Michael on Boredom: Part One

October 18, 1999

As regards boredom, we would have to say that of all manifestations of Chief Feature, any Chief Feature, this is by far the most pervasive and the most pernicious, in that it does not appear to be driven by fear nor does it in fact seem to be an inner state but an outer state -- "if something exciting were happening, I would not be bored".

We would wish to assure you that few states contribute more to the disassociation from Life Task than boredom, and as a result, gaining access to True Rest and True Play inevitably seems futile in periods of boredom. Occasionally there are valid external reasons, such as but not limited to recuperation from physical illness or injury, but we assure you that even that is driven by fear and the blandishments of Chief Feature which purports to reveal the futility of all things. It is in that nihilistic perception that fear may be discerned.

Those caught in the cycle of boredom are increasingly caught in Chief-Feature fears and the growing conviction that there is "no way out". This numbing effect can be effectively seen to block all access to Positive Poles of the Overleaves and therefore block any potential for true intimacy in any form whatsoever, and in so doing imply that any efforts to achieve Essence contact in self-intimacy or intimacy with others is impossible, contemptible, and laughable, all of which serves to lend power to fear and deny the validity of love.

Whether it is tracing the track of sunlight across the floor or indulging in True Rest and True Play, there are means to break the hold of boredom should one choose to face the fear implicit in the state itself. Fore more fragments have been eroded and destroyed by the state of boredom without realizing fear was at work in their lives than those who directly confronted fear and succumbed.

Ennui is of course a fashionable pose and as such expresses contempt for all forms of intimacy. By recognizing the fear in boredom in all its forms, each fragment has some opportunity to choose to surmount it. Without some opportunity to address the fear hidden behind the boredom, inaction and seduction from purpose is usually the result. When the fear behind the boredom is identified, it may become possible to achieve the state of positive access to Overleaves as a first step away from fear.

Michael on Boredom: Part Two

March 6, 2000

In regard to the concept of boredom, let us remark that fear can take many forms, of which boredom is the most deceptive, in that it persuades Essence in physical manifestation to be convinced that only the negative manifestation is in fact valid for the physical plane.

Let us also observe that for many fragments, frustration disguises itself as boredom in order not to have to confront the "reality" of personal perception that all fragments experience during actual manifestation on the physical plane.

The comprehension of frustration as a legitimate thwarting of Essential energy is of course Essence perception. However, expectations tend to color recognition of progress on many fronts, which include those expressive nuances that are inculcated to Expression-Polarity recognitions. In this case, many "wild animals" support the activities of Expression Polarity, and it would not be remarkable to discover that this interaction has become broadened by opportunity.

We would, however, wish to say that there are many aspects to the progress of many fragments involved that are limited by nothing but "boredom" and societal expectations that have influenced all possible perceptions of the applications of broader opportunities, and from which many fragments have defined the insights and expectations heretofore limited by expectations that now are indicative only of immediate "identification."

Let us remark about boredom that as it disguises itself as frustration or disorientation from previously defined goals, it aligns itself with Chief Feature in terms of disappointment, strengthening negativity and denying the validity of possibility, which is of course germane to all our arts as well as all "artistic deviations" from previously defined expectations.

[Explanatory comment, paraphrased: People line up with things that seem to have payoff immediately or in the fairly short term. What is being perceived is positive but is related only to immediate goals.]

Q. What does Michael mean by "our arts"?

A. When we say our arts, we mean that by which intimacies conveyed from one to two or more others of a nonpersonal nature who manage to define a discrete "generation" in representational forms, which we have already digressed upon previously.