Category Archives: Problem Practices

Communication behavior or analysis that is often counter-productive

The Broken Prototype of “The Best”

It makes no sense to ask a sentient person to choose one “winner” from a list of films originating out of different narrative forms.

Awarding “best” for this or that in the arts—including film—is beginning to seem like a tired fiction we should be willing to give up. Perhaps never winning ribbons in my grade school’s field days soured me forever. But the annual cycle of film industry awards that has just concluded with the Oscars seems out of wack.  The obvious reason we already know is that individual efforts that result in vastly different projects are not directly comparable. A person only allows themselves to swallow this fiction if they want to indulge in the fantasy that only one can be “the best.”  There may be justifications for defining winners in sports competitions and hot dog eating, but not in the arts.

There is simple solution that preserves the important function of celebrating outstanding work in film, theater, writing and music. As is usually done now, use ballots of professionals to vote on those five or six colleagues or projects whose efforts seem especially praiseworthy. That’s what yields the nominations that set up Oscar night run by the Academy of Motion Picture Arts and Sciences.  Thousands of members in 18 separate divisions vote those they deem worthy of recognition.

At that point, the process should stop.

Build an event praising all of those folks who were selected. The remainder of the A-list party at the Dolby Theater in Los Angeles could then celebrate the work of more of their peers. Among the advantages is that small-budget and outlier films will not suffer from expensive Oscar campaigns  to secure votes.

In simple terms, it makes no sense to ask a sentient person to compare and choose one “winner” from a list of films that function in different narrative universes, including from this year: Barbie (a deceptively warm thumb in the eye to patriarchy), Oppenheimer (historical biography), and Poor Things (revisionist science fiction). The final list of category nominees could still be honored with brief clips and a few words from one of the persons who helped guide the project to the short list.

The Oscars Presentation is a National Touchstone

The pressure to turn the Oscars into a winner-takes-all game show game show is beneath what a serious art form should want. The process lowers the proceedings to something akin to Family Feud in tuxedos. It also suggests that money matters to the Academy more than pure art: not quite the idea of Ars Gratia Artis emblazoned above the old MGM logo.

An altered format that shuns the idea of a single winner also means that as the evening progresses, more of the attendees will not have been identified as losers, in a ratio of about ten to one. To the credit of the nominated actors and the heads of crafts departments, most still manage to take their defeat with admirable grace.

There’s also a bigger point here. Organizations everywhere end up adapting some of the strategies and assumptions of the Oscars for their own dress-up formal events. The event is a cultural touchstone. I’ve seen the outlines of the template within the events of college organizations, national academic conferences, variety shows, and even grade school assemblies. The ersatz point in these events is to identify a stand-out “winner” who will carry home a new piece for the mantel, leaving those looking on to suppress their disappointment.

It isn’t that we should skip the idea of acknowledging great achievers. The more unchallengeable point is that we should not be forced to choose between diverse projects. If we really think the broken Oscars works as it is, then we should have no problem putting our stamp of approval on the single “best:

– Family member

-Round fruit

– Painting in New York’s Metropolitan Museum

– Jazz musician living or dead

– Scout in troop 25

– Faith tradition

All of these as singular choices are clearly absurd, even though there is a hopelessly flawed part of us that loves manufactured competitions. I know: as things stand, nothing will move  the Academy to change its rules for the next big night, other than to make it flow better as a game show. It is in the American nature to celebrate individuals over groups. In addition, film producers want to spend a big portion of their budgets on promotion. Since many have already gambled in spite of terrible odds, the chance to become a winner is too tempting to pass up.

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The Eclipse of Character

Character measured by known virtues like honesty and doing good works was a huge concern for classical thinkers. Why do we now find the carnival barkers in our midst more worthy of our time? 

It seems like a paradox that, amidst sufficient information to draw conclusions about the quality of a public person’s character, vast segments of the American public are unable or unwilling to notice disqualifying flaws. To be sure, humans can be taken in by scoundrels in any era. From Professor Harold Hill to Bernard Madoff, the charlatan  “on the make” is a distinct American type. Among many others, historian Daniel Boorstin was especially vivid in chronicling American hustlers with a  gift for self-promotion but a tenuous grasp on the Truth. Even when serious flaws of character become known, many of us have an incapacity to see them. Indifference also seems to be the norm, even when we will pay a deep price for believing fraudulent claims. It was so for citizens of New York’s 3d congressional district, who trusted George Santos . Years ago folks in Wisconsin fell for the the same kind of destructive character in the person of Senator Joe McCarthy. And it many be worse now; Congress has an entire “chaos caucus” of loquacious but slow thinkers.

What thoughts are reflected in those enthusiastic faces we see planted behind felonious candidates at their political rallies? Why do persons with the cultural tools to sense the mendacity of others still fail to act react appropriately? Clearly many of the nation’s collective woes are due to widespread indifference to signs indicating that a person should not be trusted to lead.

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There is a useful thought-experiment here to puzzle out why traditional virtues of character have withered in the public sphere.

Our public reasoning has become inverted. Incredibly, every new formal accusation brought against former President Trump has produced a new levels of support, as if we were talking about parking tickets rather than civil convictions for a sexual assault and tax fraud. The ostensible ‘bad news’ that in more sober times would have disqualified a leader now seems to boomerang. It is not just the shabby spews of ad hominem attacks from Trump that have given our public life an Alice in Wonderland aspect. We can find similar lapses of judgment in other leaders in business and the arts.

The word itself now seems like an antique, but virtue actually has a long history in the classical world representing the general idea of a good person.

                             Aristotle

Giants in western philosophy such as Aristotle (b. 384 B.C.) and Cicero (b. 106 B.C.) have explored the subjects of the virtuous and the good. They are mentioned here because—among their many interests—both were rhetoricians interested in how audiences react in the presence of those who would influence them. For Aristotle, a good person had high ethos, meaning a person was known for virtues that included prudence, sense of justice, temperance, and courage. Their known strengths preceded them. Persons known to be burdened with the baggage of low credibility (meaning an indifference to the Truth, or ways to test it) were seen as lacking high ethos. Having the virtue of good character is reflected in Aristotle’s famous dictum that “character may almost be called the most effective means of persuasion.”

Cicero noted much the same regarding basic morality, arguing that virtue was “the habit of the mind which makes us consistent in doing good.” If this seems too wooly, think of the doctrines in most faith traditions that require engaging in acts of service to others. Or consider the exemplary lives of Americans such as Martin Luther King, Madeleine Albright or Fred Rogers.

Aristotle’s ethical standards for an able advocate included the capacity for reasoning accurately, awareness of what is appropriate to a situation, and the mastery of language. Add Cicero’s recommendations that people worthy of our support cultivate goodwill, kindness, and benevolence. These ideas aren’t alien to us, but we seem lost in the maw of popular media that can distract us from sorting the honorable from the self-promoters.

There’s another an important twist here. In our era we tend to plant false flags that affirm loyalty to certain individuals, mistaking an act of continuous devotion as its own kind of moral absolute.  Interestingly, both philosophers centered their discussions of communication ethics on the agent. Neither had much to say about loyalty as a core virtue: a revealing fact, given the high status we now give to a person who is—not infrequently—totally devoted to an ethically flawed person. Many seem to have developed a withered form of ethics based on a fixed allegiance. What remains is more transactional, and based more on the personal rewards of a settled mind set. Put another way, we make fewer demands that others be “virtuous,” settling instead on their believability. In this realm, public figures with social capital matter more rather than those with integrity. Indeed, a person’s notoriety may be their chief asset in dominating a cultural space.

Perhaps we no longer want to be put to the test of thoughtfully assessing a person’s character. Our awareness of others outside our immediate circle is often nominal and impressionistic. If Aristotle thought the high ethos of a person was set prior to their appearance, we  tend to construct our truncated version of it on the spot. Vetting by using the standards of logic and evidence requires more effort than we are willing to give.

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