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The Myth of Successful Multitasking

Source: Centers for Disease Control
                       Image: Centers for Disease Control

As researcher Clifford Nass famously noted, multitaskers are “suckers for irrelevancy.”  Because “everything distracts them,” their intellectual performance on important tasks deteriorates. 

As more of my students bring laptops and phones to class, their abilities to concentrate and retain even simple instructions delivered face to face seem to be under assault.  In many cases these are traditionally “strong” students: top-ranked in their high school classes, ambitious, and often intent on pursuing advanced degrees in medicine and other fields. Why are so many not retaining important conclusions or pieces of information?

There is no question a laptop is a great note-taking device. Many of us can type faster than we can write.  But one would have to believe in the tooth fairy to accept the premise that computers in the classroom are only used to deal with the material covered on a given day.  The sacred cow of full connectivity on campus makes it a virtual certainty that students may be placing their bodies in the classroom, but taking their minds elsewhere. Multi-tasking is the norm.  One Stanford faculty member notes that his research indicates a full quarter of his students are trying to use four different media at the same time while there are ostensibly focused on writing term papers.  We’ve all read the results of that kind of writing, and it’s usually not pretty.

The fundamental problem is that almost no one is good at multi-tasking.  We are simply not wired to split short-term memory between a variety of stimuli at once.  We may think otherwise. But there’s near unanimity in the literature on comprehension that critical thinking declines when we fragment our attention. To put it simply, multitasking makes us just a little bit stupid. As researcher Clifford Nass famously noted, multitaskers are “suckers for irrelevancy.”  Because “everything distracts them,” their intellectual performance on important tasks deteriorates.  Sometimes the person addicted to a digital stew of stimuli is the last to know that they have become intellectually impaired.  It’s a common mistake to assume that being “busy” means being “fully engaged.”  We perform our busyness as a badge of honor.  But it’s closer to the truth to conclude that the more we construct lives where external stimuli are a constant, the less we are able to get past the self-induced noise that complicates the completion of an important task.

Try a simple experiment.  Try to read your e-mail or a series of text-messages while also listening to someone explain how to get to an address on the other side of town.  No GPSs allowed. An active and full-time listener will probably process the directions correctly, or ask questions until they have the mental map they need.  The split-time listener is more likely to end up lost, often compounding their addiction to distracted multi-tasking by calling from from a moving car to get new directions.

Of course there are many significant exceptions to acknowledge: those from all walks of life who still have the will to track the explication of a complex idea for an extended period; younger readers happily caught in the thrall of a writer or literary genre; newspaper consumers who will follow an investigative story across three pages of a broadsheet; or the curious who are sufficiently engaged to listen to another for a sustained amount of time. But these individuals increasingly seem to be cultural outliers. We now tend to notice a special passion for thirsty listening and reading.  They stand out from the norm.

So the caution stands: the fragmentation of daily life into competing multiple activities undermines competencies we should want to nurture and protect.  The things worth doing in life –if they are truly worthy of our time–are too important to be compromised by incessant (and non-linear) distraction.  My guess is that Franz Joseph Haydn would have never gotten around to writing those fabulous hundred and six symphonies if he owned a smartphone and an e-mail account.  How would he have had the time?

Invitations From Hollywood to Witness Conversational Trainwrecks

Actress Sarah Steele, "Bernice"
      Actress Sarah Steele

The scholar Hugh Dalziel Duncan believed that communication has to be studied as a form of theater.  We are not only role-players in our lives, but in his simple aphorism that I never tire of quoting, he noted that theater is the process “by which we become objects to ourselves.”  

Plays, films, and all forms of written or performed narratives allow us to see our lives in the proxy behaviors of actors in a performance. A character on screen may not be living a close facsimile to our own lives, but their responses to others are still recognizable.  Empathy and imagination give us all the room we need to compare our communication choices with a panorama of figures ranging from Hamlet to Harry Potter. 

It follows that sometimes the most direct way to access communication challenges is therefore to get down to cases. Communication is almost always a matter of relatively fixed templates: sets of expectations about what someone facing the demands of one setting must do if they are to use their communication abilities to make things better. And that frequently means taking a look at a key scene in a film or play to discover how key figures handle the demands imposed by their own social settings. We’re easily drawn in. And we find that our natural hard-wired love of narrative means that we can place ourselves in almost any scene and compare our likely responses to those given by a character on stage or on the screen. 

Most films have such moments, as in the recent Before Midnight (2013) written in part by actors Julie Delpy and Ethan Hawke.  They play a married couple who came together over the course of two earlier films, and are now drifting out of love and into middle age. The film is a feast for those interested in conversational analysis.  But two current favorites are from more popular and commercial films released a few years ago.  Each film offers a moment when a simple communication misstep builds into a volcano of hurt and anger.  Both play to a familiar litany of questions we ask whenever we failed to realize our intentions with another person. What went wrong?  How could someone with good intentions create the interpersonal equivalent of a complete train wreck?   

The Family Stone (2006) revisits the familiar terrain of an engaged son bringing his fiancé home to meet his family.  Everett Stone’s clan is a free-thinking group of comfortable New Englanders.  Dad is a professor.  Diane Keaton’s mom is a sharp conversationalist, and happily uses it to build a protective fence around a younger gay son who is deaf, and who is in a committed relationship to an African American man.  This modern couple is also hoping to adopt a child.  Enter Meredith Morton (Sarah Jessica Parker), the new fiance and a Manhattan executive who is invited to meet the family over dinner.  Meredith’s views are more conventional that her hosts.  And that spells trouble as the conversation turns to the younger son’s impending marriage.  She clearly likes the family, but she’s thrown off by Mom’s offhand comment that she wished all of her children were gay.  They might stay around longer, she muses. And Meredith takes the bait. Her questions are earnest but potentially wounding to the senior Stones, who wear their liberalism as badges of honor.  Will an interracial marriage be more difficult?  And would the Stones really wish for gay children?  Dermot Mulroney’s Everett is suddenly silent as these question settle over the meal like a bad stomach ache.  

As the scene plays, we see a classic communication breakdown.  One person lays down an ambiguous observation. It’s followed by a clumsy question that is easily misinterpreted as a marker of bigotry. Meredith is clearly at sea, and wants to be in the good graces of the family.  But none of the Stones are interested in helping climb out of the hole she has fallen into.

The Family Stone is a modest film, but this scene is a brilliant miniature of the potentially rough terrain of even simple statements and queries.  As it plays, we see why language and the tonalities of presentation complicate what appears to be the simple objective of finding a secure place in another’s life. 

A second favorite scene is built around one of the many winsome figures the Hollywood producer/writer James L. Brooks has created over the years.  In Spanglish (2004) Bernice stands out as a sensitive soul in a family of over-achievers.  Actress Sarah Steele’s empathetic character has an impulse to please which closely binds her to a spirited grandmother and to John, her affectionate father (Adam Sandler).  But she must also defend her fragile self-esteem against aspersions about her weight from an overwrought mother. Deborah has made Bernice her project. And while the razor thin compulsive has mastered the outward rituals of everyday conversation, she  tends to substtitute empty talk and hours of jogging for true intimacy.   

She is the provocateur in this conventional Brooks set up of an upwardly mobile Los Angeles family.  Connection and affirmation are put at risk by a character who is not so much malevolent as clumsy in understanding the fundamentals of social intercourse.   Even when Deborah returns from a shopping trip with new clothes for Bernice, we sense that her ostensibly thoughtful act will have a painful denouement.

The scene opens with John helping Bernice complete her history homework, making a game out of a quiz question asking for the name of the famous World War II President who was not a “ruse.”  What does the word mean? Bernice asks.  A “Phony,” he notes.  “So this president was not a ruse. . . He was the real thing.”  When Deborah returns with bags of new clothes, Bernice is at first delighted by her apparent thoughtfulness.  But when she tries on the gifts of a coat and sweater, they are clearly too tight.  A quick look at the tags of all the other new garments confirms that Deborah has deliberately bought everything one size too small.  This is her idea of an inducement for her daughter to lose some weight, and it unfolds as a slow motion humiliation in front of John and other members of the household.  The moment snuffs out the excitement that was just seconds old, leaving Bernice to find a way to resurface with some of her dignity intact.  She recovers, fighting back tears.  There is no big outburst, just a few rueful words said more in regret than anger.  “Thanks  Mom. . . I’m glad you didn’t get here a little earlier or else I wouldn’t be able to tell you that your gift is a ruse.  Please excuse me.”  And she exits.

There is agony in this small but emblematic moment where, as Brooks observes, Deborah feels “the futility of anyone understanding her point even as she makes it.” Those are his script directions to actress Tea Leoni who plays her.  She isn’t connecting with members of her family:  something she senses, but is powerless to remedy.  She is tone deaf to her daughter’s needs.  And somehow her ideals for success and a perfect waistline have also made her blind to the charms of her own family.