Alarm spreads among potential victims of domestic violence as cases multiply during the confinement required by COVID19, and authorities face the growing frustration of not knowing how to respond. The question ofwhatto do begs the question ofwhythe lockdown increases domestic violence. Loss of jobs, alcohol, and psychological stress are reasonable answers; but they are predictable and don't suggest new approaches for remedy. This essay considers an unsuspected if obvious trigger of violence at home. Boredom. It is a stressor that becomes intolerable as the pandemic lockdown continues. Since boredom is a volatile condition associated with the lack of engagement, and since boredom is resolved either creatively or violently, an evident program for primary prevention would be to provide disgruntled and potentially aggressive intimate partners with engaging activities. These activities address a responsibility of the State. When the State turns homes into places of involuntary confinement, it levies serious limitations on a range of human rights. Therefore, the State's obligation to address risks, including boredom, is a corollary to restricting freedom of movement. Perhaps the strategy to provide programs will face objections and skepticism. Why should potential perpetrators of violence be beneficiaries of pleasurable programs? And how can pleasure be a remedy when it carries a stigma of irresponsibility or sin? But a practical response to the spike in domestic violence will have to overcome this irrational stigma to become more strategic than moralizing (Sommer, 2014). We should address the spiral of aggression in ways that are effective, not reactive.

Within the study of video games, there is a burgeoning interest in the phenomenon of historical representation; nonetheless, few studies have centered on the reflection of particular eras of History, such as the Middle Ages and the effect of this on interpretations of culture and potential pedagogical applications with respect to this specific period of time. In this study, we present and discuss the compilation and content of a database of over 600 medieval titles released between 1980 and 2013, demonstrating the growing popularity, with producers and consumers, of what we could now refer to as a stand-alone genre. We discuss our categorization of the collection as purely historical or as hybrid and provide what could prove a very rich source of data for researchers on typical plot lines, most and least popular eras or events in history, genres commonly adopted within both types of game.

We don't know almost nothing about boredom. Even though the experience of boredom has been part of our daily life for centuries, we are far from being clear about what its suffering consists of, what its main causes and consequences are, or how we can satisfactorily escape it. This is one ofthe most repeated mythsabout boredom among some boredom scholars; one from which many others derive, causing unnecessary confusion about a phenomenon around which there exists, in fact, a whole corpus of scientific knowledge. Most of them are harmless, simple narratives from our popular culture; others, however, have the power to condition the way in which we perceive reality, to the point of becoming stigmatizing. Breaking with some of our most ingrained beliefs about boredom is not an easy task, although it is necessary to understand the true nature of this state. In my essay, I will try to disprove some of the contemporary myths that circulate about the experience of boredom. Starting with the first myth, I will explore the scope of other related myths such as those that say thatthe study of boredom is in its infancy, thatboredom has not been given the attention it deserves, thatthe experience of boredom is born in modern societies, thatboredom is an exclusively human condition, thatboredom only happens in leisure time, thatbeing bored is the same as doing nothing, thatit is desirable to have moments of boredom, thatboredom helps our brain to rest, thatboredom makes us more creative, and thatthose who get bored is because they want toor, what is worse, thatonly fools get bored.

El consumo de contenido en streaming en redes sociales ha aumentado entre el público joven, especialmente desde que comenzó la pandemia por COVID-19, facilitando la generación de nuevas relaciones parasociales. La literatura apunta al aburrimiento y la soledad no deseada como los principales impulsores de este comportamiento. Ningún trabajo ha explorado la expresión de estos estados en la plataforma Twitch para determinar si incitan al consumo de contenido en streaming. Este estudio analiza las expresiones del aburrimiento y la soledad no deseada de los usuarios durante el consumo de contenido en streaming en Twitch para esclarecer si son las principales causas que lo motivan, comprender su naturaleza y establecer implicaciones prácticas. El método empleado es de tipo mixto, guiado por la etnografía virtual, para responder al doble enfoque cualitativo-cuantitativo de la investigación. Se ha aplicado sobre seis comunidades de streamers hispanohablantes con distintos niveles de audiencia, tomando como casos 3 streamings por streamer, emitidos de diciembre de 2021 a enero de 2022. Los resultados se han obtenido a partir de técnicas de observación etnográfica y análisis de contenido. Estos indican que el aburrimiento y la soledad no deseada son estados que motivan el consumo de contenido en streaming en Twitch. Su expresión es más visible en comunidades reducidas y de distinta naturaleza en función de cada comunidad. Los streamers deben prestar atención a su audiencia para satisfacer sus necesidades de mitigación del aburrimiento y la soledad no deseada y para ayudar a detectar posibles conductas desadaptativas motivadas por estos estados.

Este artículo presenta la hipótesis de que el aburrimiento pudo ser un factor decisivo en el estallido social que tuvo lugar en Chile en 2019. La misma se sustenta en otra hipótesis que postula que el aburrimiento puede convertirse en una emoción política capaz de desatar la revolución, cuando afecta a todo un pueblo. El objetivo principal del trabajo es explicar el marco teórico filosófico en el que se inscribe la segunda hipótesis y dar razones de por qué, de ser esta cierta, podría aplicarse al caso concreto de Chile. Primero se esboza una definición inédita del concepto de aburrimiento y se examina la literatura que describe el aburrimiento como una emoción reactiva y política. Después, se desarrolla el contexto sociopolítico chileno de los últimos cuarenta años en busca de factores aislables que puedan ser relacionados con la experiencia del aburrimiento. Finalmente, se presenta una línea de investigación original para testar ambas hipótesis en un proyecto más amplio que pretende poder predecir cuándo un sistema social está al borde del colapso por aburrimiento.