomdemandsnewnecessities,andifnotgrantedthem-producesitsown.Historyisastrugglet
owrestnecessityfromboredom.Inthisrestlessage,there'snothingtheywon'tdotoraisethestandardofboredomundertheflagofnecessity.Constantrevolutionizingofseduction,uninterrupteddisturbanceofallconsumerrelations,everlastinguncertai
ntyanddistraction,distinguishthemilitaryentertainmentcomplexfromallearlierpowers.Itmuststayonestepaheadofboredom,withwhichitdeludesandwithwhichitcolludes.156.Topologythreadsallspacestogether,caveaftercave,eachasludicrousas
thenext.Nowonderpeoplefindtheirleisureasdullastheirwork-leisureiswork.Howtimeschange….KarlMarx:"Theworking-daycontainsthefull24hours,withthedeductionofthefewhoursofreposewithoutwhichlabor-powerabsolutelyrefusesitsservicesa
gainTimeforeducation,forintellectualdevelopment,forthefulfillingofsocialfunctionsandforsocialintercourse,forthefree-playof…bodilyandmentalactivity,eventheresttimeofSunday(andthatinacountryofSabbatarians!)—moonshine!"Butth
atmoonshinehasbecomelegitimatebusiness.Thefreetimeavailableforeducation,culture,sport,evenfaith,wereoncethehard-wonfruitsoflabor'sstruggletofreetimefromwork.Thisfreetimegaverisetoheterotopiasofsportandartthatatleastheldthe
intoxicatingillusionofautonomyfromthenecessityofwork.Nowtheybecomework,disguisedasgames,justasgamesbecomethedisguiseofworkitself.Thesportingmetaphorsandslogansmigratefromleisuretowork-andbackagain.Theyceasetobemetaphorsand
becomemeredescriptions,inalanguagestrippedofanytermsotherthanthoseofcompetition.Almosteverymomentissweptintoarelentlessagon.157.Andasforthoseslacktimesbetweenengagements,whoknowswhattodowiththem?Youaresitting,forexample,in
thetastelessdepartureloungeofsomeprovincialairport.Itisfourhoursuntilyourflight,which-ofcourse-isdelayed.Theshopsaroundareuninspiring.Youdohaveabookinyourbackpack.It'sHeidegger,boughtonimpulse.Shallyouread?No.Orthinkthroug
hsomeproblem?No.Orplaygamesonyourhandheld?Noteven.Youareunableto.Youlookatthedeparturesandarrivalsonthescreen.Youlookattheclock,again.Youcountthechairs.Youwalkupanddown.Topassthetimeyoulookatthestoresintheairportmall,butth
eyallseemmereclonesofeachother,orofstoresinotherchains.Look,thereisevenafranchiseofTheCave(tm)!Youimaginethesatisfactionofthrowingarockthroughtheplateglasswindow.What'sthegood?MartinHeidegger:"Whatisatissueinboredomisawhil
e,awhiling,apeculiarremaining,enduring.Aconfrontationwithtime."158.Youaresitting,forexample,atyourPlaystation,withastackofgamestochoosefrom.Theflightwaslongandtedious,andnowyouarehomefree.YouputinStateofEmergency,ifonlyfo
rthepleasureofwatchingtheautomatedriotoftwohundrednon-playercharactersransackthemallinwhichthegamebegins.YouchooseChaosratherthanRevolutionmode,soyoucantrashtheplacewithoutworryingaboutmissionsandobjectives.Whilefairlyagre
eablebeatspound,youpickupweapons,smashthings,thumpandarethumpedbysecurityandgangbangers,lookingforthemomenttotossthebomb.Still,youarebored.Butthisisadifferentkindofboredom.Attheairport,itwaseasytoblameitonthecircumstances.
Now,athomewhereyoucandowhateveryoulike,itisn'tanythingoranyone'sfault.Youputthegameaway,andwonderwhyyouarestill,stillbored.Heideggeragain:"WasIwhatwasboringmyself?"Perhapsitisnotthingsthatareclosedtome,butmyownbeing.159.Th
enagain,perhapsitsnotthingsthatareboringyou,norevenyourselfthatisboringyou.Perhapsthereissomethingelse.Somethingyoucan'tputyourfingeron.Youarebored.Whyfightit?Whynotjustdeclareit?IggyPop:"I'mthechairmanofthebored!"Perhapsh
ereonecanthinkthrougheverydayboredomtoaboredomofHeideggerianprofundity,andconfronttemporalityitself!Boredomcouldbethetunetowhichoneturnstowardstheory.PhilosopherofboredomLarsSvendsen:"Theessentialdifferencebetweentheboreda
ndthe'theoretical'gazeisthattheformeristheresultofaninvoluntarylossofmeaning,whilethetheoreticalgazedeliberatelyremovesit."Startingwiththisevermorepresenteverydayboredom,onemightfollowHeideggeroutofthemallandintothesacredg
rovesofacertainbrandoftheory.160.PauseStateofEmergencyandtakethatHeideggerbookthatyouboughtonyourtravelsoutofyourbackpack.Idlyflippingthoughitspages,youfindthatHeidegger'sboredom,strangelyenough,haslevels.Thinkingthroughfr
omoneleveltothenextpresents,ashewillsayagainandagain,tasks,tasks,stillmoretasks.Thesetasksareorganizedasamazeofpathsandstillmorepaths.It'salltasksandpaths,tasksandpaths.Tothegimleteyeofthegamer,thistheorystartstolookjustli
keanothergame.Levelone:NewbieBoredom.Leveltwo:MoreBoredom.Levelthree:ProfoundBoredom.Bonuslevels:World,Finitude,Solitude.Hisbookisastrategyguidefortheoryasagameofbeing.Agamewhich,likeanyother,positslevelingupasagoalinitsel
f,approachingtheever-recedingbigbadbossoftimeitself.Acannymoveforagamertheoryisalwaystorefuseanysuchgamewhichclaimstotranscendgamespace.StepoutsideTheCave(tm)andwhatdoyoufind?Anothercave,disguisedasanexit.BettertoreturntoT
heCave(tm),playthegameandtrytofinditsform.BacktoStateofEmergency:it'saboringgameinmanyways,butthatmaybeitscharm.OneimaginesBenjaminandHannahandtheothercharactersonesocarefullycultivatesinTheSimsgettingsoboredtheyjointhemay
hem,smashingwindows,lootingbigscreenTVsoftheirdreams.161.Whatifboredomhaslesstodowiththeessenceoftimeandmoretodowithparticularqualitiesofspace?Benjamin(theSim):"Boredomisthebasisoftheallegorithmicinsightintotheworld.Boredo
mlayswastetotheappealofthegameasgame,andcallsattentiontotheambiguousrelationofgametogamespace."Boredomisn'talonging,alengtheningoftime.Itisaspaceyfeeling,ofbeingspacedout.Whatisboringisaspaceinwhicheitheronecannotact,orone
'sactionsamounttonothing-waitingatanairportmall,orchoosingonemoreorlessidenticalgameoveranother.Whenyouarebored,evenhomefeelslikeawaitingroom.GangofFour:"Athomeshefeelslikeatourist."Whatdisplacesboredomisthecapacitytoactin
awaythattransformsasituation.Itdoesn'tmatterthattheChaosmodeinStateofEmergencyispointless.Itdisplacesabitofthegamer'sboredominamaking-overofgamerandgame,changingthespacethegamercanaccess,extendingtheplaceoftheriotfromtheCa
pitolMalltoChinatowntoDowntowntotheCorporateCenter,changingthepowersofthegamertochangethespaceitself.Atleastwithintheconfinesofthegame,atleastforawhile.Whenitstopsworking-bootupanothergame.162.Asthegamerbecomesattunedtothe
game,gamerandgamebecomeoneevent,onebattle,oneaction;anoscillatingbetweenthelinedividingselffromother,andthelineconnectingthemasonesubstance.Ifthelinedividingprovidesamomentofautonomousself;thelineconnectingprovidesamomento
fselflesspurpose.Ingames,actionhasitslimits.Itisanendlessbit-flipbetweentargeter,targetingandtarget.Andyetatleastiteffectsatransformationofgamerandgame.Gamesarearepositoryforacertainatopianlabor,whichhasthepowertoconfrontt
henecessityofitsownchoosing.Gamesdonotofferacontemplativeresponsetoboredom.Ifanything,topologymakeslaboralltoocontemplative.Rather,gamesareaspaceforaction,theyrestorealostqualityofthetopical,whereHomer'sheroesstruttedtheir
stuff,intheparadoxicalformofapuretopology.Allthescopeforactionthatgamespacebothpromisesanddeniesisrestoredinthegame.HencethedoubleeffectofStateofEmergency.It'sbackstoryisanallegoryofnegationanddestruction-inthepre-releasev
ersion,thebadguyswereevencalledtheAmericanTradeOrganization.Andyetasanallegorithm,itispurposeful,constructive.Theimagesdon'tmatter;thestoryisjustanalibi.Underneathitisagamelikeanyothergame,builtoutofarbitraryrules,butwhich
onemakesone'sown.163.ForHeideggeramoveawayfromameditationontimeitselftothinkingabouthowoneactsinaparticularspaceisaretrogradestep,backtoatbesta"higherformofjournalism"oratworsta"fashionablephilosophy",whichsetsoutwhatiscon
temporary,butdoesnotmovebeyondthesurfacesofthepresent.Itdivertsyoufromthegameofreflectiononyourownbeingandinsteadassignsyouaroleintheworld.Inthiscase,theroleofthegamer.Heidegger:"Havewebecometooinsignificanttoourselvesthat
werequirearole?Whydowefindnomeaningforourselvesanymore…?Isitbecauseanindifferenceyawnsatusoutofallthings,anindifferencewhosegroundswedonotknow?Yetwhocanspeakinsuchawaywhenworldtrade,technologyandtheeconomyseizeholdofmanand
keephimmoving?"Perhapsthisispreciselywherethegamerfindsawaytospeak,to'dotheory'(howeverfashionableorjournalistic).Isitnotthisspace-thistopologyoftradeandtech-thatisintimatelyconnectedtothepersistenceandpervasivenessofbored
om?164.Boredomnolongeraffectsjusttherestlessyoungortheidlerich.GamespaceoffersnothingtoanybodybuttheSisypheanlaborofrollingtherocktothetop,untilthisarbitrarynecessityabates.Thenwhat?One'sactionsatthecrestofthehillbecomeuse
less,indifferent-boring.StateofEmergencyrestoresaroletoactionbymakingoutoftheintricatetopologyoflines-oftrade,technology-amatrix,ifnotofmeaning,thenatleastofmeasuring.Thegameinstallsintheworldanartificialnecessity;gamesare
allegorithmsofthenecessityofnecessity,inaworldinwhichwhatisnecessaryisarbitraryandwithoutform,wherethelineannihilateseverytopic.Intopologicaltimesitwastheheroandhisbandwhoacted;intopographictimestheherobecomesabstract-anat
ion,aclass,areinventedfaith-butitstillacted.Onceuponatime,onecouldtellthisstory…KarlMarx:"Thepeoplemakehistory,butnotastheyplease;notunderthecircumstancesoftheirownchoosing."Nowthepeoplechoosetheircircumstances,justastheyc
hoosethefinishfortheirkitchencabinets,butthereisnohistorytobemadeofthem.165.Whatcharacterizesthegamerisarelinquishingofarolethatmighthavequalitiesbeyondthegame-assaviororsoldier,priestorprophet,rectororrevolutionary.Thegam
ercertainlydoesnotexpecttoomuchoftheroleoftheorist,beyondentrŽeintoanothergame.Itcannotovercomeboredom.Onemightaswellchooseinsteadaboringgame-likeStateofEmergency.Whatcharacterizesgamertheoryisaplayingwiththeroleofthegamer
withinthegame,notbysteppingbeyondit,intoatimeorarolebeyondthegame,butratherbysteppingintogamesthatarerelativelyfreeofthepowerofgamespace.Thegameisjustlikegamespace,onlyitstransformationsofgamerandgamehavenopowerbeyondtheba
ttleinwhichtheymeet.Inthegameyouarefreebecauseyouchooseyournecessities.Inagame,youcanhideoutfromagamespacethatrenegesonitspromises.Inagameyoucanchoosewhichcircumstancesaretobethenecessityagainstwhichyouwillgrinddowntheshap
eofaself.Evenif,insochoosing,youclicktooptoutofmakinghistory.166.Boredomcanbedisplacedonlysofar.Eventhemostdeludedofgamerscaneventuallyrealizethattheirstrivingshavenopurpose,thatalltheyhaveachievedisahollowtrophy,thedelusi
onofvalue,ameaninglessrankbuiltonanarbitrarynumber.Boredomalwaysreturns.GiacomoLeopardi:"Theuniformityofpleasurewithoutpurposeinevitablyproducesboredom."Theveryactionofovercomingboredomreproducesit,whengamerandgamereachsom
eimpasse.Thereisalwaysalimit.Ingamesthislimititalwaysgiveninadvance.That'stheverymeritofgames.InStateofEmergency,thegameisanallegorithmofitsownlimitedinterest.Itturnsthemomentofboredom,thehourpropitiousformakingbombs,intoa
gameaswell.It'sagameaboutthedestructionofgamespace-asitselfagame.Thedestructionofgamespaceisagamethatprovidesauniformpleasurewithanyothergame.Thisisthemilitaryentertainmentcomplexatitsheight,constantlydisplacingboredominto
yetmoregames.167.PlayingStateofEmergencyhasakindofliberatingopenness.Youfeelratherthanmerelyseeorheartheenvironmentofthegame.Youscanthemallforweapons,enemies,opportunities.Anythingelseisjustnoise.Spaceismarkedwithtargets-w
ithboundariesthatdraworrepelyouaccordingtohowtheymighteffectyourscoreandyourprogressthroughthegame.Thegameropensoutintothegameandisnolongerbored.Forabit.Butthisopennessalsohasitslimits.Whileinthegameandplayingitwell,everyt
hinginitappearsonlyfromthepointofviewofitsrelationtowinningthegame.Nothingisanythingotherthanameanstothatend.168.Hereboredomthreatenstoappearagain.Youareleftemptybythegame,nolongertaken(ortakenin)bythethingswithinit.Theact
ionappearsfutile.Nothingmovesyou.Youopenedyourselftothegamebutthegameitselfdoesnotreallyopentowardyou.Youopenedtowardssomethingclosed.Itisananimatedspaceinwhichthingsarejustmarksofgoodorbadpossibilitieswithinthegame.Thepos
sibilityofdoinganythingmuchseemstobewithheldbythegame.Itfeelslikesuspendedanimation.Andyet,strangely,whatisfrustratingisthatpossibilityitselfseemssotantalizinglytangiblepreciselybecauseitisn'there.Somethingappearsprecisely
becauseitsarrivalisoutofbounds.AsHeideggerchampionGiorgioAgambensays,itis:"[T]hebeingwhichexistsintheformofpotentialityforbeing."Butthispotentialisofaveryparticularkind.Itisthepotentialofsomethingnolongerparticularlyhuman.
Itisthepotentialoftopologyitself,whereyourdigits,graspingthecontroller,touchthedigital,whichinaweirdwaytouchesback.169.Gamespaceisananimationmachine.Thedigitalandthehumanleadanuneasyexistencethere.Ontheonehand,therearecons
tantattemptsto'humanize'thetechnological,tomakeitappearasifitwerethereforyou.Ontheother,itreducesthehumantothestatusofthedigital.Itmarksallofspaceasabattlespacewithyes/notriggers.InStateofEmergencythehumanappearstorageagai
nstthemachine,butthefigureofthehumanwithinthegameisananimation,amachinicspecialeffect.Therealhuman,youmightsay,isthegamerplayingthegame.Butthishuman,inordertoplay,hastothinklikesomethingotherthanahuman.Ithastobecomeanimate
d,machinic,respondingtotargetswithinthegameassignalsswitchingonoroffbehaviorsaimedatsheersurvival.Thegamercoupledwiththegameisastrangeanimal.170.Hereissomebackstory,aboutastrange,famousanimal,knowntoHeidegger,andmuchdiscus
sedsince.DeleuzeandGuattari:"thetick,attractedbythelight,hoistsitselfuponthetipofabranch;itissensitivetothesmellofmammals,andletsitselffallwhenonepassesbeneaththebranch;itdigsintotheskin,attheleasthairyplaceitcanfind.Justt
hreeaffects;therestofthetimetheticksleeps,sometimesforyearsonend,indifferenttoallthatgoesonintheimmenseforest."Itisananimalthatlivesinaworldwhichappearsasjustafewtargets.Agambenagain:"Underparticularcircumstances,likethose
whichmancreatesinlaboratories,theanimalcaneffectivelysuspenditsimmediaterelationshipwithitsenvironment,without,however,ceasingtobeananimalorbecominghuman."Thissuspensionisalsowhatthedigitalgamedoes.Thegamersuspendsarelatio
nwithanenvironment-gamespace-withinthespecialtopicofthegame,withoutceasingtobehumanorbecomingmachine.171.Youknownothingaboutyourbodyuntilyouknowwhatitcando.Boredomisnotdoingnothing.Boredomissomethingabodydoeswhenspacewilln
otletthebodyenteritinawaywhichtransformsthebodyintosomethingelse,sothatthebodycanforgetitself.Boredomisasuspendedanimation,madepossiblebytheabsenceofacertainrelationtospace,acertainqualityoflabor.Ifthetriggerpointsinspacea
lwayspointtowardthesamepossibilities,onlyunderdifferentsigns,thenboredominevitablyreturns.StateofEmergencymarksananxietywithinthemilitaryentertainmentcomplexaboutthisverypossibility.Perhapsitisagamethattriestoincorporatean
dovercomethethreatboredomposestothemilitaryentertainmentcomplexbymakingagameofit.Agamewhich,oddlyenough,makesboredominteresting.Inadrive-bycritiqueofStateofEmergency,anti-globalizationwriterNaomiKleindeclares:"anti-corpora
teimageryisincreasinglybeingabsorbedbycorporatemarketing."Buttheaffectrunsbothwayshere.Thegamemightco-opt,butisatthesametimeanallegoryforananxietyaboutwhattodowhengamespacecannolongercolludewithboredom.Thepowersbehindthedi
gitalmighttrytoco-optboredom;theboredomofthegamermightyetco-optthedigitalinstead.172.Justasthemilitaryindustrialcomplexonceforcedthefreerhythmsoflaborintothemeasuredbeatofwork,sonowitssuccessorsobligethefreerhythmsofplayto
becomeequallyproductive.AlanLiu:"Increasingly,knowledgeworkhasnotruerecreationaloutside."Thetimeandspaceofthetopologicalworldisorganizedaroundthemaintenanceofboredom,nurturingityetdistractingitjustenoughtopreventitsimplosi
oninonitself,fromwhichalonemightarisethecounterpowertothegame.Allthepotentialsoftopology,itslinesuponlines,areconfiguredasagamespacedesignedtoneutralizeplayandcontainit.StateofEmergencyisagameaboutthepossibilitiespentupwit
hingamespace.Itenactsthegameasarepository,amemory,apracticepatchforfreelabor,forautonomousaction.Itpresentsthispossibilityforactionasthenegationofactuallyexistinggamespace.173.Thestraightforwardlinesoftopographicspaceleftr
oominthemarginsforheterotopiaswhichformalizedtheordersofplay.Itinstitutedthechroniclesoflegendsandstatisticsthatwouldbecomethegame'sopeninggambitagainsthistory.Intopographictimes,thecyclicrepetitionofthegameneverquitereach
edthethresholdofboredom,astherewasstillaneverydaylifeofworkandstrugglefromwhichitofferedanorderlyretreat.Thetopological,bycontrast,capturesallofspaceinitsmonotonousgridsandalloftimeinitsrepetitiveinnings.Boredombecomesperv
asive,uncontainable-arealthreat.Andsothemilitaryentertainmentcomplexinventsever-newgames,withnewrules,newmoves,newchancesforcompetitorstopitthemselvesagainsteachother,oragainstchanceitself,soastomaintainitsgriponthetopolog
yitextrudesoutofitself,incorporatingallofspace.Boredomwithanyparticulargameisalwaysdisplacedontoanothergame,beforeitcallintoquestiontheimperfectionsofgamespaceasapoorexcuseforhowonecouldliveandlaboramongtheserichlyproducti
veandseductivelines.174.Intopologicaltimes,playdisappearsintothegame,andboredomloomsonallsides.Themilitaryentertainmentcomplexrespondsbyintroducingintothegameeverykindofnoveltyimaginable.Gamesbecomeslessandlessatangiblefie
ldoutsidetheworkadayplacesofeverydaylife.Theybecomeagamespace,anintangiblecomplexoflinesalongwhichallinformationshuttles,subordinatedtoprotocolsandrules.It'sothersceneisnolongeraheterotopianplayingfieldasaspaceandtimeapart
.Rather,itistheatopianspaceofthedigitalgame,whichismoreseparatethanaheterotopianplayingfield,butwhichisevenmoreanatopiandoubleforthewholeofspaceitself.Theproblemwithgamespaceisnotthatitpresentstheworldviatheactionoftargeti
ng.Theproblemisthatingamespacethingstargetpeople,ratherthanpeopletargetingthings.Itisnotthatthedigitalisatechnologythatcutsintotheworldandpresentsittothehumanasifitwerealways,andalreadycuttosuitus.Itisthatitcutsus,rendersu
sasdigitalbits,andpresentsthemtotheworldmadeoverasagamespaceinwhichwearethetargets.175.Themilitaryentertainmentcomplexisaboveallthemanagementandmaintenanceofboredom.Themilitarywingtrainsboredom'slaxenergiesoutward;theenter
tainmentwingcoachestheresidualboredomwithin.Bothwithoutandwithin,boredomiscontainedwithinthelinesofgamespace.JamesP.Carse:"Theworldiselaboratelymarkedbyboundariesofcontest,itspeoplefinelyclassifiedastotheireligibilities."T
hegameplanreplacestheworkethic.Theinterestsofthecomplexdominatepolicy,andpolicy'sgoalisalleviatingthethreatofboredom.Whatisgoodforthemilitaryentertainmentcomplexisgoodforthecountry.Andwhatisgoodforthemilitaryentertainmentc
omplexisthewaronboredom,which,likethewaronterror,isnevertobewon,merelydisplaced,astheboredomindexrisesandfalls.Forboredomcanariseanywhereandeverywhere,oncespaceismadeoverastopology.Thetrickforthemilitaryentertainmentcomple
xistocolludewithitinmaintainingitwithouthavingitturnuponthecomplexitself.151.Boredomamusesonlyitscritics.Theystruggleagainsttheirownlassitudetokeeptheirindignationuptodate.TheodorAdorno:"Theteamsofmodernsport,whoseinteract
ionissopreciselyregulatedthatnomemberhasanydoubtabouthisrole,andwhichprovideareserveforeveryplayer,havetheirexactcounterpartinthesexualteamsofJuliette,whichemployeverymomentusefully,neglectnohumanorifice,andcarryouteveryfu
nction.Intensive,purposefulactivityprevailsinspiritineverybranchofmassculture,whiletheinadequatelyinitiatedspectatorcannotdivinethedifferenceinthecombinations,orthemeaningofvariations,bythearbitrarilydeterminedrules."Ingam
espace,porno,likesport,nowhasitsstarpitchersandhitters,specialistsforeveryposition,andtheinadequatelyinitiatedspectatoronceagaincannotdivinethedifferenceinthecombinations,orthemeaningofvariations,bythearbitrarilydetermined
rules.Butitisthesametoowithcriticaltheory,whichbecomesformallyindistinguishablefrompornography.Thispornographyoftheconceptisameresubsetofgamespace,ahypocriticaltheory,withdifferentspecialists,playingbydifferentrules-equall
yworthyofdeSade.152.AspectacletauntsAmerica-thespectacleofitsownboredom."Thisspecterofboredom,anexquisitelybeautifulyoungmanwhoyawnsandwalksaroundwithabutterflynettocatchgoldfish.Hecarriesinhispocketapedometer,apairofnails
cissors,apackofcards,andallsortsofgamesbasedonopticalillusions.Hereadsaloudthewordingonpostersandsigns.Heknowsthenewspapersbyheart.Hetellsstoriesthatnobodylaughsat.Hepassesahandofshadowsoverhiseyes…punctuatinghiswordswitha
terribleexpletive:What'sthegood?Hecannotseeaknobonanelectricdialwithoutturningit,ahousewithoutvisitingit,athresholdwithoutcrossingit,abookwithoutbuyingit.What'sthegood?Allwithoutcuriosityorpleasurebutsimplybecauseonehastod
osomething,andbecausehereweareallthesame,afterall.AndwhatwasthisALLwhichswellsupinthevoicethatpronouncesit?"TheSurrealistpoetLouisAragonprovidestheanswer,aswellasthequestion:nothing.Boredomisnothing,nothingness,thefaintest
touchofthevoid.Inboredomyouopentowardsomethingthatdoesnotopeninreturn.Itleavesnothingbutindifference,neitheronenortheother,thegrungeoftime,thelintthatstickstoallthingsdigital.153.AsthatinconsolablephilosopherArthurSchopenh
auerwrites:"Work,worry,toilandtroubleareindeedthelotofalmostallmentheirwholelifelong.Andyetifeverydesireweresatisfiedassoonasitarosehowwouldmenoccupytheirlives,howwouldtheypassthetime?Imaginethisracetransportedto[anA]topia
whereeverythinggrowsofitsownaccordandturkeysflyaroundready-roasted,whereloversfindoneanotherwithoutanydelayandkeeponeanotherwithoutanydifficulty:insuchaplacesomemenwoulddieofboredomorhangthemselves....".Asthistopologyoffun
andgamesspreadsandcongeals,carvingoutmagickingdomsindifferenttoworkandsuffering,itcarrieswithinitthestrangeectoplasmthatbothdrivesitandcanoverturnit-boredom.InourfantasmicAmerica,adigitallogisticssendsturkeysflyingaroundth
ehighwaysready-roasted.Theycomehometoroostinthefrozenfoodssection.Loversmeetwithfleetingeaseontheinternet,andafterwardsrankandratetheirencounters,accordingtoarbitrarilydeterminedrules.Andmanydo,indeed,dieofboredom.Evenifth
eydon'tknowit.Thereservearmiesoftheboredzombietheearth,fiddlingwiththeircellphones,checkingtheirwatches.Boredomisthemeterofhistory.154.Ifhistoryisanendlesslistofthingsthatshouldnothavehappened;boredomiswhatrefusesnottohapp
en.Historydistractsitselfwithheroicfablesaboutthestruggletowrestfreedomfromnecessity.Suchiscivilization,nottomentionCivilizationIII.Historyhassomuchlesstosayaboutthedecisivemomentwhenfreedomfromnecessityactuallyarrives.Nei
thercivilization,norCivilizationIII,knowswhattodoattheend,exceptperhapsdreamofasequelthatismoreofthesame.JohnBerger:"Necessityproducesbothtragedyandcomedy.Itiswhatyoukissandbangyourheadagainst."Withoutnecessity,thestorylin
efalters.Buzzcocks:"I'mlivinginthismovie,butitdoesn'tmoveme."Whatmightbethecontentofthispositivefreedom,notfreedomfrombutfreedomto?Atsuchtimes,thereisnothingbutboredom,thestickylingeringwithnothingnessitself.Thisisthemomen
tofdanger.CyrilConnolly:"TheboredomofSundayafternoon,whichdrovedeQuinceytosmokeopium,alsogavebirthtoSurrealism:hourspropitiousformakingbombs."155."Onthewholeasocietyalwaysproducesmorethanisnecessaryforitssurvival;ithasasur
plusatitsdisposal.Itispreciselytheuseitmakesofthissurplusthatdeterminesit."SowritestherogueSurrealistGeorgesBataille.Thissurplusmaybegatheredupanddispersedinspiritualquestsorinmakinglifeoverasaworkofart.Itcanbesquanderedon
bombs.Oritcanbeinvestedalongthelinesofstrategicexpansionoreconomicaccumulation.Thisinvestment,thislayingdownofnewlines,buildingfromtopictotopographytotopology,onlyincreasesthesurplus,andpostponesandmultipliestheproblem:Wha
ttodowiththeidlecapacitiesofapeople?Whattodowithenergiesthatsoeasilyspilloverintoriotorrevolt?What'sthegood?Boredomistheambivalentgiftofthesurplus.Boredomarisesoutoftheabsenceofnecessity,ofayes,ano,astraightline.Boredomdem
andsnewnecessities,andifnotgrantedthem-producesitsown.Historyisastruggletowrestnecessityfromboredom.Inthisrestlessage,there'snothingtheywon'tdotoraisethestandardofboredomundertheflagofnecessity.Constantrevolutionizingofsed
uction,uninterrupteddisturbanceofallconsumerrelations,everlastinguncertaintyanddistraction,distinguishthemilitaryentertainmentcomplexfromallearlierpowers.Itmuststayonestepaheadofboredom,withwhichitdeludesandwithwhichitcoll
udes.156.Topologythreadsallspacestogether,caveaftercave,eachasludicrousasthenext.Nowonderpeoplefindtheirleisureasdullastheirwork-leisureiswork.Howtimeschange….KarlMarx:"Theworking-daycontainsthefull24hours,withthededuction
ofthefewhoursofreposewithoutwhichlabor-powerabsolutelyrefusesitsservicesagain…Timeforeducation,forintellectualdevelopment,forthefulfillingofsocialfunctionsandforsocialintercourse,forthefree-playof…bodilyandmentalactivity,e
ventheresttimeofS
unday(andthatinacountryofSabbatarians!)—moonshine!"Butthatmoonshinehasbecomelegitimatebusiness.Thefreetimeavailableforeducation,culture,sport,evenfaith,wereoncethehard-wonfruitsoflabor'sstruggletofreetimef
romwork.Thisfreetimegaverisetoheterotopiasofsportandartthatatleastheldtheintoxicatingillusionofautonomyfromthenecessityofwork.Nowtheybecomework,disguisedasgames,justasgamesbecomethedisguiseofworkitself.Thesportingmetaphors
and
slogansmigratefromleisuretowork-andbackagain.Theyceasetobemetaphorsandbecomemeredescriptions,inalanguagestrippedofanytermsotherthanthoseofcompetition.Almosteverymomentissweptintoarelentlessagon.157.Andasforthoseslacktim