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 “How to Do Nothing”Author Jenny Odell on the Value of Making Art - Artsy

 

Here are a few excerpts from a book I recently read, "How to Do Nothing: Resisting the Attention Economy," by Jenny Odell.


The first half of “doing nothing” is about disengaging from the attention economy; the other half is about reengaging with something else. That “something else” is nothing less than time and space, a possibility only once we meet each other there on the level of attention. Ultimately, against the placelessness of an optimized life spent online, I want to argue for a new “placefulness” that yields sensitivity and responsibility to the historical (what happened here) and the ecological (who and what lives, or lived, here). 



In the process of writing this book, I realized that the experience of research is exactly opposite to the way I usually often encounter information online. When you research a subject, you make a series of important decisions, not least what it is you want to research, and you make a commitment to spend time finding information that doesn’t immediately present itself. You seek out different sources that you understand may be biased for various reasons. The very structure of the library, which I used in Chapter 2 as an example of a noncommercial and non-“productive” space so often under threat of closure, allows for browsing and close attention. Nothing could be more different from the news feed, where these aspects of information—provenance, trustworthiness, or what the hell it’s even about—are neither internally coherent nor subject to my judgment. Instead this information throws itself at me in no particular order, auto-playing videos and grabbing me with headlines. And behind the scenes, it’s me who’s being researched.



It’s a bit like falling in love—that terrifying realization that your fate is linked to someone else’s, that you are no longer your own. But isn’t that closer to the truth anyway? Our fates are linked, to each other, to the places where we are, and everyone and everything that lives in them. How much more real my responsibility feels when I think about it this way! This is more than just an abstract understanding that our survival is threatened by global warming, or even a cerebral appreciation for other living beings and systems. Instead this is an urgent, personal recognition that my emotional and physical survival are bound up with these “strangers,” not just now, but for life. 

It’s scary, but I wouldn’t have it any other way. That same relationship to the richness of place lets me partake of it too, allowing me to shape-shift like the flocks of birds, to flow inland and out to sea, to rise and fall, to breathe. It’s a vital reminder that as a human, I am heir to this complexity—that I was born, not engineered. That’s why, when I worry about the estuary’s diversity, I am also worrying about my own diversity—about having the best, most alive parts of myself paved over by a ruthless logic of use. When I worry about the birds, I am also worrying about watching all my possible selves go extinct. And when I worry that no one will see the value of these murky waters, it is also a worry that I will be stripped of my own unusable parts, my own mysteries, and my own depths.

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