Category Archives: Problem Practices

Communication behavior or analysis that is often counter-productive

What if There Are No Dots to Connect?

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After decades on the planet, I’ve come to think of the idea of causality in human affairs as problematic.

The idea of causality is such a comfortable mental device. It frequently allows us to take the mystery out of an action by labeling a plausible cause. Early in my career I had a brazen certainty that Action X will produce Result Y. But especially in the realms of human conduct and attitudes, we are still a long way from claiming accurate causal chains. “Serendipity” is not a term one is likely to hear very much from social scientists who seek explanations for conduct in so many forms of human affairs. Too bad, because we need to allow uncertainty to have its place. We are maybe on slightly firmer ground to talk about one individual’s influences. But just when that road seems promising, we encounter persons with responses that have boomeranged far away from predicted linkages to parents, mentors, influencers and friends. None may work out as particularly good predictors.

There are about 100 billion neurons in the brain, creating an incalculable number of neural pathways that might be activated to produce certain actions or attitudes. Some of those neural highways could be activated by heredity or the chemistry of the body. Others probably arise from the ineffable forces of individual experience accumulated over time. But many are far too obscure to be measured with the relatively crude tools of psychology, neural imaging, or the discovery of predictive antecedents. Even what seems like a simple and straightforward persuasive message may not produce attitudes we would expect.

One study trying to get  teens to lower the volume coming into their earbuds thought another teen explaining the risks might be a good source.  Not so. That particular study showed the boomerang of a slight increase in their post-message listening levels. Go figure.

All of us who teach and write about persuasion should be a bit embarrassed to be so clueless.  After all, rhetorical strategies are predicated on the idea that if an individual takes a certain verbal approach to an audience, it should yield more or less predictable results. Like most realms of theory, there is the implicit promise of finding an “if-then” sequence. Call a person a “jerk” and they will not react well. Even so, I am constantly surprised by the unpredictability of audiences.  Even in our text on the subject, for the sake of clarity we more or less settled disputes about causal factors that are–in truth–not quite so neatly resolved.

Every new case of a mass shooter or some other form of human depravity leaves me scratching my head and scoffing at the journalists who want to identify specific causes now.  How could a new mother abandon her four-year old to die in an alley? What was mass murderer John Wayne Gacy thinking? What could explain how a professional clown who was hired out to do children’s parties could turn into such a monster?

It is possible to build causality claims using the laws of physics or chemistry, but human nature is far less predictable. 

It’s the rare “expert” who says, “I don’t know.” We have a natural compulsion to sort out the motives of others. It is one of the narrative lines that must be filled in when we parse human behavior. Try out a few random movements around your friends and watch the wheels start to turn as they try to figure out what’s up with you. Wanting to know the causes of everything is natural instinct. And we clearly know a lot about the chemical and biological causes of many conditions and diseases. But assigning  motives to a human can be a fool’s errand. What Hollywood usually wraps up by the time the credits roll remains largely unwrapped by the police professionals left to sort out real mayhem. In the study of crime, knowing who did some action is easier than knowing why.

After recent demonstrations at Columbia University, New York’s Deputy Police Commissioner Kaz Daughtry held up a book on terrorism at a press conference and said, “there’s somebody. . . [who is] radicalizing our students.”  He surely had causes in mind. But that rhetorical flourish doesn’t stand up very well. What person would have that kind of power? And are the protesters so uniform as to be influenced by the same persons or groups? It is more likely that many students have absorbed news of Palestinians living in what some have called “the open-air prison of Gaza,” mustering youthful outrage for the status quo. And even that simple causality chain could be suspect.

Thankfully, not every case is so difficult. Apple recently ran an advertisement selling a new tablet.  You may have seen the ad where a room full of creative tools–a piano, a guitar, paints, a record player, books, a trumpet–are slowly crushed in real time by a giant industrial press, leaving a tableau of shards and ruin. The tag line suggested that all of these wonderful tools are not needed if you have an Apple tablet. Only in advertising can a person be so cluelessly reductionist. Within hours media and arts creators of all sorts reacted with horror at the idea that this is what the company thought of their tools. Actor Hugh Grant called it “The destruction of the human experience. Courtesy of Silicon Valley.” The revulsion was real, and clearly not what Apple’s marketing geniuses predicted.

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The Changed Media Landscape for Public Radio

Was I wrong in 2016? What does it mean when virtually every American in the country can listen to any radio station, music streaming or podcast service anywhere at any time?

A forum of public radio executives on The College of New Jersey campus in December of 2016 made it apparent that the medium was generally holding its own. Panelists included the Chairperson of the Board of NPR and news executives from WNYC in New York and WHYY in Philadelphia. Then, audience sizes were larger, contributions from sustaining members were up, and many stations were benefiting from powerful streaming technologies. True, there were hints that storm clouds. The broadcast medium that was at the very center of the American experience during and after World War II was beginning to see more restless audiences and enterprising operators who delivered content digitally, without the need for a broadcast license. We now take for granted that Alexa and Spotify will deliver more customized content at any time, with far less effort from us. In 2016 I didn’t appreciate how this storm might arrive. A post I wrote that year optimistically declared that “Public Radio Thrives.” But even then, WNYC’s Dean Cappello nailed what was changing in this new era of media abundance: “The audience is in charge now.”

Our forum centered National Public Radio, with an astounding 1000 affiliates in every corner of the country. Most nations have somewhat similar non-commercial radio networks, including France 24, Germany’s Deutsche Welle and Britain’s multi-channel BBC. They usually adhere to the broad mainstream of their own societies, usually with a slight tilt toward a more progressive view of politics and human affairs. But all must now contend with other audio sources who can gain access to listeners simply by having a studio and an internet address.

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Add into this vastly enlarged field the fact that “legacy” print and “broadcast” media are in the fifth decade of a disordered contraction. In the U.S. newspapers have declined to the point of disappearing in many cities. Traditional Network television news from ABC, NBC and CBS no longer dominates as they once did. Formerly influential magazines like Time and The Atlantic see their futures mostly in non-print digital forms, while most still covering the national scene, like Slate and The Daily Beast, are struggling to pay their reduced staffs through total or partial paywalls. In terms of access, it is the best of times for a person ready to try their hand in digital journalism. But in terms of making a comfortable and secure living at it, it may be the worst of times.

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Against this background, in some ways NPR looks less robust than it did a half decade ago. It has been under pressure to diversify its staff and audience. And, indeed, there is a greater variety of voices on its air. But as the trade magazine Current noted, “NPR’s newsroom is more diverse than its listener base.” Those listening at least once a week have dropped from 60 million in 2020 to 42 million today. In March, the network laid off close to 10 percent of their staff in an attempt to close a $30 million budget gap.  And recent internal data made available to the New York Times showed that NPR’s audience was 76 percent white, 11.9 percent Latinx, 9.2 percent Black and 5.1 percent Asian.

To be sure, attracting younger and non-white listeners has always been a challenge. It is apparent that social media have swallowed up the attention of younger Americans, mostly for the worse, since much of it’s content is light years away from the public service perspective that has defined public radio.

Even the idea of a radio network has changed. Formerly, a listener that wanted to listen to landmark content like All Things Considered, Fresh Air or Wait, Wait, Don’t Tell Me needed to tune in to a local station. Now, all of those programs are available as podcasts, frustrating affiliates who traditionally raised money from listeners to those network shows.

If these challenges of streaming, podcasting and America’s declining appetite for straight news were not enough, grumbles about salary discrepancies between the old guard and newer staffers have added tensions. Cultural nerve endings rising from increased awareness of past injustices against women and racial groups, altering what a media organization can program without triggering a backlash. In January of 2021 three high profile hosts and women of color–Noel King, Lulu Garcia-Navarro, and Audie Cornish–all left the network, with organizational tensions and unequal pay as reasons. And last month a senior producer made complaints about a “liberal bias” that were picked up by the growing numbers of journalists who follow the media exclusively.

Understandably, in media circles declines in audience numbers are always taken as a bad sign. And yet it is trend not just for NPR, but radio in general, and for theatrical films and publishing as well. The days of legacy sources like city newspapers, national magazines, and massive television audiences are perhaps gone for good. While there are still big media “players,” a period when any single source can function as a big tent matching the reach of, say, CBS News in the 1960s and 70s, seems gone as well. Back then, a program like the CBS Evening News could attract a huge 27 million households. The nation came together for this and the other legacy network programs. But that does not happen any more. We don’t have “mass media” in the ways we used to. And no doubt that will include NPR, which will have to build its audiences from a more fragmented pool of Americans.

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