How to Do Nothing

Already in 1877, Robert Louis Stevenson called busyness a “symptom of deficient vitality,” and observed “a sort of dead-alive, hackneyed people about, who are scarcely conscious of living except in the exercise of some conventional occupation.”2 And, after all, we only go around once. Seneca, in “On the Shortness of Life,” describes the horror of looking back to see that life has slipped between our fingers. It sounds all too much like someone waking from the stupor of an hour on Facebook:

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Look back in memory and consider…how many have robbed you of life when you were not aware of what you were losing, how much was taken up in useless sorrow, in foolish joy, in greedy desire, in the allurements of society, how little of yourself was left to you; you will perceive that you are dying before your season!3

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Given how poorly art survives in a system that only values the bottom line, the stakes are cultural as well. What the tastes of neoliberal techno manifest–destiny and the culture of Trump have in common is impatience with anything nuanced, poetic, or less-than-obvious. Such “nothings” cannot be tolerated because they cannot be used or appropriated, and provide no deliverables. (Seen in this context, Trump’s desire to defund the National Endowment for the Arts comes as no surprise.)

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In the early twentieth century, the surrealist painter Giorgio de Chirico foresaw a narrowing horizon for activities as “unproductive” as observation. He wrote: In the face of the increasingly materialist and pragmatic orientation of our age…it would not be eccentric in the future to contemplate a society in which those who live for the pleasures of the mind will no longer have the right to demand their place in the sun. The writer, the thinker, the dreamer, the poet, the metaphysician, the observer…he who tries to solve a riddle or to pass judgement will become an anachronistic figure, destined to disappear from the face of the earth like the ichthyosaur and the mammoth.4

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propose that rerouting and deepening one’s attention to place will likely lead to awareness of one’s participation in history and in a more-than-human community. From either a social or ecological perspective, the ultimate goal of “doing nothing” is to wrest our focus from the attention economy and replant it in the public, physical realm.

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I can’t help but ask the question: What does it mean to construct digital worlds while the actual world is crumbling before our eyes?

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Among my students and in many of the people I know, I see so much energy, so much intensity, and so much anxiety. I see people caught up not just in notifications but in a mythology of productivity and progress, unable not only to rest but simply to see where they are.

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me, this sounds like a real-life version of a story—the title of which is often translated as “The Useless Tree”—from the Zhuangzi, a collection of writings attributed Zhuang Zhou, a fourth-century Chinese philosopher. The story is about a carpenter who sees a tree (in one version, a serrate oak, a similar-looking relative to our coast live oak) of impressive size and age. But the carpenter passes it right by, declaring it a “worthless tree” that has only gotten to be this old because its gnarled branches would not be good for timber. Soon afterward, the tree appears to him in a dream and asks, “Are you comparing me with those useful trees?” The tree points out to him that fruit trees and timber trees are regularly ravaged. Meanwhile, uselessness has been this tree’s strategy: “This is of great use to me. If I had been of some use, would I ever have grown this large?” The tree balks at the distinction between usefulness and worth, made by a man who only sees trees as potential timber: “What’s the point of this—things condemning things? You a worthless man about to die—how do you know I’m a worthless tree?”5 It’s easy for me to imagine these words being spoken by Old Survivor to the nineteenth-century loggers who casually passed it over, less than a century before we began realizing what we’d lost.

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This formulation—the usefulness of uselessness—is typical of Zhuang Zhou, who often spoke in apparent contradictions and non sequiturs. But like his other statements, it’s not a paradox for the sake of being a paradox: rather, it’s merely an observation of a social world that is itself a paradox, defined by hypocrisy, ignorance, and illogic. In a society like that, a man attempting a humble and ethical life would certainly appear “backward”: for him, good would be bad, up would be down, productivity would be destruction, and indeed, uselessness would be useful.

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In both cases, there’s a tendency toward an aggressive monoculture, where those components that are seen as “not useful” and which cannot be appropriated (by loggers or by Facebook) are the first to go. Because it proceeds from a false understanding of life as atomized and optimizable, this view of usefulness fails to recognize the ecosystem as a living whole that in fact needs all of its parts to function.

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Productivity that produces what? Successful in what way, and for whom? The happiest, most fulfilled moments of my life have been when I was completely aware of being alive, with all the hope, pain, and sorrow that that entails for any mortal being. In those moments, the idea of success as a teleological goal would have made no sense; the moments were ends in themselves, not steps on a ladder. I think people in Zhuang Zhou’s time knew the same feeling.

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have always thought about attention, but it’s only now that I fully understand where a life of sustained attention leads. In short, it leads to awareness, not only of how lucky I am to be alive, but to ongoing patterns of cultural and ecological devastation around me—and the inescapable part that I play in it, should I choose to recognize it or not. In other words, simple awareness is the seed of responsibility.

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We’re riddled with pointless talk, insane quantities of words and images. Stupidity’s never blind or mute. So it’s not a problem of getting people to express themselves but of providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people expressing themselves but rather force them to express themselves; what a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, and ever rarer, thing that might be worth saying.1

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She distinguished between listening and hearing: “To hear is the physical means that enables perception. To listen is to give attention to what is perceived both acoustically and psychologically.”5 The goal and the reward of Deep Listening was a heightened sense of receptivity and a reversal of our usual cultural training, which teaches us to quickly analyze and judge more than to simply observe.

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This type of embarrassing discovery, in which something you thought was one thing is actually two things, and each of those two things is actually ten things, seems like a simple function of the duration and quality of one’s attention. With effort, we can become attuned to things, able to pick up and then hopefully differentiate finer and finer frequencies each time.

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As Gordon Hempton, an acoustic ecologist who records natural soundscapes, put it: “Silence is not the absence of something but the presence of everything.”

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As the body disappears, so does our ability to empathize. Berardi suggests a link between our senses and our ability to make sense, asking us to “hypothesize the connection between the expansion of the infosphere…and the crumbling of the sensory membrane that allows human beings to understand that which cannot be verbalized, that which cannot be reduced to codified signs.”24 In the environment of our online platforms, “that which cannot be verbalized” is figured as excess or incompatible, although every in-person encounter teaches us the importance of nonverbal expressions of the body, not to mention the very matter-of-fact presence of the body in front of me.

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