Boredom in the Digital Age: Social Media, the Digital Rift, and the Feeling of Emptiness in a Globalized World?

Boris Berenzon Gorn, Instituto Nacional de Antropologia e Historia (México)

Introduction

The digital age has radically transformed modern life, offering unprecedented access to information, entertainment, and social connections. Through digital devices and platforms, people can now access a constant stream of data and content, connect instantly with others worldwide, and consume an almost unlimited variety of cultural products. This advancement has promised a greater democratization of knowledge and improved quality of life. However, alongside these benefits, a disturbing paradox has emerged: despite the abundance of stimuli, boredom persists and, in many cases, has intensified.

The sense of emptiness experienced by many today can be understood through the breakdown of the hegemonic order that previously dominated political and cultural life. The «end of history» theory proposed by Francis Fukuyama, which anticipated the definitive triumph of democratic liberalism and global ideological homogenization, has proven to be a flawed premise. Instead of a world unified under a single political and economic system, we have witnessed an ideological and cultural fragmentation that challenges Fukuyama’s vision. Reality has proven to be far more complex, with multiple conflicts and tensions emerging on a variety of fronts, from nationalism to cultural and religious divisions.

This clash of civilizations, as described by Samuel Huntington, reveals the persistence and deepening of cultural and political differences in a globalized world veiled by the need for ideological confrontation. The search for cultural and political identity amid globalization has created a space in which the market and culture become intricately intertwined. The proliferation of the market and the commodification of culture have led to the rapid obsolescence of cultural experiences and a superficiality in the cultural offering. The constant demand for novelty and the accelerated cycle of production and consumption contribute to a society where the value of experiences and ideas is diluted.

This situation creates an environment in which deep reflection and lasting satisfaction become elusive. The supply of stimuli has multiplied, but often at the expense of quality and depth. Instead of promoting an authentic connection with oneself and others, the saturation of options and the superficiality of cultural experiences lead to mental and emotional exhaustion. The inability to find meaning and purpose in a sea of ephemeral options and cultural commodities results in a sense of emptiness that manifests as boredom.

This essay explores how the digital divide, social media, and the overload of options in a globalized world contribute to this sense of emptiness and purposelessness. It will address how these dynamics affect our perception of life and our emotional well-being, considering the contributions of various thinkers to understanding the phenomenon of contemporary boredom.

A brief analysis will be provided of Theodor W. Adorno and Max Horkheimer’s ideas on mass culture and its impact on the experience of boredom. Adorno and Horkheimer argue that mass culture, mass-produced and consumed, contributes to a superficial experience that does not allow for deep reflection or personal development. Zygmunt Bauman and Byung-Chul Han will provide a critical perspective from the perspective of liquid modernity and information overload, analyzing how excess stimuli and the constant pressure to be productive affect emotional well-being. Alessandro Baricco and Néstor García Canclini will explore cultural fragmentation and the influence of technology on identity, highlighting how these forces contribute to a sense of disorientation and emptiness. Clifford Geertz and Edgar Morin will offer an anthropological and sociological perspective on culture and sense of purpose, examining how the loss of shared narratives and cultural fragmentation impact the experience of boredom. Giles Lipovetsky and Marshall McLuhan will analyze cultural superficiality and the role of media in the perception of boredom. Finally, Josefa Ros and Slavoj Žižek will address contemporary approaches to the alienation and trivialization of culture, offering perspectives on how the market and consumer culture contribute to the sense of emptiness.

Through this exploration, this text aims to unravel the complex relationships between digitalization, cultural consumption, and the sense of emptiness, providing a comprehensive view of how the digital age shapes our experiences and expectations in a globalized context. By considering the ideas of these thinkers, we seek to better understand the role of boredom in an environment saturated with ephemeral stimuli and options, and how these dynamics impact our ability to find purpose and satisfaction in contemporary life.

Boredom as an Existential Experience

 Boredom is often seen as a negative and passive feeling, but it can also be a deeply revelatory experience. When we are bored, we are forced to confront the emptiness of our own mind and the sense of purposelessness. This state can lead us to reflect on our identity, our desires, and our aspirations. In a way, boredom acts as a mirror that shows us our own existence and invites us to ask ourselves what we want to do with our time and energy. The phrase «I am bored, therefore I am» suggests that reflecting on our boredom can be a mechanism for affirming our existence. When we feel bored, we look for ways to fill the emptiness, whether through creativity, introspection, or action. This active search not only defines us as human beings but also allows us to connect with our deepest essence. Thus, boredom becomes an opportunity to explore and reaffirm our existence.

Boredom is often a catalyst for creativity. When we’re not preoccupied with constant distractions, our minds have the opportunity to wander, generate new ideas, and explore innovative thoughts. Often, the best ideas emerge during moments of boredom. The phrase «I am bored, therefore I am» can be interpreted as an affirmation that boredom is a space in which existence can flourish and manifest itself creatively. Boredom forces us to confront our own emotions and thoughts. Without the distractions of daily life, we can dedicate time to self-assessment and self-analysis. This process can lead to a greater understanding of ourselves and our priorities. By reflecting on what causes us boredom, we can uncover aspects of our personality and desires that would otherwise remain hidden.

In the digital age, where access to information and entertainment is constant, boredom may seem less frequent. However, stimulus overload can mask genuine boredom and the need for a break. The phrase «I am bored, therefore I am» can also be seen as a call to disconnect from digital overload and allow ourselves to experience boredom as a way to reconnect with our authentic existence. «I am bored, therefore I am» is a provocative reinterpretation of Cartesian thought that highlights boredom as an important and revelatory state. Rather than seeing it as a simple absence of stimulation, we can consider boredom as a state that invites us to reflect on our existence, foster creativity, and connect with our inner selves. By embracing boredom, we affirm our existence and discover new ways of understanding ourselves and the world around us.

1. The Digital Rift and Boredom: A Deep Inequality

The digital rift refers to the disparity in access to information and communication technologies (ICTs). This inequality not only reflects economic and educational differences but also has a significant impact on how boredom is experienced in different social contexts. In regions with limited internet access, boredom can be linked to exclusion from digital life, reinforcing a feeling of marginalization and disconnection from the globalized world. However, digitalization also affects those who are completely immersed in it. In societies with widespread access to technology, stimulus saturation can lead to a different kind of boredom, marked by digital fatigue. Byung-Chul Han (2014) argues that information overload and the constant pressure to consume digital content cause mental and emotional exhaustion that reduces the ability to enjoy everyday life. This exhaustion, which Han calls the «tiredness society,» is a symptom of the overload of options and expectations in the digital age.

2. Social Media and the Feeling of Emptiness

 Social media has radically reconfigured the way we interact and consume information, offering instant connections and an endless stream of content. However, these platforms have also contributed to a widespread sense of emptiness and alienation. The superficiality of many interactions on platforms like Instagram, Facebook, and TikTok creates a fragmented life experience, where authentic connections are replaced by the search for approval through likes and comments.

Gilles Lipovetsky (2006), in The Age of Emptiness, explores how contemporary society has shifted the value of human relationships toward instant gratification and narcissism. In this context, social media not only fosters superficiality but also perpetuates a culture of social comparison, in which users continually feel inadequate when comparing themselves to the idealized versions of others’ lives. This cycle of comparison and validation-seeking perpetuates an existential void, which manifests itself in the form of boredom.

3. History and Anthropology of Boredom: A Cultural Perspective

History and anthropology provide a crucial framework for understanding boredom in its cultural and historical context. Over time, boredom has been conceptualized in various ways, from medieval acedia, a state of spiritual apathy, to the focus of 19th-century European intellectuals, characterized by a deep disenchantment with modern life.

In the field of anthropology, boredom can be understood as a reaction to the disintegration of cultural structures that, in the past, provided a clear sense of identity and purpose. Clifford Geertz (1973) argues that culture offers individuals a «set of symbols» that gives shape and meaning to their lives. However, in the digital age, the proliferation of globalized cultures and the fragmentation of identities can lead to a sense of disorientation and boredom. The loss of shared traditions and narratives, exacerbated by digitalization, weakens community and personal connections, increasing the experience of boredom.

4. The Globalization of Boredom: A Symptom of Cultural Homogeneity

In a globalized world, boredom manifests itself not only as a lack of stimulation, but as a symptom of cultural homogenization. The proliferation of standardized products and experiences has reduced the diversity and originality of cultural offerings, leading to a sense of monotony and lack of novelty. This phenomenon is evident in the entertainment industry, where music, film, and the visual arts tend to follow global formulas that result in an abundant but superficial cultural offering.

Mario Vargas Llosa (2012), in The Civilization of the Spectacle, criticizes how mass culture has trivialized art and thought, turning them into mere products of rapid consumption. This trivialization of culture not only contributes to boredom but also empties artistic and cultural experiences of content, reducing their ability to inspire and connect people on a deeper level.

5. Culture and Art in the Digital Age: Boredom as a Creative Challenge

 The impact of boredom on the production and consumption of culture and art in the digital age is profound and multifaceted. The accessibility and immediacy offered by technology have changed the way we interact with these human expressions. However, the superficiality with which many of these experiences are consumed has given rise to a new kind of cultural boredom.

For example, in music, streaming platforms have democratized access to a vast number of genres and artists. However, this abundance has also led to a homogenization of tastes, where algorithms dictate listeners’ preferences, limiting musical diversity and exploration. Similarly, in art, digitization has facilitated access to a vast number of works, but these works are often consumed superficially, without the context or reflection necessary to fully appreciate them. This phenomenon has led to what some critics describe as a «channel surfing culture,» in which audiences quickly move from one work to another without pausing to fully reflect or experience it, contributing to a kind of cultural boredom that, far from enriching, impoverishes the artistic experience.

6. Boredom in the Social Sciences

Boredom has been a topic of interest in the social sciences, where it has been addressed from various perspectives. Zygmunt Bauman (2007), with his concept of «liquid modernity,» suggests that the transience and superficiality of modern experiences contribute to a constant state of dissatisfaction that manifests as boredom. In liquid modernity, the lack of stability and depth in human relationships and experiences leads to an existential void that neither technology nor consumption can fill.

On the other hand, Byung-Chul Han (2014), in his work *The Society of Fatigue*, highlights how the constant pressure to be productive and efficient in all aspects of modern life leads to exhaustion that manifests as boredom. This existential fatigue is the result of an environment where everything is measured and valued in terms of performance, leaving little room for contemplation, creativity, and leisure, essential elements for a fulfilling life.

7. Byung-Chul Han’s Proposal: Boredom as Resistance

Byung-Chul Han proposes a critical view of boredom in contemporary society. In his analysis, boredom is not simply the absence of activity, but a symptom of a deeper cultural crisis. Han argues that in a society obsessed with productivity and performance, boredom can serve as a form of passive resistance to excessive stimuli and expectations.

For Han, boredom offers an opportunity to disconnect from the frenetic pace of modern life and reconnect with oneself. This pause, far from being negative, can be a space for reflection, creativity, and personal development. Rather than being something to be avoided, boredom could be understood as a fundamental human need, a sign that it is time to reevaluate our priorities and seek a deeper, more authentic meaning in our lives.

8. Why We Get Bored in the «Digital Age»

Ultimately, boredom in the digital age is a symptom of the disconnect between human beings and a deeper sense of meaning and purpose. We get bored because, in an environment saturated with stimuli and options, we lack experiences that truly connect us with ourselves and others. Instant gratification, facilitated by social media and technology, has reduced our ability to enjoy activities that require patience, reflection, and long-term commitment.

This state of boredom is a reminder of the need to refocus our lives on activities that truly enrich us, both emotionally and spiritually. History and anthropology teach us that boredom is not a new phenomenon, but its manifestation in the digital age reflects a crisis of meaning that must be addressed holistically.

A Proposed Historical Periodization of Boredom

This chronological (spatiotemporal) approach establishes the historical context as a first approximation, followed by a basic understanding of what caused boredom and society’s immediate response. This periodization highlights how the concept of boredom has evolved in response to social, technological, and cultural changes throughout the 20th and 21st centuries.

Slavoj Žižek’s Ideas on Boredom and Alienation

Slovenian philosopher and cultural theorist Slavoj Žižek offers a critical perspective on boredom and alienation in the context of modernity and global capitalism. His approach focuses on how ideological structures, cultural consumption, and power dynamics contribute to a sense of existential emptiness and boredom in the contemporary era.

In his work The Sublime Object of Ideology (1989), Žižek explores how ideology permeates our everyday experiences and how it contributes to feelings of boredom. According to Žižek, ideology not only shapes our beliefs and desires but also structures our perception of reality. In an environment where the dominant ideology promotes continuous consumption and a constant pursuit of instant gratification, the ability to experience a meaningful life is severely impaired. Superficiality and lack of depth in everyday life become a form of alienation that contributes to boredom.

In The Civilization of the Spectacle (2012), Žižek critiques how mass culture has trivialized art and thought. He argues that contemporary culture has been reduced to a product of rapid consumption, where art and cultural experiences have become commodities designed to entertain rather than inspire or provoke reflection. This trivialization of culture not only impoverishes the aesthetic experience but also perpetuates a sense of emptiness and boredom, as consumers are confronted with an overabundance of stimuli that lack depth and meaning.

In Violence: Six Side Reflections (2008), Žižek addresses the relationship between violence and alienation. He argues that structural and symbolic violence in contemporary societies, often manifested through economic and social inequalities, contributes to a pervasive sense of disillusionment and boredom. Alienation, in this context, becomes a response to the experience of a life that seems devoid of purpose and direction. Violence, both physical and symbolic, creates an environment of hopelessness and apathy that intensifies boredom and dissatisfaction.

Žižek also explores how consumer capitalism promotes an ideology that encourages instant gratification and superficiality. In *In Defense of Intolerance* (2009), he analyzes how capitalism fosters a culture of immediacy and consumption, where boredom is a consequence of the constant pressure to always be satisfied and entertained. The ideology of consumption promotes the idea that happiness and satisfaction can be found through the acquisition of goods and experiences, leading to a feeling of emptiness when these promises are not fulfilled. Boredom, in this context, is a response to dissatisfaction with a life dominated by superficial consumption. Slavoj Žižek’s ideas on boredom and alienation offer a profound critique of how ideological structures and the dynamics of global capitalism affect the human experience. Žižek highlights how ideology, the trivialization of culture, and structural violence contribute to a sense of emptiness and boredom in the contemporary era. His analysis provides a more complete understanding of how social and economic conditions influence our ability to find meaning and purpose in life, offering valuable insights for addressing the phenomenon of boredom in the modern context.

Josefa Ros, in his studies on the influence of technology on contemporary society, offers valuable perspectives for understanding and addressing the persistence of boredom in the digital age. His analysis focuses on the relationship between digitalization and the experience of boredom, suggesting several strategies for mitigating this phenomenon. Below are some of his key proposals: Ros argues that one of the main causes of boredom in the digital age is the lack of critical skills for handling online information. It suggests that education should include critical digital literacy, which teaches individuals not only to navigate the vast amount of information available but also to evaluate its quality and relevance. By equipping people with these skills, the feeling of emptiness that comes from an overabundance of meaningless data could be reduced.

A Chronological Proposal Centered on the Boredom of Societies

Here, a specific chronology is proposed for the 20th and 21st centuries, focusing on how the social and cultural conditions of these eras have shaped the experience of boredom. In addition to social coordinates, each period establishes dominant ideas and social solutions. Like any spatiotemporal measurement, this is also a social construct that seeks to explain the major paradigms of societies based on boredom in capitalism.

20th Century

1900-1930: Boredom in the Age of Industrialization

The Industrial Revolution led to rapid urban growth and significant changes in daily life. During this time, boredom was associated with the repetitive routine of industrial work and monotonous urban life. The emergence of new entertainment media, such as film and radio, offered a form of escape. The development of film, theater, and radio became a way to combat boredom, providing distraction and escape.

1930-1960: Entertainment as a Response

The Great Depression and World War II profoundly affected societies. The postwar period brought with it an economic boom. With the growth of the middle class and the expansion of consumption, boredom became a relevant issue in the context of suburban life and consumerism. Television consolidated its position as the primary means of entertainment. Recreational activities and hobbies became popular as ways to fill free time and combat boredom.

1960-1980: Counterculture and Diversification

Countercultural and social movements challenged established norms, while technology continued to advance. The feeling of boredom began to be associated with a lack of purpose or dissatisfaction with traditional values. Young people sought new forms of expression and experiences. Music, experimental film, and pop culture became important forms of resistance to boredom. The emergence of video games and early computers offered new forms of interactive entertainment.

1980-2000: The Digital Age and Media Overwhelm

The advent of personal computing and the rise of the internet transformed everyday life. With the proliferation of media and technologies, boredom began to be seen as a lack of stimulation in an information-saturated environment. The expansion of video games, cable television, and internet access offered an almost infinite variety of distractions, changing the way people experienced boredom.

21st Century

2000-2010: The Age of Connectivity and Instant Entertainment

The rise of social media and the expansion of smartphones changed the way people connected and entertained themselves. Constant connectivity and the flood of information meant that boredom could arise from stimulus overload and the anxiety of keeping up. Mobile apps, social media, and streaming platforms offered immediate solutions to boredom, with a focus on instant gratification.

2010-2020: The Age of User-Generated Content and Personalization

User-generated content and personalized streaming platforms dominated the digital sphere. Despite the abundance of content, boredom persisted due to saturation and a lack of time to digest all the information. The creation of personalized content and immersive experiences, such as virtual reality, began to offer new forms of interaction and escape from boredom. 2020–Present: The Post-COVID Era and Reflections on Free Time

The COVID-19 pandemic transformed daily life, and remote work became commonplace. Isolation and restrictions led to a re-evaluation of boredom, which is now related to free time management and work-life balance. The search for meaningful activities, the growth of mindfulness practices, and interest in hobbies that foster creativity have emerged as ways to address boredom in a context of uncertainty and change.

The Digital Age and Boredom: Digital Divide, Choice Overload, and the Commodification of Emptiness 

The digital age has profoundly transformed our way of life, facilitating unprecedented access to information, entertainment, and social connections. However, this technological revolution has also revealed a disturbing paradox: boredom persists and, in some cases, seems to intensify. This phenomenon can be understood through several interrelated aspects, including the digital divide, choice overload, and the commodification of boredom in a globalized capitalist context.

The digital divide, which originally referred to the disparity in access to technology, has evolved to include a more subtle inequality: the ability to interpret and use information effectively. In contexts such as Latin America and Sub-Saharan Africa, where technological infrastructure is less developed, the lack of access to education and digital resources limits individuals’ ability to take advantage of the opportunities offered by the digital age. This informational inequality contributes to a sense of disconnection and emptiness, as the available content may be inaccessible or irrelevant to those who lack the necessary tools and knowledge to interpret it.

In contrast, in developed countries such as the United States and Germany, the digital divide manifests itself through information overload. Although access to technology is widespread, gaps in digital literacy and critical thinking skills can lead to data overload, which, rather than enriching the experience, can contribute to boredom and decision paralysis.

Choice overload is a phenomenon observed worldwide, but its manifestations can vary depending on the context. In high-tech countries such as Japan and South Korea, the abundance of options in terms of apps, entertainment, and products can lead to decision paralysis. Constant exposure to an endless array of choices can hamper decision-making and foster a sense of existential emptiness, as individuals struggle to find options that truly satisfy them.

In developing regions, choice overload doesn’t always manifest itself in terms of quantity, but rather in the quality and relevance of the available options. Lack of access to meaningful or personalized choices can intensify the feeling of emptiness, as people are faced with a limited offering that doesn’t meet their true needs or desires.

Existential emptiness in the digital age is fueled by both the digital divide and choice overload. The inability to find purpose or meaning in a stimulus-saturated environment can lead to deep dissatisfaction. In countries with high levels of technological development, such as the United States and European nations, the abundance of information and options can lead to an internal void, as people feel trapped in an endless cycle of consumption.

In regions with limited access to technology, this void can manifest itself in a lack of opportunities and resources to improve one’s quality of life. The lack of access to relevant information and options that can generate positive change in daily life also contributes to a sense of emptiness and discontent.

Global capitalism has turned boredom into a commodity that can be sold and consumed. In the digital context, entertainment and social media platforms capitalize on downtime and boredom by offering constant stimuli that promise to alleviate the void. Personalization and targeted advertising are strategies designed to keep users engaged and prevent them from experiencing boredom in its purest form. In developed countries, where consumer culture prevails, the commodification of boredom is observed in the proliferation of products designed to entertain and distract, from social media apps to streaming platforms. This strategy not only seeks to keep users engaged but also to generate revenue through data capture and advertising.

The realities of boredom and the digital divide vary widely across countries and continents. While in nations like Japan and South Korea, choice overload and an advanced digital divide contribute to decision paralysis and existential emptiness, in places like Latin America and Sub-Saharan Africa, lack of access and limited options intensify feelings of disconnection and emptiness. Ultimately, the digital age, while offering many opportunities, also presents significant challenges in terms of how we manage information, make decisions, and cope with existential emptiness. Understanding these phenomena from a global and critical perspective is essential to addressing the impact of boredom on modern life and developing strategies to mitigate its effects.