There are three mainstays in today’s Hollywood:  sex, violence and special effects.

Special effects in movies, when well done, are fun.  They help us escape from our lives to enjoy tales of superheroes, mutants or alternate realities.  We travel to faraway or mythical lands and see dragons, dwarfs and trolls, tree-creatures battling orcs, wizards and sorcerers battling.  Oh yeah, and stuff blowing up.  (Thank you Michael Bay)  None of this really exists, of course, but that’s part of what makes it a good escape for the viewer.

It’s kind of hard to imagine a major blockbuster that doesn’t involve some form of death, shock, torture, shooting or explosion.  War movies can bring perhaps the most accuracy to this genre and this is especially true of those that don’t sugar coat it.  Saving Private Ryan was very graphic but not in an over-the-top, gratuitous way.  It brought home the realities of war.  Most action movies, however, take violence to a completely unrealistic level.

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Part 2 of a series; Previously: What Bell Labs and French Intellectuals Can Tell Us About Cronkite and Couric

The Signal-to-Noise Journey of American Media

The 20th Century represented a Golden Age of Institutional Journalism. The Yellow Journalism wars of the late 19th Century gave way to a more responsible mode of reporting built on ethical and professional codes that encouraged fairness and “objectivity.” (Granted, these concepts, like their bastard cousin “balance,” are not wholly unproblematic. Still, they represented a far better way of conducting journalism than we had seen before.) It’s probably not idealizing too much to assert that reporting in the Cronkite Era, for instance, was characterized by a commitment to rise above partisanship and manipulation. The journalist was expected to hold him/herself to a higher standard and to serve the public interest. These professionals – and I have met a few who are more than worthy of the title – believed they had a duty to search for the facts and to present them in a fashion that was as free of bias as possible.

In other words, their careers, like that of Claude Shannon, were devoted to maximizing the signal in the system – the system here being the “marketplace of ideas.” Full Story »

Part one of a two-part series.

From Cronkite to Couric: the Kingdom of Signal is swallowed by the Empire of Noise

The recent death of Walter Cronkite spurred the predictable outpouring of tributes, each reverencing in its own way a man who was the face and voice of journalism in America for a generation or more. The irony of all these accolades is that we live in an age where “broadcast journalist” is such a cruel oxymoron, and we seem to speeding headlong into an era where the word “journalist” itself threatens to become a freestanding joke. Why, against this backdrop, would so many people who are so involved in the daily repudiation of everything that Cronkite stood for make such a show memorializing the standard by which they so abjectly fail?

As I read what people had to say about Cronkite, I realized that something I studied and wrote about over a decade ago helps explain why our contemporary media has gone so deeply, tragically wrong. Full Story »

This came to me just now in an e-mail exchange with our friend John Harvin. So, tell me – am I onto something? Has this already been said?

In any public communication system where access is generally open, noise tends to expand at an exponential rate while the expansion of signal is merely additive.

Of course, it’s hard to imagine why this would occur to me…