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.”

Interview
Art
Attention
Culture
S&U interviews
5 min read

Interview: Alastair Gordon on the artist’s attention

Why the overlooked and everyday capture the creative gaze.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

An artist sits in front of a board covered in images, canvases and paper.

The careers of artists rarely progress in a simple linear fashion. That was very much the experience of Alastair Gordon in 2024. Gordon is co-founder of Morphē Arts, a painter, art tutor at Leith School of Art and a contributor to Seen & Unseen. He works from his studio in South London and exhibits with galleries and art fairs across the UK, Europe and the US. His experience in the past year opens up fascinating avenues into guidance, focus and prayer. 

He says that: “In many ways, I achieved none of the goals I set for myself last year. I didn’t generate more income in the studio than the previous year, I wasn’t invited to exhibit at the prominent LA gallery I had in my sights, and I didn’t make it into Modern Painters magazine.  

Yet, I had an extraordinary year exhibiting that excelled my expectations. Exhibiting at An Lanntair Gallery in the Outer Hebrides marked my first museum show. I completed my first public commission for a church in South London, and my fourth book, Lost Things, co-written with the wonderful poet Ed Mayhew, is ready for release next month. 

This past year taught me a valuable lesson about not fixating on goals as defined by the art world. Instead, I learned to focus more on what truly matters: the work that really matters and the people I hope to connect with through my painting.” 

One of the surprising opportunities that came to him in 2024 was a commission to paint for a church. He says of this that: “It was a wonderful opportunity to create a painting for All Saints, Wandsworth. It’s unusual to have the chance to make a large work that resonates so deeply with my Christian faith. The painting is centred around the theme of prayer, and I aimed to draw on art historical references to prayer while incorporating the prayers of the current church congregation. 

When I was working on the imagery for 'Prayer of the Saints,' I focused on key ideas related to the prayers of the church congregation—past, present, and future. Commissioned to complete the nine vacant panels in the chancel, I faced a unique compositional challenge. 

The motifs of olive leaves, lilies, white roses, pebbles, and feathers symbolise quiet petitions to God. The central panel features an open Bible to Philippians 4:6, accompanied by a handwritten journal with a sketch of a stained-glass window and a prayer of Augustine, as well as a broken mobile phone that represents a longing to communicate. 

I included images of Wandsworth, Wimbledon, and Battersea to reflect our prayers for the local community, alongside portraits of current missionaries and a world map highlighting our prayers for God’s mission abroad. A portrait of a cherished brother who died young serves as a poignant reminder of our prayers for lament and hope.” 

As a result, he says: “The painting features flowers like white roses and lilies, which are often observed in Western art as symbols of prayer, alongside images of the local community, held in reverence by the congregation and the missionaries they support worldwide.” 

The philosopher Simone Weil suggested that attention, taken to its highest degree, is the same as prayer. Gordon says that this insight on attention and prayer resonates deeply with his experience as an artist: “When I engage fully in my work, that heightened attention feels like a form of prayer.” 

An altar is surrounded behind by a curved wall displaying art work on panels.
Prayer of the Saints, Wandsworth

 

Looking at the overlooked is central to my artistic practice. I feel a resonance with artists of the past who have focused on the everyday moments.

His latest book project, a collaboration with Ed Mayhew, touches on similar themes: “It started with a glimmer. Two years ago, Ed sent me a poem and asked if I would like to create a painting in response. It was the most beautiful poem and an enticing invitation. I made a painting and sent it back to him. He replied with another poem, and I responded with another painting. This back-and-forth continued, and before we knew it, we had created 25 poems and paintings in collaboration.  

The connection between words and images was foremost in our thinking for this project. I didn’t want to illustrate so much as to respond to Ed’s words through paint and drawing. Similarly, when Ed returned my paintings with words, he aimed not so much to describe but also to converse. Our hope was to create an equal exchange between word and image, allowing each to complement and enhance the other. 

A book cover reads 'Lost Things'.

Lost Things is a precious collaboration. We are very grateful for this partnership and the unique book it has produced. Lost Things explores all the things that go missing in life, the hopes we have for their return, and the love we share for the overlooked. This book explores the oddities that have been misplaced or forgotten—strange objects that wash up on the shore, appear in your sock drawer, or disappear into the loft for decades. It also reflects on the people we have lost or forgotten. In this way, the book takes a playful approach while also pointing toward deeper truths. 

Paying attention in this way to what others have overlooked or lost seems very much the task of artists: “Looking at the overlooked is central to my artistic practice. I feel a resonance with artists of the past who have focused on the everyday moments that might otherwise go unobserved. Most often, it’s the mundane objects that have become so familiar that they almost become invisible. 

Focusing on details—colours, shapes, emotions, and often overlooked objects—allows me to connect with something greater. It feels like speaking in tongues; the act of creation transcends words and expresses something less tangible. At times, the meaning isn’t clear, and I need to wait for it to be revealed.” 

All this would seem to have been very much the case in the past year, where unanticipated opportunities led to wonderful work and exciting new projects.

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