What we call the feeling of boredom depends principally upon the too repeated stimulation of one set of activities to the exclusion of all others, the continuous presence of a kind of stimulation to which we have been rendered unsusceptible, as, for example, bad popular music to a cultivated musical taste, or intricate chamber music to an uncultivated one. The feeling of boredom may become physiologically acute, as in the case, so frequent in machine production, of literally monotonous or one-operation jobs. Long hours of labor at acts calling out only one very simple response may have very serious effects. In the first place, in the work itself, since repetitions of one or one simple set of responses may impair speed and accuracy. On the part of the worker, it promotes varying degrees of stupefaction or irritation. Excesses of drink, gambling, and dissipation among factory populations are often traceable to this continual frustration of normal instincts during working hours, followed by a violent search for stimulation and relaxation after work is over. Under conditions of machine production, the responses which the worker must make are becoming increasingly simple and automatic. Hence the problem of bringing variety into work and something of the same vitality and spontaneity into industry that goes into play and art is becoming serious and urgent.[1]
[Footnote 1: See Helen Marot: Creative Impulse in Industry.]
Mental activity. Just as physical activity is a characteristic of all living beings, so, from almost earliest infancy of human beings, is mental activity. This does not mean that individuals from their babyhood are continually solving problems. Deliberation and reflection are simply the mature and disciplined control of what goes on during all of our waking hours—random play of the fancy, imagination. We are not always controlling our thought, but so long as we are awake something is, as we say, passing through our heads. Everything that happens about us provokes some suggestion or idea. "Day-dreaming, building of castles in the air, that loose flux of casual and disconnected material that floats through our minds in relaxed moments, are, in this random sense, thinking. More of our waking life than we should care to admit, even to ourselves, is likely to be whiled away in this inconsequential trifling with idle fancy and unsubstantial hope."[1]
[Footnote 1: Dewey: How We Think, p. 2.]
This play of the imagination is most uncontrolled and spontaneous in childhood, which is often characteristically defined as the period of make-believe or fancy. It is this capacity which enables the child to use chairs as locomotives, sticks as rifles, and wheelbarrows as automobiles. As we grow older we tend to discipline this vagrant dreaming, and to draw only those suggestions from objects which tally with the workaday world we live in. We stop playing with our imagination and put our minds to work. But in adult life desire for the play of the mind, like the desire for the play of the body, persists. The endeavor of education is not to crush but to control it.
Imagination, used here in the sense of random mental activity, may be controlled in two ways, both significant for human welfare. When it is controlled with reference to some emotional theme, as in fiction, drama, and poetry, it has no reference necessarily to actual objects or events; it is concerned only with producing the effect of emotional congruity between incidents, objects, forms, or sounds. A great novel does not pretend to be a literal transcript of experience, nor a portrait of an actual person. When random mental activity is thus controlled, it is "imagination," in the popular sense, the sense in which poets, painters, and dramatists are called imaginative artists.
Imagination controlled with reference to facts produces genuine reflection and science. To put it in another way, no matter how complicated thinking becomes, no matter how suggestions are examined and regulated with reference to the facts at hand, new ideas, theories, and hypotheses occur to the thinker precisely by this upshoot of irresponsible fancies and suggestions. This free and fertile play of the imagination is what characterizes the original thinker more than any other single fact. Suggestions arise, as it were, willy-nilly, depending on an individual's inheritance, his past experience, his social position, all at the moment uncontrollable features of his situation. We can, through scientific method, examine and regulate suggestions once they arise, but their appearance is in a sense casual and unpredictable, like the fancies in a daydream. The greatest scientific discoveries have been made in a sudden "flash of imagination," as when to the mind of Darwin, after twenty years' painstaking collection of facts, their explanation through the single encompassing formula of evolution occurs, or when to the mind of Newton the hypothesis of gravitation suddenly suggests itself.
The encouragement of a lively play of the mind over experience, the stimulation of imagination or what Bertrand Russell calls "the joy of mental adventure" is thus one of the most important sources of art and science. The arousing of imagination depends primarily on the inherited curiosity of man which varies from the random and restless exploring of the child to the careful and persistent investigation of the trained scientist. The curiosity which prompts the child to experiment with objects in a hit-or-miss fashion is little more than the physiological overflow of action which has been noted above.
Curiosity becomes more distinctively mental when it is social in character, when the child explores and experiments not by its own manipulations but by communication, by asking questions of other people.
When the child learns that he can appeal to others to eke out his store of experiences, so that, if objects fail to respond interestingly to his experiments, he may call upon persons to provide interesting material, a new epoch sets in. "What is that?" "Why?" become the unfailing signs of a child's presence. At first this questioning is hardly more than a projection into social relations of the physical overflow which earlier kept the child pushing and pulling, opening and shutting. He asks in succession what holds up the house, what holds up the soil that holds the house, what holds up the earth that holds the soil; but his questions are not evidence of any genuine consciousness of rational connections. His why is not a demand for scientific explanation; the motive behind it is simply eagerness for a larger acquaintance with the mysterious world in which he is placed. The search is not for a law or principle, but only for a bigger fact.... But in the feeling, however dim, that the facts which directly meet the sense are not the whole story, that there is more behind them and more to come from them, lies the germ of intellectual curiosity.[1]