Category Archives: Models

Examples we can productively study

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Questioning Questionable Sources

We can’t navigate through the informational tsunami that flows over us everyday if we don’t make critical assessments about the reliability of sources. 

Since the ancient Greek philosophers, the study of communication has concerned itself with the credibility of sources.  Aristotle especially insisted on the importance of  only putting faith in people with “good character,” high “ethos,” and personal “virtue.”  All were considered critical measures in determining the worth of an individual’s contributions to public discourse. The later Roman rhetorician Quintilian famously described the perfect advocate as a “good person speaking well.”

The idea of rigorous assessment of the potential veracity of a source is critical, not just in legal proceedings, where the stakes are obviously high, but in all walks of life.  Making decisions or forming attitudes based on someone else’s word is a survival skill. But in our over-communicated society, qualifying a source of information as “probably” reliable now boils down to little more than liking the source.

Americans seem to lack even the basic skills to make basic estimations of motives that might reveal glaringly obvious biases.  I’ve recently heard from individuals who were much too generous in accepting conclusions from questionable advocates, for example:  accepting British Petroleum as a decent source for learning about the explosion and oil spill of the Deepwater Horizon in 2010, accepting the word of a National Hockey League doctor on “overblown” stories of head trauma among players, accepting Wal-Mart as a source of reliable “information” on the treatment of their employees. All are examples of misplaced faith in an organization’s ability to tell the truth, even when their own financial interests should make us cautious about accepting their claims.

Consider another example with a different twist.  The National Football League has estimated that one in three of their players will have significant cognitive problems due to the bone crushing nature of their work.  On first glance, one may assume that the NFL would have an interest in minimizing player head injuries.  And if they did, their credibility ought to be called into question.  But an astounding projection of one in three players for limitations of “mental function” actually makes their estimate quite credible. That’s a lot of players. They would not have confirmed that rate unless it was probably true. This admission should raise some red flags with anyone connected with the sport.

This general laxity about applying reasonable standards of credibility to the assessment of sources comes at a time when more advertisers seek to embed their marketing campaigns as “sponsored content” on websites. For the advertiser, the idea is to take a soft focus view of a brand within a form that looks like straight journalistic content.  So the Washington Post website runs an article entitled “Five Chefs Talk Cheese” sponsored by the “Innovation Center for U.S. Dairy.”  To the Post’s credit, they label the content as “sponsored.”  But that tag is easy to miss.  Desperation to keep news businesses profitable can easily erode the firewall that protects honest journalism from paid flacking.  And so we can drift from hard editorial content to “click bait” that looks like news, hardly conscious of whose interests are being served. This risky ignorance of sources is borne out in recent research.  Online distractions can short-circuit critical thinking.

The critical point here that is that we cannot navigate through the informational tsunami that flows over us everyday if we don’t make critical assessments about the reliability of sources.  Doing anything less is the equivalent of mistaking a desert mirage for a true oasis.

 

music stave

Breaking the Sound Barrier

Source: Wikipedia.org
                 Wikipedia

Sound rather than sight is the great passageway to human experience. And the pictures are better.

In the hierarchy of sensory richness the bias of our times tends to give the top spot to the visual.  People who make it their business to explore how we connect in the 21st Century describe our culture as increasingly “ocular-centric,” or image-driven. We now worry more about hours of “screen time” consumed per day than time spent in “idle” conversation.

Those who lobby for the primacy of the visual justifiably note that images are mostly free of the challenges of mastering the complexities of verbal literacy. They also rightly conclude that the body is an instrument for universal communication. “Talk” to an outsider with no knowledge of your language, and you still receive lots of meaning in visual cues and gestures that bridge cultural boundaries. Anywhere on earth we can hand-gesture our way to the idea that we are hungry.

But there is reason to affirm that our most vital sensory equipment—and also the most fragile—resides along the cochlear nerve that links our ears to the brain. More than sight, sound is the great passageway into the human experience. Sound is the primary agency for knowing and understanding others. Like so many other higher-order animals, binaural hearing provides most of the context clues we need in order to map our location in specific physical and social environments. We disguise the body in clothing and create architecture to separate ourselves from open space. But our words carry less camouflage. Even when we are in full rhetorical flight, our essential selves tend to be visible. As the saying goes, you can lie in print more easily than on a phone.

It’s also important to remember that language is acquired in the very young by hearing others. Language is speech. The visual mode of print is vital but derivative. In its subtle tonalities talk gives us feelings and attitudes that can easily be lost on the page, a fact that makes it somewhat easier for a blind person to meld into diverse communities than those with chronic deafness.

 Humans have organized noise into music for the sheer pleasure of finding perfect avenues for expressing emotional intensity.

Perhaps the trump card for the importance of regaining a “sound-centric” view of human capabilities is in the unique and miraculous realm of music. Music untethers sound from its purely stipulative duties of standing for things and ideas. It is the perfect proxy for human feeling. Humans have organized noise into music for the sheer pleasure of finding perfect avenues for expressing emotional intensity. Music is the reliable substitute that takes over when the verbal fails.

To be sure, as an industry the music business is in shambles. But that is partly because the pleasures of songs must be satisfied even in the face of faltering attempts to monetize their value. Downloaded music files and ubiquitous earbuds reign with the young and increasingly the old because we need the catharsis that music makes possible.

Even in the visually rich world of film many of the deepest pleasures come from the sound design of a different class of genuine auteurs: film composers. Music creates an expressive language that is frequently more evocative than what even a master-director can make literal on the screen. Consider Alfred Hitchcock’s Vertigo (1958). The film pulls in viewers by the kind of aural “foretelling” that so often gives its slow and confusing plot an unmistakable urgency. Most of the film’s mystery lies between the staves of Bernard Herrmann’s dreamlike score (the longest of any Hitchcock film). The same can be said for Sidney Pollock’s thriller, The Firm (1993). Pollock papered his story of a creepy Memphis law office with the solo work of Dave Grusin. The film today is a reminder of how much its exquisite tension was actually created in post-production by Grusin’s piano-only score.

Music heightens and transforms the natural limits of human action. It’s a novice’s mistake when a film director treats aural elements as merely supportive of the story. Sound is more fragile. It’s easily swamped by the visual clutter of daily life. But that’s all the more reason to reclaim its special status as the realm that converts intensity of feeling into something that is both sensate and accessible.