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In my text, I attempted to compile a list of artistic works, movements, concepts and interpretations in the field of bruitism, failure, error, glitch construction as well as deconstruction, especially in art. I presented an outline of a theory that describes mainly three types of noises. I aimed at presenting to what extent they are used and how they intertwine. Also, I indicated a wide field of manifestation of human activity, both social and technological at the same time. It is a city resembling an organism with its institutional derivations. I listed two such sectors, namely, advertising and politics. It is on their basis that one can experience with their whole body an increasing quarrel, disturbances and intersecting trajectories of advertising content.

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This paper challenges traditional approaches to understanding boredom, typically framed within physiological, existential, or ethical dimensions, by proposing a historico-material analysis. It critically examines the conventional dichotomy that positions entertainment as an ‘abstract immediate’ and boredom as a ‘negative concrete,’ arguing that this is a false dialectic. I contend that boredom should not be viewed merely as a subjective, irrational experience but rather as an objective condition engendered by capitalist society. The paper concludes by exploring concrete examples from various art forms, illustrating a ‘true dialectic of boredom.’

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While not considered the focus of Marx, aesthetics, and art have become a project of Marxism. But understanding art in a Marxist world requires taking Marx’s philosophy and understanding how art behaves in capitalism. I transplant the artwork to a Marxist analysis by investigating art as described by Heidegger, Dufrenne, and Merleau-Ponty, how art relates to the idea of the commodity in Marx, culture in Deleuze, and art in modern capitalism through Marcuse.