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The Art of Communicating Risk – Harvard Business Review

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Executive Summary

Sometimes during a crisis we don’t know how bad the situation really is. Consider the following scenario involving a data privacy violations: A company discovers that sensitive data about a user is exposed in an unencrypted database for 24 hours. Has anyone accessed it? If so, what, if anything, can they glean from it? Firms facing the question of whether and how to communicate risk often err too far in either direction. When organizations alert their customers to every potential risk, they create notification fatigue.  When firms wait too long to communicate in an effort to shield users from unnecessary worry customers interpret time lags as incompetence, or worse, as obfuscation.  The answer is to trust that customers can process uncertainty, as long as it’s framed in the right way. Using techniques from behavioral science, the authors suggest better ways to communicate uncertain risks in way that will protect customers and foster trust.

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Most organizations can cope with straightforward bad news, and so can most people. We absorb the shock, and move on. But what happens when we don’t know how bad the news actually is?

When it comes to crises, the news companies must deliver is often potential bad news. How should a technology company react when it learns that it might have suffered a breach of your data, or a supermarket discovers it might have sold you contaminated lettuce, or a medical device maker learns that patients may have a defective hip replacement? Communicating about uncertainty — what people call ‘risk communications’ in practice — has become one of the most important challenges faced by anyone who needs to convey or consume information.

Risk communications are more important than ever during the current pandemic. Scientists, policy-makers, and companies alike are uncertain of many basic facts about Covid-19 with crucial implications for personal and societal decisions. How infectious is this new virus? How likely is it to kill people? What will be its long-term economic, social, and cultural consequences?

Even before Covid-19 hit, communications were increasingly becoming an important part of corporate and organizational management. Consider the following scenario involving a data privacy violations: A company discovers that sensitive data about a user is exposed in an unencrypted database for 24 hours. Has anyone accessed it? If so, what can they do with it right now? What will they be able to do with it five years from now, with machine learning techniques that will be available at that time? The answers are typically, we don’t really know. That is not an assessment that most organizations or individuals know how to deliver in an effective way. This has major consequences for individual firms and for firms collectively. The tech sector, in particular, has suffered a large and growing trust deficit with users, customers, and regulators, in part because tech companies struggle to communicate what they do and do not know about the side effects of their products in ways that are transparent and meaningful.

When we talked to experts across eight industry sectors, we uncovered a common dilemma: firms facing the question of whether and how to communicate risk often err too far in either direction. When organizations alert their customers to every potential risk, they create notification fatigue. Customers tend to tune out after a short while, and firms lose an opportunity to strengthen a trust relationship with the subset of customers who really might have been at most risk.

When firms do the opposite — for example by waiting too long to communicate in an effort to shield users from unnecessary worry — there is also a price. Customers interpret time lags as incompetence, or worse, as obfuscation and protection of corporate reputations at the expense of protecting customers. The more mis-steps firms make in either direction, the greater the trust deficit becomes, and the harder it is to thread the needle and get the communications right.

To make matters worse, individual firms have a collective effect when they communicate about uncertainty with customers and other stakeholders. The average citizen and customer is the target of many such communications coming from a variety of sources – with a cumulative impact on notification fatigue and ultimately the level of ambient trust between firms and the public. It’s an ugly bundle of negative externalities that compound an already difficult problem.

We believe it doesn’t have to continue this way. Decision science and cognitive psychology have produced some reliable insights about how people on both sides of an uncertainty communication can do better.

The inherent challenge for risk communicators is people’s natural desire for certainty and closure. An experimental Russian roulette game illustrates this most poignantly: forced to play Russian roulette with a 6-chamber revolver containing either 1 bullet or 4 bullets, most people would pay a lot more to remove the single bullet in the first instance than to remove a single bullet in the second instance (even though the risk reduction is the same). Kahneman and Tversky called this “the certainty effect,” and it explains why zero-deductible insurance policies are over-priced and yet people still buy them.

But while they don’t like it, people can process uncertainty, especially if they are armed with some standard tools for decision making. Consider the “Drug Facts Box,” developed by researchers at Dartmouth.

As far back as the late 1970s, behavioral scientists criticized the patient package inserts that were included with prescription drugs as absurdly dense and full of jargon. The drug facts box (developed in the 1990s) reversed the script. It built on a familiar template from people’s common experience (the nutrition fact box that appears on food packaging) and was designed to focus attention on the information that would directly inform decision-making under uncertainty. It uses numbers, rather than adjectives like ‘rare,’ ‘common,’ or ‘positive results.’ It addresses risks and benefits, and in many cases compares a particular drug to known alternatives. Importantly, it also indicates the quality of the evidence to-date. It’s not perfect, but research suggests that it works pretty well, both in extensive testing with potential users through randomized trials and in practice where it has been shown to improve decision making by patients.

So why aren’t basic principles from the science of risk communications being applied more widely in technology, finance, transportation, and other sectors? Imagine an “Equifax data breach fact box” created to situate the 2017 data-breach incident and the risks for customers. The fact box could indicate whether the Equifax breach was among the 10 largest breaches of the last 5 years. It would provide a quantitative assessment of the consequences that follow from such breaches, helping people assess what to expect in this case. For example: “In the last five data breaches of over 100 million records, on average 3% of people whose records were stolen reported identity theft within a year.”

Or, imagine a “Deepwater Horizon fact box,” that listed for the public the most important potential side effects of oil spills on marine and land ecosystems, and a range for estimating their severity. We’ve come to the view that these two examples and countless others didn’t happen that way, largely because most people working in communications functions don’t believe that users and customers can deal reasonably with uncertainty and risk.

Of course, the Equifax breach and Deepwater Horizon oil spills are extreme examples of crisis-level incidents, and in the Equifax case, disclosure was legally mandated. But firms make decisions everyday about whether and how to communicate about less severe incidents, many of which do not have mandated disclosure requirements. In the moment, it’s easy for companies to default to a narrow response of damage control, instead of understanding risk communications as a collective problem, which, when done well, can enhance trust with stakeholders.

To start to repair the trust deficit will require a significant retrofit of existing communications practices. Here are three places to start.

Stop improvising. Firms will never be able to reduce uncertainty to zero, but they can commit to engaging with customers around uncertainty in systematic, predictable ways. A standard framework would provide an empirically proven, field-tested playbook for the next incident or crisis. Over time, it would set reasonable expectations among users and customers for what meaningful and transparent communication looks like under uncertainty, help increase the public’s risk fluency, and limit the damage inflicted by nefarious actors who prey on the public’s anxieties about risk. Ideally, this standard would be created by a consortium of firms across different sectors. Widespread adoption by organizations would level the playing field for all firms, and raise the bar for smaller firms that lack the required competencies in-house.

Change the metric for success, and measure results. Avoiding negative press should not be the primary objective for firms that are faced with communicating uncertainty. In the short term, the primary goal should be to equip customers with the information they need to interpret uncertainty and act to manage their risk. In the long term, the goal should be to increase levels of ambient trust and to reduce risks where possible. Communicators need to demonstrate that what they are doing is working, by creating yardsticks that rigorously measure the effectiveness of communications against both these short and long term goals.

Design for risk communications from the beginning. Consider what it would mean if every product were built from the start with the need to communicate uncertainty about how it will perform when released into the wild — that is, “risk communication by design.” If risk communications were pushed down through organizations into product development, we’d see innovation in user experience and user interface design for communicating about uncertainty with customers. We’d see cognitive psychology and decision science skills integrated into product teams. And we’d see feedback loops built directly into products as part of the design process, telling firms whether they are meaningfully improving customers’ ability to make informed choices.

People are naturally inclined to prefer certainty and closure, but in a world where both are in short supply, trust deficits aren’t an inevitable fact of nature. We’re optimistic that organizations can do better collectively by making disciplined use of the existing science.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com



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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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