Weekend essay
Attention
Creed
Generosity
8 min read

Your attention is the rarest and purest form of generosity

Eighty years after her death, Simone Weil’s wisdom is a vital challenge to today’s attention economy. Justine Toh explores her life and thinking.

Justine Toh is Senior Research Fellow at the Centre for Public Christianity in Sydney, Australia. 

A monotone street mural of a young woman looking fiercely at the viewer.
Street art image of Simone Weil, Berlin.

Your attention is a fragile thing.    

Trouble is, we only learn this after it’s been frayed – as realised by anyone who’s ever emerged, bleary-eyed and regretful, from watching one too many Instagram reels. Not that our inability to look away is entirely on us. In an attention economy, trillions of dollars are to be made through exploiting our attention. It’s why some, like social critic Matthew Crawford, call upon us to preserve the “attentional commons” by treating attention as a public good like fresh air and clean water. His point: let’s use the not-so-renewable resource of our attention wisely. Be careful about what you pay attention to.  

If you struggle with sustained focus – and, given corporate assaults upon it daily, how could you not – then it’s even more vital that you, well, attend to the life and work of Simone Weil (1909-1943).  

The French philosopher, labour activist, and not-quite-Catholic mystic wrote passionately about the importance of attention and even the “miracle” of its occurrence when directed, deeply and lovingly, towards another person. Reading Weil against the chronic distraction of our times – the real product flogged by that attention economy – makes clear that even eighty years after her death, Weil couldn’t be more relevant.

But for Weil, ideas needed to be lived and experienced. 

Weil’s life was short and difficult – often by choice. She grew up the younger sister of math prodigy André Weil in a comfortably middle-class, non-observant Jewish family in Paris. She had a first-rate education that set her up for a fairly cushy life as a teacher. But an encounter with then-classmate Simone de Beauvoir suggests a saint-in-waiting quality to the teenage Weil. Ever the idealist, she desired to feed the world’s starving millions. De Beauvoir, who recalls the exchange in her biography, was disinterested: finding the meaning of mankind’s existence was more important, she declared. “It’s easy to see you’ve never gone hungry,” retorted Weil. 

They weren’t empty words, either: Weil often did go hungry out of solidarity with suffering others. (Indeed, her refusal to eat more than her French compatriots under occupation likely hastened her death). But for Weil, ideas needed to be lived and experienced. Her determined attempt to identify deeply with the plight of working people meant she put herself forward for repetitive, fatiguing factory work or manual labour on farms, even though, sickly and clumsy, she often became a liability.  

There were other misadventures too: frustrated attempts to assist the Republican cause in the Spanish Civil War and, later, the French resistance during WWII. Few of these endeavours were fruitful but Weil was nothing if not committed to doing something, anything. Even if the outcome was uncertain and one wasn’t exactly fit for the task. 

For Weil, to attend well to other people meant making their welfare and wellbeing central to our concerns. 

It is in Weil’s writing about attention that we glimpse, perhaps, something of what drove her to put herself at the (frequently extreme) disposal of other people and causes she fervently believed in. In a now-famous essay on school studies, Weil makes a startling claim: the point of school is to teach us to pray – by which she meant: to attend, deeply, to whatever is before you.  

The idea was that students would apply themselves to an endeavour that wouldn’t reveal its secrets so easily. As Weil saw things, wrestling with algebra and trying to follow its impossible logic simultaneously flexed and trained, if you like, our attentional muscles. Even if the equation was still impenetrable after an hour, “this apparently barren effort,” Weil declared, would still bring “more light into the soul”. Teaching students to persist through difficulty, she believed, would pay off far beyond the mastery of any school subject. It would, in fact, prepare people for the real business of life: paying attention other people. Not least because, as we learn soon enough, they can be way more infuriating than maths. 

Even though Weil casts attention as prayer, God wasn’t to be the singular object of our attention. The plight of our neighbours was also to fill our gaze. For Weil, to attend well to other people meant making their welfare and wellbeing central to our concerns and bestowing on them the honour, love, and dignity they were due. It meant granting them the strange compliment of being real – or being a real person in the way we experience ourselves as real people – and then putting our own real selves at their disposal. This is why Weil called attention the “rarest and purest form of generosity”. It required the attentive person to, in a vivid phrase borrowed from Pope Francis, “remove our sandals before the sacred ground of the other”. 

The experience of suffering and misfortune seems to exile someone from the rest of humanity, to undo them in some essential way that strips them of their humanness. 

But the power of this attentive gaze goes still further. It has the power to rehumanise the dehumanised. As Weil writes: 

The love of our neighbour in all its fullness simply means being able to say to him: “What are you going through?” It is a recognition that the sufferer exists, not only as a unit in a collection, or a specimen from the social category labelled “unfortunate,” but as a man, exactly like us, who was one day stamped with a special mark by affliction. 

The experience of suffering and misfortune seems to exile someone from the rest of humanity, to undo them in some essential way that strips them of their humanness. Weil would go on to describe such a state as one of affliction – one she experienced, firsthand, as a factory worker. In a letter known as Spiritual Autobiography, she writes of the exhausting and gruelling nature of the work:  

“There I received for ever the mark of a slave, like the branding of the red-hot iron which the Romans put on the foreheads of their most despised slaves.” 

Affliction, then, is the person reduced to a “thing” by the experience of suffering and oppression. But here is the transformative power of attention: it is precisely what enables someone to recognise that the afflicted other is a person “exactly like us”.  

Take, for instance, Weil’s reading of Jesus’ parable of the Good Samaritan, a tale perhaps broadly familiar to some. It describes an act of unexpected and radical compassion by a Samaritan, a social and ethnic outsider to a Jewish man robbed and left for dead.  

Christian commentators often pay close attention to the attentive care the Samaritan shows to the beaten man: for them, the true test of the Samaritan’s neighbourliness. But Weil has a different focus. For her, the critical moral act was the fact that the Samaritan paid attention. He stopped and looked at the man who had become less of man and, nonetheless, gave “his attention all the same to this humanity which is absent”. 

Weil calls this an act of “creative attention… [that gives] our attention to what does not exist.” Everything that then follows – the Samaritan pouring oil on the man’s wounds, taking him to a place where he will be cared for, and paying in advance for his keep – is almost beside the point, because it all depended on this first act. To be a neighbour, suggests Weil, is first of all to see. 

Perhaps this is why Weil writes that paying attention to the suffering of another “is a very rare and difficult thing; it is almost a miracle; it is a miracle.” Attention, then, enacts a kind of a resurrection because it can bring the almost dead back to life.  

The power of paying attention is that it can transform a lump of anonymous, misshapen flesh lying by the side of the road into the other person who is “exactly like us”, the other person who is as real as we are. The person who requires, from us, all the compassion we would wish to be shown if we were set upon by robbers on a lonely road. 

Our entire attention economy is organised around helping us avoid the demands of other people. How many of us have retreated to the comfort of our screens to soothe our social anxiety 

We’ve travelled a long way from where we started: with our difficulty focusing in an age of distraction and the all-too-familiar experience of giving our attention – which, as Weil has taught us, also means giving ourselves – to things that don’t always deserve it. But our own travails with attention have much to learn from Weil’s account of the moral, political, and spiritual charge of attention. 

For one, she illuminates for us the determined inattention of our time. Our entire attention economy is organised around helping us avoid the demands of other people. How many of us have retreated to the comfort of our screens to soothe our social anxiety, or to numb the guilt we feel at failing to show up for people? It turns out that the loss of our focus and ability to concentrate is just the tip of the attentional iceberg. Also at stake is our ability to be present to the people we love, and even to be present to ourselves – and our pain.  

Beyond that, there are many contemporary equivalents of the man of Jesus’ parable, first afflicted by suffering and then afflicted by the ease with which that suffering can be ignored. I write from Australia, in the recent aftermath of a defeated referendum on an Indigenous Voice to Parliament: an invitation, issued from the nation’s first peoples to their fellow citizens, to see their unique circumstances and grant them representation over policy matters directly affecting them. Lives are in the balance: the life outcomes of Aboriginal people are drastically worse than other Australian citizens. Now, to the loss of language, culture, country, and pride, comes a further blow: they will not be listened to, either.  

They are not the only people we struggle to see. The lady with Alzheimer’s Disease, the illegal immigrant, the victim of family violence, the modern-day child slaves forced to mine cobalt to power our smartphones. It is profoundly difficult – and costly – for us to see them and recognise their claims upon us. To love others, as Jesus once enjoined his followers, as we love ourselves. 

The vulnerable have always risked being overlooked and ignored. But Weil gives us eyes to see all this – and asks that we do not look away. “Those who are unhappy have no need for anything in this world,” she writes, “but people capable of giving them their attention.”

Article
Art
Culture
5 min read

Why is religious art still popular?

What looters, curators and today's public find in a genre that survives the centuries.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

A painting depicts a man a prophet pointing skywards while another person sleeps on the ground
Detail from Parmigianino’s The Vision of St Jerome.
The National Gallery.

The museums of Europe and North America are filled with religious art. Why? Certainly, gallery goers of the nineteenth century, when many public museums were founded, were more likely to practice a faith than visitors in today’s global cities, but this does not explain religious art’s continuing appeal. If we are so much more secular than the folks in stiff collars and leg ‘o mutton sleeves who curated and donated to early museum collections, why is the religious art they championed still so popular?  

Individual religious paintings’ chequered history, together with the formal elements of their composition, provide two lenses into the genre’s ability to resonate across multiple generations. 

Celebrations around the National Gallery’s 200th anniversary, with its reappraisal of the earliest works to enter the collection, offers an ideal time to study the blueprints for public collections, which continue to shape the art we see today. The French Revolution is popularly credited as the genesis of public art institutions, as the art and fine furniture from displaced aristocrat’s palaces was put on display at the Louvre, opened in 1793. But the idea of a semi-public art collections had been present in Italy from the early eighteenth century, as families opened their palazzos and collections of classical art to visitors on the Grand Tour. Rome’s Capitoline Museum opened in 1734, as the papacy saw an opportunity to showcase the heritage of ancient Rome to the city’s wealthy tourists, and position themselves in the role of art patrons. 

At the National Gallery, Parmigianino’s The Vision of St Jerome, 1526-1527, (reunited for the first time with rare preparatory drawings until 9 March) pulls on many of the threads that makes religious art, even in a secular age, enduringly powerful. 

Painted when Parmigianino was only 24, and already being hailed as ‘Raphael reborn’, the painting is reputed to have stopped looting soldiers in their tracks, when they saw it in the artist’s studio during the 1527 Sack of Rome. The painting itself had an adventurous life, spending far longer in secular surroundings than it ever did in the religious settings it was intended for.  

Commissioned as an altarpiece for a funerary chapel in Rome, the upheaval of the city’s occupation by the troops of Charles V saw The Vision of St Jerome stored, but not publicly displayed, in the refectory of a nearby church. Somehow during the terror and mayhem, the 3.5 metres high altarpiece, weighing nearly 100 kilograms, was transported from the artist’s studio across the city to safety. 

Thirty years later a great nephew of the original woman patron, Maria Bufalini, took the altarpiece from Rome to the family’s Umbrian hometown of Citta di Castello. Had it instead gone to its intended Roman church San Salvatore in Lauro, it would have been destroyed by the church fire of 1591. The Vision of St Jerome stayed in the family chapel of Sant’Agostino, inspiring artists from the region, until around 1772 when Cardinal Giovanni Bufalini moved the altarpiece to the restored Palazzo Bufalini, placing a copy in Sant’Agostino. If the original stayed in the church it would have been ruined by an earthquake in 1789. 

Having spent just over 200 years in a sacred setting, the painting was sold by the Bufalini heirs to an English art agent in Rome, setting sail from Livorno in December 1791 for its new life in England. 

After inheriting Parmigianino’s Virgin and Child with Saint John the Baptist and Mary Magdalene (1535-40), George Watson Taylor, with his heiress wife Anna, added The Vision of Saint Jerome to the significant private art collection, displayed at their London Townhouse in Cavendish Square. In 1819 the painting was exhibited publicly in England for the first time when Watson Taylor lent it the British Institution, the forerunner of the National Gallery. 

Four years later the painting fetched £3,202 at the sale of Watson Taylor’s collection, securing a higher price than Rubens’ Rainbow Landscape. It was purchased by the Reverend William Holwell Carr on behalf of the British Institution. The Vision of Saint Jerome hung in the National Gallery within two years of the institution’s foundation. 

Once part of the nation’s collection, the mannerist style of Parmigianino, with its elongated limbs, twisted torsos, classical drapery and foreshortened perspective, provided a context to discuss the Biblical figures depicted in the work. A loosely draped, seated Virgin Mary holds a tussle haired child between her knees, who kicks one leg out, as if to step away. Beneath them John the Baptist points a massive arm towards the heavens, while a smaller scale St Jerome sleeps clutching a crucifix. Regency and Victorian Christians such as Howell Carr, and popular art historians Anna Jameson and Elizabeth Eastlake, wife of the Gallery’s first director Charles, saw the potential of art created 400 years ago to speak to the spiritual questions of their day. Shorn of a traditional religious setting, the message, and missional potential, of the work came across as powerfully as ever. 

After surviving war, fire and earthquakes, The Vision of Saint Jerome was relocated to Manod Quarry in Wales from 1941 until the end of World War Two to escape the bombing of London. During this period, the National Gallery brought one painting out of storage to view in the empty Trafalgar Square landmark, the war weary public’s Picture of the Month. The tradition continues today.  

For sleep -deprived, food -rationed, scared wartime Londoners Noli me Tangere offered a message of love, loss, transcendence and protection. 

The first Picture of the Month, in 1942, was Titian’s Noli me Tangere, c. 1514. In a rather Italianate Garden of Gethsemane, with glowing sun and tumbling hills, Mary reaches out her hand to Christ. Having tended Christ’s crucified body in the tomb, Mary is grieving, and at first believes the figure before her is a gardener. To her astonishment he reveals himself to be the Christ, resurrected from the dead. Titian portrays the bittersweet moment after Christ’s miraculous return, when Mary comprehends that although Christ is present, she can no longer have any human contact with him, represented by her rebuffed gesture of touch. In common with all Christ’s followers, it is time to relinquish his earthly presence. While the kneeling Mary is bound to the earth, the standing Christ figure forms an arc over her, representing his protection of humanity. 

For sleep -deprived, food -rationed, scared wartime Londoners Noli me Tangere offered a message of love, loss, transcendence and protection. 

Religious art’s continued survival, through eras of supposed indifference, amplifies its specialness and continuing popularity. 

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