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Summary of
Jenny Odells
How to Do Nothing:
Resisting the Attention Economy
Overview & Analysis by
Summary Genie
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Table of Contents
How to Do Nothing (2019) is the bestselling book by artist, educator and activist Jenny Odell. A Bay Area native, Odell was inspired to write this book after the 2016 election left her feeling confused about her place in society. Starting from the belief that the contemporary economy is one that commodifies our attention, she examines what it might mean to do nothing as a response.
She considers the people throughout history who have sought to remove themselves from society, especially those who engaged in communal living experiments in the late 1960s and 1970s as a response to the racial and political upheaval of the time. These experiments were largely a failure because they were ultimately selfish and required people to care only for themselves and their closest community members, but denied a broader social connection.
She also examines the popular trend of going on temporary digital detoxes which promise to make people more productive after their brief stint away from technology. After rejecting these different strategies for doing nothing, she proposes her own strategy that allows a person to be deeply rooted in their own bioregion.
She calls this strategy for doing nothing standing out. Sophisticated, well-argued and supported, and written with a real attention for detail one of the values that Odell preaches How to Do Nothing is unlike other self-help books being written today. For those who take the time to consider her unusual strategy, the benefits of doing nothing are potentially vast.
How to Do Nothing is divided into six chapters:
Chapter 1: The Case for Nothing
Chapter 2: The Impossibility of Retreat
Chapter 3: Anatomy of a Refusal
Chapter 4: Exercises in Attention
Chapter 5: Ecology of Strangers
Chapter 6: The Grounds for Thought.
Introduction: Surviving Usefulness
Odell starts her book with a paradox: nothing is harder to do than nothing. Since our society bases our worth on our productivity, people feel a compulsion, even an anxiety to do something. Worse, because of the recent developments of technology, our attention has been commodified and converted into algorithms by companies like Facebook. These companies prey on our insecurities and augment them.
Furthermore they take advantage of the way our brains are wired to make their technology addictive. Thus, we feel like we need these technologies to feel satisfied when, in fact, the technologies are actually the root cause of our dissatisfaction. After all, it is profitable to make people insecure: it leads to them spending more time (and money) on social media websites that falsely promise happiness and social inclusion.
A central component to Odells book, which is calls part self-help part activist manual, is the concept of the bioregion the small area in which each of us lives, which is defined by certain natural features (of which we are often ignorant or only passively interested in).
As a Bay Area native, then, Odell roots her call to action in the bioregion of the San Francisco Bay, an area that was once rich in old growth Red Woods that have since all been logged. There is one surviving Red Wood, however, which is referred to as Old Survivor. A strangely shaped tree atop an inaccessible cliff, Old Survivor most likely survived by being useless to the loggers.
However, Odell stops and asks: what does it mean to be useless. Useless to whom? Useless in what context? Odell connects this tree to an ancient Chinese tale about a useless tree who comes to a man in a dream and challenges his conception of utility.
For instance, Old Survivor may have been useless to loggers, but by growing big over the years, it now has copious branches that provide a canopy of shade: thus, it is now useful to anyone who requires respite from the sun. For Odell, Old Survivor is a witness of a vanished past and a guiding symbol that can help us recover some of what we have lost in todays world.
Her book, she announces, takes a bit of a meandering path, as she brings together her experience as a writer and as an artist who works with technology (which she neither wholly demonizes nor feels beholden to).
Her first chapter is based on an essay that emerged after the 2016 election in which she starts to delineate what the attention economy is, particularly its dependence on fear and anxiety and its advocation of disruption rather than maintenance (keeping ourselves and others alive and well).
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