When "nudge" is just another word for "advert"

Martha Gill's Irrational Animals column.

Most people will have heard of the “nudge unit” – a crack team of behavioural economists installed in Downing Street which has the power to wire policy directly into our frontal cortices, using only cutting edge neuroscience and door-to-door leafleting.

For those that haven’t, “nudging” is an evidence-based strategy that aims to influence people’s behaviour towards certain of David Cameron’s more benign policies, such as cutting energy use and reducing obesity. It’s a canny way of motivating people without offering financial reward. To get people eating healthily, for instance, it helps to put apples, rather than crisps, on eye-level shelves in shops.

At base, however, “nudging” is just a scienced-up and buzzworded-down way of saying “advertising”. The trouble for Cameron is that, for every penny spent marketing his policies through nudge, thousands more are spent by the advertising industry to encourage us to go in what is often precisely the opposite direction. So, it’s not surprising that the effects of nudging have as yet been lukewarm.

Part of the problem is that the nudgers aren’t yet fully realised advertising men. Advertisers know the importance of targeting an audience, but nudging is very one-size-fits-all. What is perhaps more troubling for Cameron is that his core audience and his core voters are not often the same people.

A US study by Dora Costa and Matthew E Kahn of the University of California, Los Angeles showed that conservatives are far less susceptible to nudges in the direction of energy conservation than liberals. Researchers designed leaflets that let households know how much energy they were using compared to their peers (with a smiley face if they were using less and a frowny face if they were using more), and handed them out to a mix of conservative and liberal households. While this nudge usually lowered carbon consumption in liberal households, it actually had the opposite effect in conservative homes.

The researchers thought that the “boomerang” effect had been much stronger among conservative voters. If they saw they had used less energy than others (smiley face), they were likely to increase their energy consumption to catch up. This was because they had not been on board with the basic energy saving  ideology from the start; the leaflet merely nudged them towards the norm.

Cam can’t

A nudge unit is, all in all, an odd choice for Cameron. Not only are conservative voters less likely to be on board with the policies, which generally are more tailored to appeal to the community-minded, they are also more likely to act in defiance against any such “nannying” moves.

So, if they want to extend their influence, nudgers need to take more lessons from the advertising industry. This is inconvenient for them, as they like to brand themselves as a breed apart. Nudging itself, you see, is an industry – and markets itself sagely, knowing our weakness for all things science. It’s not science, though: it’s leafleting, and right now it’s leafleting all the wrong doors.

An image taken at Bristol Science Centre. Photograph: Getty Images

Martha Gill writes the weekly Irrational Animals column. You can follow her on Twitter here: @Martha_Gill.

This article first appeared in the 17 September 2012 issue of the New Statesman, Who comes next?

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In defence of orientalism, the case against Twenty20, and why Ken should watch Son of Saul

My week, from Age Concern to anti-semitism.

Returning late from a party I never much wanted to go to, I leap up and down in the middle of the Harrow Road in the hope of flagging down a taxi, but the drivers don’t notice me. Either they’re haring down the fast lane or they’re too preoccupied cursing Uber to one another on their mobile phones. My father drove a black cab, so I have a deep loyalty to them. But there’s nothing like being left stranded in NW10 in the dead of night to make one reconsider one’s options. I just wish Uber wasn’t called Uber.

Just not cricket

Tired and irritable, I spend the next day watching sport on television – snooker, darts, cricket, anything I can find. But I won’t be following the Indian Premier League’s Twenty20 cricket again. It’s greedy, cynical, over-sponsored and naff. Whenever somebody hits a boundary, cheerleaders in cast-off gym kit previously worn by fourth-form Roedean girls wave tinsel mops.

Matches go to the final over where they’re decided in a thrashathon of sixes hit by mercenaries wielding bats as wide as shovels. Why, in that case, don’t both teams just play a final over each and dispense with the previous 19? I can’t wait for the elegant ennui of a five-day Test match.

Stop! Culture police!

I go to the Delacroix exhibition at the National Gallery to shake off the sensation of all-consuming kitsch. Immediately I realise I have always confused Delacroix with someone else but I can’t decide who. Maybe Jacques-Louis David. The show convincingly argues that Delacroix influenced every artist who came after him except Jeff Koons, who in that case must have been influenced by David. It’s turbulent, moody work, some of the best of it, again to my surprise, being religious painting with the religion taken out. Christ’s followers lamenting his death don’t appear to be expecting miracles. This is a man they loved, cruelly executed. The colours are the colours of insupportable grief.

I love the show but wish the curators hadn’t felt they must apologise for Delacroix finding the North Africans he painted “exotic”. Cultural studies jargon screams from the wall. You can hear the lecturer inveighing against the “appropriating colonial gaze” – John Berger and Edward Said taking all the fun out of marvelling at what’s foreign and desirable. I find myself wondering where they’d stand on the Roedean cheer-leaders of Mumbai.

Taking leave of the senses

My wife drags me to a play at Age Concern’s headquarters in Bloomsbury. When I see where she’s taking me I wonder if she plans to leave me there. The play is called Don’t Leave Me Now and is written by Brian Daniels. It is, to keep it simple, about the effects of dementia on the families and lovers of sufferers. I am not, in all honesty, expecting a good time. It is a reading only, the actors sitting in a long line like a board of examiners, and the audience hunched forward in the attitude of the professionally caring.  My wife is a therapist so this is her world.

Here, unlike in my study, an educated empathy prevails and no one is furious. I fear that art is going to get lost in good intention. But the play turns out to be subtly powerful, sympathetic and sharp, sad and funny; and hearing it read engages me as seeing it performed might not have done. Spared the spectacle of actors throwing their bodies around and singing about their dreams against a backdrop painted by a lesser, Les Mis version of Delacroix, you can concentrate on the words. And where dementia is the villain, words are priceless.

Mixing with the proles

In Bloomsbury again the next day for a bank holiday design and craft fair at Mary Ward House. I have a soft spot for craft fairs, having helped run a craft shop once, and I feel a kinship with the designers sitting bored behind their stalls, answering inane questions about kilns and receiving empty compliments. But it’s the venue that steals the show, a lovely Arts and Crafts house, founded in the 1890s by the novelist Mary Ward with the intention of enabling the wealthy and educated to live among the poor and introduce them to the consolations of beauty and knowledge. We’d call that patronising. We’re wrong. It’s a high ideal, to ease the burden of poverty and ignorance and, in Ward’s words, save us from “the darker, coarser temptations of our human road”.

An Oscar-winning argument for Zionism

Speaking of which, I am unable to empty my mind of Ken Livingstone and his apologists as I sit in the cinema and watch the just-released Academy Award-winning Son of Saul, a devastating film about one prisoner’s attempt to hold on to a vestige of humanity in a Nazi death camp. If you think you know of hell from Dante or Michelangelo, think again. The inferno bodied forth in Son of Saul is no theological apportioning of justice or deserts. It is the evisceration of meaning, the negation of every grand illusion about itself mankind has ever harboured. There has been a fashion, lately, to invoke Gaza as proof that the Holocaust is a lesson that Jews failed to learn – as though one cruelty drives out another, as though suffering is forfeit, and as though we, the observers, must choose between horrors.

I defy even Livingstone to watch this film, in which the Jews, once gassed, become “pieces” – Stücke – and not grasp the overwhelming case for a Jewish place of refuge. Zionism pre-dated the camps, and its fulfilment, if we can call it that, came too late for those millions reduced to the grey powder mountains the Sonderkommandos were tasked with sweeping away. It diminishes one’s sympathy for the Palestinian cause not a jot to recognise the arguments, in a world of dehumanising hate, for Zionism. Indeed, not to recognise those arguments is to embrace the moral insentience whose murderous consequence Son of Saul confronts with numbed horror. 

This article first appeared in the 06 April 2016 issue of the New Statesman, The longest hatred