One of the very best lessons I took from higher education was recognizing and avoiding the intentional fallacy — in my own thinking no less than in that of others. Although the term arguably has more to do with critical theory dealing specifically with texts, I learned about it in relation to abstract fine arts, namely, painting and music. For example, the enigmatic expression of the Mona Lisa by Leonardo Da Vinci continues to spark inquiry and debate. What exactly does that smile mean? Even when words or programs are included in musical works, it’s seductively easy to conclude that the composer intends this or the work itself means that. Any given work purportedly allows audiences to peer into the mind of its creator(s) to interrogate intent. Conclusions thus drawn, however, are notoriously unreliable though commonplace.

It’s inevitable, I suppose, to read intent into artistic expression, especially when purpose feels so obvious or inevitable. Similar excavations of meaning and purpose are undertaken within other domains of activity, resulting in no end of interpretation as to surface and deep strategies. Original intent (also originalism) is a whole field of endeavor with respect to interpretation of the U.S. Constitution and imagining the framers’ intent. Geopolitics is another domain where hindsight analysis results in some wildly creative but ultimately conjectural interpretations of events. Even where authorial (and political) intent is explicitly recorded, such as with private diaries or journals, the possibility of deceptive intent by authors keeps everyone wondering. Indeed, although “fake news” is modern coin, a long history of deceptive publishing practice well beyond the adoption of a nom de plume attests to hidden or unknowable intent making “true intent” a meta property.

The multi-ring circus that the modern information environment has become, especially in the wake of electronic media (e.g., YouTube channels) produced by anyone with a camera and an Internet connection, is fertile ground for those easily ensnared by the intentional fallacy. Several categories of intent projected onto content creators come up repeatedly: profit motive, control of the narrative (no small advantage if one believes this blog post), setting the record straight, correcting error, grandstanding, and trolling for negative attention. These categories are not mutually exclusive. Long ago, I pointed to the phenomenon of arguing on-line and how it typically accomplishes very little, especially as comment threads lengthen and civility breaks down. These days, comments are an Internet legacy and/or anachronism that many content creators persist in offering to give the illusion of a wider discussion but in fact roundly ignore. Most blogs and channels are actually closed conversations. Maybe a Q&A follows the main presentation when held before an audience, but video channels are more often one-way broadcasts addressing an audience but not really listening. Public square discussion is pretty rare.

Some celebrate this new era of broadcasting, noting with relish how the mainstream media is losing its former stranglehold on attention. Such enthusiasm may be transparently self-serving but nonetheless rings true. A while back, I pointed to New Media Rockstars, which traffics in nerd culture entertainment media, but the term could easily be expanded to include satirical news, comedy, and conversational webcasts (also podcasts). Although some folks are rather surprised to learn that an appetite for substantive discussion and analysis exists among the public, I surmise that the shifting media landscape and disintegrated cultural narrative have bewildered a large segment of the public. The young in particular are struggling to make sense of the world, figure out what to be in life and how to function, and working out an applied philosophy that eschews more purely academic philosophy.

By way of example of new media, let me point to a trio of YouTube channels I only recently discovered. Some More News parodies traditional news broadcasts by sardonically (not quite the same as satirically) calling bullshit on how news is presented. Frequent musical cues between segments make me laugh. Unlike the mainstream media, which are difficult not to regard as propaganda arms of the government, Some More News is unapologetically liberal and indulges in black humor, which doesn’t make me laugh. Its raw anger and exasperation are actually a little terrifying. The second YouTube channel is Three Arrows, a sober, thorough debunking of news and argumentation found elsewhere in the public sphere. The speaker, who doesn’t appear onscreen, springs into action especially when accusations of current-day Nazism come up. (The current level of debate has devolved to recklessly calling nearly everyone a Nazi at some stage. Zero points scored.) Historical research often puts things into proper context, such as the magnitude of the actual Holocaust compared to some garden-variety racist running his or her mouth comparatively harmlessly. The third YouTube channel is ContraPoints, which is rather fanciful and profane but remarkably erudite considering the overall tone. Labels and categories are explained for those who may not have working definitions at the ready for every phrase or ideology. Accordingly, there is plenty of jargon. The creator also appears as a variety of different characters to embody various archetypes and play devil’s advocate.

While these channels may provide abundant information, correcting error and contextualizing better than most traditional media, it would be difficult to conclude they’re really moving the conversation forward. Indeed, one might wonder why bother preparing these videos considering how time consuming it has to be to do research, write scripts, assemble pictorial elements, etc. I won’t succumb to the intentional fallacy and suggest I know why they bother holding these nondebates. Further, unless straight-up comedy, I wouldn’t say they’re entertaining exactly, either. Highly informative, perhaps, if one pays close attention to frenetic online pace and/or mines for content (e.g., studying transcripts or following links). Interestingly, within a fairly short period of time, these channels are establishing their own rhetoric, sometimes useful, other times too loose to make strong impressions. It’s not unlike the development of new stylistic gestures in music or painting. What if anything worthwhile will emerge from the scrum will be interesting.


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