Big Thinker: Steven Pinker

Steven Pinker (1954-present) is an experimental psychologist who is “interested in all aspects of language, mind, and human nature.” In 2021, Academic Influence calculated that he was the second-most influential psychologist in the world in the decade 2010-2020.
Steven Pinker is a Canadian-American cognitive psychologist, psycholinguist, popular science author and public intellectual. He grew up in Montreal, earning his Bachelor’s degree in experimental psychology from McGill University and his PhD from Harvard University. He is currently the Johnstone Family Professor in the Department of Psychology at Harvard.
At the start of his graduate studies, Pinker found himself interested in language, and in particular, language development in children. In 1994, he went on to publish the first of his nine books written for a general audience, entitled The Language Instinct. In the book, Pinker introduces the reader to some of the fundamental parts of language, and argues that language itself is an instinct that makes humans unique.
Language, society and the mind
Try and have a thought without any language. It might be an idea or a memory that appears in your mind with no words or internal monologue. It’s quite difficult to switch off the voice in our heads for more than a few seconds. Pinker researches this connection between language and how our minds work.
To date, Pinker is the author of nine books written for a general audience. He covers a wide range of topics and questions that get at the heart of how we learn languages and what this does to our minds. His book The Stuff of Thought (2007) looks at how language shapes the way we think. He begins by suggesting that when we use language, we are doing two things:
- Conveying a message to someone
- Negotiating the social relationship between ourselves and whoever we are speaking to
For example, when a professor stands at the front of a lecture hall and tells her students “may I have your attention, class is about to begin” the professor is doing two things. First, she is alerting her students that class is starting (the message), and second, she is operating within the professor-student hierarchy (the social relationship) in which students should give their attention.
Taking this framework for language, Pinker works to untangle some of the complicated questions around language, such as “Why do so many swear words involve topics like sex, bodily functions or the divine?” and “Why do some children’s names thrive while others fall out of favour?”
Trends of today: is violence declining?
Pinker’s academic interests and research extends beyond language. In 2011, he published The Better Angels of Our Nature, which makes the claim that violence in human societies has generally decreased steadily over time.
“Historical data from past centuries are far less complete, but the existing estimates of death tolls, when calculated as a proportion of the world’s population at the time, show at least nine atrocities before the 20th century (that we know of) which may have been worse than World War II.”
Violence in this case does not just mean war. Pinker also looks at collapsing empires, the slave trade, the murder of native peoples, treatment of children and religious persecution as acts of violence in the world. While it feels like we see and hear about a lot of violence today, he notes that it’s often because these are ‘newsworthy’ events.
“In the case of violence, you never see a reporter with a microphone and a sound truck in front of a high school announcing that the school has not been shot up today, or in an African capital noting that a civil war has not erupted.”
After establishing the trend of declining violence, he looks at historical factors that work to explain why we live in a less violent world. Some of these trends include increasing respect for women, the rise in technological progress, and more application of knowledge and rationality to human affairs.
Current work
Steven Pinker’s work has received a number of prizes for his books, including the William James Book Prize three times, the Los Angeles Times Science Book Prize, the Eleanor Maccoby Book Prize, the Cundill Recognition of Excellence in History Award, and the Plain English International Award. He has also served as an editor and advisor for a variety of scientific, scholarly, media and humanist organisations.
Steven Pinker still spends his time researching a diverse array of topics in psychology, language, historical and recent trends in violence, and neurobiology. One specific area he is currently researching is the role of common knowledge (i.e., things that we know other people know without having to say what we know) in language and other social phenomena.
Steven Pinker presents Enlightenment or Dark Age? as part of Festival of Dangerous Ideas 2022. Tickets on sale now.
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Breaking news: Why it’s OK to tune out of the news

Breaking news: Why it’s OK to tune out of the news
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BY Dr Tim Dean 1 SEP 2022
News is designed to grab your attention but not all of it is relevant to your life. The good news is you needn’t feel guilty for tuning out of news that makes you sad or angry and is out of your power to influence.
Two stories appear on your favourite news website. The first is about an adorable half-tonne walrus named Freya being euthanised in Norway because gormless onlookers refused to heed government advice to keep their distance.
The second covers China’s central bank cutting interest rates to stimulate growth while most other wealthy nations around the world are raising them to fight inflation.
Which of these stories grabs your attention the most? Which are you most likely to click on?
If you answered the first, then you’re not alone. In fact, the ‘popular right now’ lists on most news websites show that rogue wildlife invading metropolitan areas easily outrank stories speculating on China’s economic health.
But which most affects your life?
Even if you happened to be in Norway during the Freya saga, the news would be unlikely to impact your day-to-day goings on (unless it was a warning to steer clear of the beast). On the other hand, if China slips into recession, it could alter the global financial and geopolitical landscape, impacting everything from grocery prices to the prospect of war in Taiwan.
I’m not intending to shame you for clicking on the more sensationalist story. I did. We are only human, and Freya’s story pushes emotional buttons of care for native wildlife as well as outrage directed at the twits whose desire for a selfie caused the death of an innocent animal.
But what are we looking for when we switch on the radio or swipe that phone screen? What really is ‘news’? Through our cumulative clicks on news stories, what are we asking media outlets for? And is what we’re asking for doing us any good?
When we click on a story about horrific crime, a child abduction, a fatal shark attack or one of the countless stories about celebrity dalliances, what does it tell us about the world? Probably not much. In fact, these stories probably do more to distort our understanding of the world rather than clarifying it.
Horrific crimes do happen, but a lot less frequently than we might think. Child abductions by strangers are incredibly rare (that’s what makes them newsworthy when they happen). Shark attacks do happen, but you’re more likely to be injured driving to the beach than you are by in the toothy maw of a cartilaginous fish. And when it comes to celebrities, no-one is surprised that high status individuals living in a wealth and fame bubble behave just like us, only more so.
The deeper impact of news like this is that it normalises an abnormal image of the world, one coloured by our natural fascination with violence, tragedy, mortality, injustice, sexual indiscretion and scandal. Many of these things make the news because they’re exceptional in the modern world; it’s precisely because our society is more peaceful and stable than at just about any point in history that conflict and instability stand out.
But through constant exposure to the exceptional through news headlines, it eventually becomes normal. Studies have shown that Australians consistently overestimate the levels of violent crime in their neighbourhoods, due at least in part to the way crime, conflict and injustice are reported but lawfulness, peace and justice are not.
The torrent of sensational news also comes at an emotional cost, especially when we’re confronted with a daily litany of injustices from around the world. We are naturally inclined to experience outrage when we hear about how women are mistreated in Afghanistan, about civilians being killed in Ukraine or another mass shooting in school in the United States, and this outrage motivates us to take action to rectify it. But the simple fact is that we have limited power to act on most of the injustices that we encounter in the news. Mass media has expanded our sphere of perception to be global but our sphere of influence remains largely local.
This, in turn, can inspire feelings of disempowerment and hopelessness. And it can encourage us to seek to regain our sense of agency wherever we can. However, it’s far easier to regain a sense of agency, such as by complaining or calling people out on social media, than it is to have power over grand or distant events. Social media can make us feel like we’re doing something, like we’re fighting back against injustice, but much of that is illusory. Often all we’re doing is sharing the injustices around, getting other people outraged and further eroding their sense of agency.
Life is cacophonous. News is supposed to filter out the noise and reveal what is important, relevant and impactful so we can focus our attention on what really matters. But news has descended into its own form of cacophony. We often fall back on our gut to sense what is important, but our gut is far from impartial.
The point is not to stop engaging with the news. It’s not to blame ourselves or others for being human. It’s to remember that the news isn’t always healthy. It isn’t always relevant. It doesn’t always reveal the whole of the world as it really is.
The good news is we do retain some control, and we have some responsibility over what we choose to view, which outlets to follow, which stories to click on, which ones to share. It takes some discipline, but that’s what living ethically means: cultivating the discipline to do what’s right, not just what’s easy.
Sometimes it means choosing not to engage with certain news. We shouldn’t feel guilty about that. We can pick our battles and choose where to invest our emotional energy. If we choose wisely, we can engage with the portions of the world over which we have greater influence and actually change it for the better.
We might still click on that story about a rogue walrus being killed because of inconsiderate onlookers or be amused by the latest celebrity scandal, but we can also remain wise enough to know that these do not reflect the world as it is, only the world as it appears through the imperfect filter of the news.
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Dr Tim Dean is Philosopher in Residence at The Ethics Centre and author of How We Became Human: And Why We Need to Change.
We can help older Australians by asking them for help

We can help older Australians by asking them for help
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BY Emma Wilkins 26 AUG 2022
Older people are often undervalued and overlooked in our society – to their detriment, and ours.
A stranger knocked on our door the other day. She was promoting a service for older people who live alone. To counter the risk of an accident or sudden illness going unnoticed, a person could sign up to have a Red Cross volunteer call them every day.
It was heart-warming and heart-breaking; wonderful that an organisation was intervening to address the frightening risk of solitary suffering, terrible that the risk was so pervasive that it warranted an organisation intervening.
I was reminded of an initiative based in Africa that I’d heard about on Maya Shanka’s podcast A Slight Change of Plans, one that wasn’t designed to help older people, but to enlist their help.
The Friendship Bench was started in Zimbabwe by psychiatrist Dr Dixon Chibanda. Its goal was to alleviate pressure on the country’s health system by training ‘grandmothers’ (respected older women in the community) to meet people with common mild-to-moderate mental health disorders at a park bench, let them talk through their problems, and help them choose just one to try and solve.
Prospective volunteers, not to mention many of Chibanda’s peers, were sceptical at first, but he didn’t just train the grandmothers—he let them train him.
As a psychiatrist, Chibanda was schooled to avoid telling his own story or being vulnerable; his volunteers taught him the key to connecting with a person and building trust was a willingness to bend this rule.
They also told him that calling the park benches where the therapy took place ‘mental health benches’ as he’d planned would create such a stigma that no one would show up. Taking their advice, he renamed them ‘friendship benches’.
Randomised control trials have since shown therapy from trained community grandmothers to be remarkably effective. Better still, the volunteers benefit richly, gaining “a profound sense of purpose and a sense of belonging” from the work. “It’s a win/win,” Chibanda told Shanka. The “grandmothers” are helping people, “but it’s helping them too”.
Chibanda says one of the things he’s learned from the Friendship Bench is just how important connection is. The therapy doesn’t really start, he says, until the moment people connect.
The scheme has since been rolled out elsewhere; Chibanda says he’d like to see friendship benches all over the world. But I suspect the barriers in places like Australia would be even greater than those faced in Africa; not because of stigma surrounding mental health, but because of stigma surrounding “the elderly”.
Chibanda says his volunteers were considered custodians of local wisdom and culture. But in more individualistic, materialistic cultures, there’s a tendency to depict older people as burdensome instead.
From useless to used
Sarah Holland-Batt’s 2020 essay Magical Thinking and the Aged-care Crisis explores this tendency. She discusses inheritance impatience, elder abuse and mandated euthanasia in dystopian fiction, then declares: “the apocalypse has already arrived for Australia’s elderly”.
“We treat older people as a separate and subhuman class, frequently viewing them as a burden on their families, the community and the state,” she writes.
Immanuel Kant argued against treating people as mere resources, but according to Holland-Batt, our aged-care industry does precisely this; it mines people for profit. If Scottish philosopher Alasdair MacIntyre was right when he said the way we treat “the very young and the very old, the sick, the injured, and the otherwise disabled” is an important indicator of a community’s flourishing, ours is falling short.
I think of the way I’ve heard Indigenous people speak about their elders—with reverence and respect; of the biblical command to honour one’s parents; of the proverb that describes grey hair as a ‘crown of glory’.
When did assuming people have nothing more to offer once they’re ‘old’ become acceptable? When did we stop treasuring the kind of wisdom that builds with experience? And how dearly has it cost us?
A closer relationship, a broader perspective
What I loved most about the Friendship Bench was the image it evoked of people from different generations sitting side by side. I loved the underlying assumption that the elderly among us still have much to offer: an offering so unique they were the key to the initiative’s success. I also loved the idea the therapy took place not under fluorescent light, but shining sun.
The fact the volunteers benefited just as much as those they were there to help did not surprise me. Who doesn’t want to put the lessons learnt over the years to use? To see somebody suffering, and help? Not all, I grant, but many—maybe most.
If only Australia’s discussions about aged care were less reactive and more proactive. If only there were less talk of problems and more of potential.
Yes, as we grow old, we grow more dependent and less capable; we cannot deny the reality of declining physical and sometimes mental functioning. But our bodies will impose enough limits without generalised assumptions based on age imposing more. I know of people in their nineties who still work as volunteers. We’re all unique; our ageing and its timing will be too. And even when age does stop us from helping, makes us start depending more, it cannot take our value, our worthiness of care, respect, and love.
The biggest game-changer I can imagine when it comes to the way our society views and treats its older members, is a rise in intergenerational connection—better still, friendship.
In some respects, our society is more connected than ever before, but not in the ways that count the most. If we want to tackle loneliness, depression and despair, this must change. We not only have to change the way we act, we must change the way we think. ‘The elderly’ need us, and we need them.
Examine what it means to age and grow older, and how this impacts all our lives. Join us for The Ethics of Being Old on Thur 24 Oct 2024 at 6:30pm. Tickets available here.
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Come join the Circle of Chairs

More than thirty years ago, philosopher and Executive Director of The Ethics Centre, Dr Simon Longstaff AO placed a dozen chairs in a circle in Martin Place in the centre of Sydney’s busy CBD. Next to them he put up a sign that said: “If you would like to discuss ideas with a philosopher join the circle”.
At first, the circle attracted little more than sidelong glances from curious passers-by. But it wasn’t long before people paused to read the sign, a few of them taking up the offer to occupy one of the chairs and start a conversation. Soon the circle was full and the discussion buzzing.
Simon discovered that many people had an unsated appetite for a different kind of conversation than the one that usually unfolded with friends, family and colleagues or, heaven forbid, online.
This was a kind of conversation where they could open up and express their deepest beliefs and attitudes, where they could ask questions without people presuming the worst about them, where they could have their ideas challenged without feeling judged or threatened, and where they could explore a topic before making up their mind.
Simon returned regularly to Martin Place with his circle of chairs, and each time more and more people stopped by to discuss ideas with him and the others seated around the circle. People started to come from far and wide to join in the conversation, having heard about it from friends or family. Rarely were chairs left empty.
With his Circle of Chairs, Simon had effectively created a space where people were safe to talk about difficult and challenging subjects. What made it work was that it wasn’t just free and unregulated discourse. Simon was able to bring his skills as a philosopher to facilitate the conversation and set appropriate norms that enabled people to speak and listen in good faith in ways that are difficult to achieve in everyday conversations.
This exercise all those years ago served as a crucial spark that led to the creation of The Ethics Centre, which still works to create safe spaces to discuss difficult and important subjects to this day.
Welcome to the conversation
Presented by The Ethics Centre, Festival of Dangerous Ideas (FODI) is Australia’s original disruptive festival. By holding uncomfortable ideas up to the light and challenging thinking on some of the most persevering and difficult issues of our time, FODI aims to question our deepest held beliefs and desires.
Which is why Dr Simon Longstaff’s original vision of a Circle of Chairs is returning to this year’s FODI, in partnership with JobLink Plus. With six sessions held over the two days, we’re inviting festival goers to take up a chair and sit shoulder to shoulder with leading philosophers Dr Simon Longstaff, Dr Tim Dean and Dr Kelly Hamilton, who will be joined by special guest conversationalists to unpick some of modern life’s most dangerous ethical dilemmas.
Will you agree with your fellow FODI attendee’s views? Pull up a chair and join or simply watch the guided conversations unfold as together we examine how we’re really feeling, thinking and doing.
We hope to see more safe spaces opening up outside of FODI to help us all have the opportunity to share our authentic views and tackle the most challenging, and important, questions that we face today.
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Big Thinker: Joanna Bourke

Joanna Bourke (1963 – present) is an historian, academic and philosopher who specialises in understanding the history of social and cultural phenomena. Her work has profoundly shaped our understanding of many fundamental aspects of human experience.
Joanna Bourke was born in New Zealand, and lived in Zambia, Solomon Island, and Haiti as a young child. She graduated from Auckland University with a Bachelor of Arts and a Master of Arts in history, and went on to complete her PhD at the Australian National University (ANU) in Canberra.
The dark parts of human experience
After writing her dissertation, titled Husbandry to Housewifery: Rural Women and Development in Ireland, 1890-1914 (1989), Bourke became interested in the experiences of men and women during wartime. Her work as a social and cultural historian has led her down a path of dealing with some of the less pleasant parts of being human, including topics such as pain, killing, war, violence, fear and rape. Bourke has been drawn to these elements of human experience because she feels that “these are the disciplines that have the most to offer us in terms of intellectual responses to current crises.”
Bourke’s book An Intimate History of Killing (1999) asks the question: what are the factors within society and in a war that turn a regular person into a good killer, or more politely, a good soldier? To answer her question, she uses excerpts from diaries, letters, memoirs and reports of Australian, British and American veterans of WWI, WWII and the Vietnam war. Bourke concludes that ordinary, gentle human beings can (and often do) become enthusiastic killers during a war because the structure of war encourages soldiers to feel pleasure from killing.
Some of her writing is also born out of personal experience. After a massive operation and a broken morphine drip, Bourke started thinking about pain and how difficult it is to describe in the English language. In her book The Story of Pain: From Prayer to Painkillers (2014), she concludes that “it is useful to think about pain in adverbial terms” because “it describes the way we experience something, not what is experienced.” As well as tracing the history of pain from the 1800s to present, she also details how factors such as race, class, gender and age have influenced the medical treatment of pain and often resulted in cruel abuse and neglect.
“Life’s too short for second editions.”
Joanna Bourke’s academic interests are vast. She has written 13 books and published over 100 articles, often tackling controversial and taboo topics.
In her recent book Loving Animals: On Beastiality, Zoophilia and Post Human Love (2020), Bourke argues that we should take a more nuanced approach to how we understand loving relationships between humans and non-human animals. When we take this more nuanced approach, Bourke finds that we are able to gain a clearer understanding of the nature of relationships, love and what we owe each other.
“I will be suggesting that animals are actors in society. This serves to challenge the anthropocentrism of history, human exceptionalism, and the idea that ‘culture’ is an entirely human preserve.”
Bourke begins by pointing out that “studies suggesting a link between bestiality and psychosis should be treated with caution due to sampling bias, because they were conducted on people already within the penal system, rather than a cross-section of the population.” She calls us to think about how we can so freely say that we love our pets, but turn a blind eye to slaughterhouses and factory farming. Bourke wants us to ask: what does it mean to love a non-human animal, and more broadly, what does it mean to love?
When we remove human exceptionalism from our understanding of human-animal relationships (which Bourke urges that we must), we can begin to think more about what we owe animals and how moral attitudes such as care, compassion, affection and pleasure are not unique to human beings.
Current work
Bourke is currently a professor of history at Birkbeck, University of London in England. She is also the Principal Investigator for a project called SHaME, or Sexual Harms and Medical Encounters. The project explores the medical and psychiatric aspects of sexual violence, with the aim of moving beyond the shame of sexual assault and address it as a global health crisis.
Her newest book Disgrace: Global Reflections on Sexual Violence, which has been partially motivated by her work with SHaME, will be available for purchase in Australia on August 15.
Joanna Bourke presents The Last Taboo as part of Festival of Dangerous Ideas 2022. Tickets on sale now.
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Who does work make you? Severance and the etiquette of labour

Who does work make you? Severance and the etiquette of labour
Opinion + AnalysisBusiness + LeadershipRelationshipsScience + TechnologySociety + Culture
BY Joseph Earp 1 AUG 2022
There are certain things that some of us choose and do not choose, to tell those who we work with.
You come in on a Monday, and you stand around the coffee machine (the modern-day equivalent of the water cooler), and somebody asks you: “so, what did you get up to this weekend?”
Then you have a choice. If you fought with your partner, do you tell your colleague that? If you had sex, do you tell them that? If your mother is sick, or you’re dealing with a stress that society has broadly considered “intimate” to reveal, do you say something? And if you do, do you change the nature of the work relationship? Do you, in a phrase, “freak people out?”
These social conditions – norms, established and maintained by systems – are not specific to work, of course. Most spaces that we enter into and share with other people have an implicit code of conduct. We learn these codes as children – usually by breaking the rules of the codes, and then being corrected. And then, for the rest of our lives, we maintain these codes, often without explicitly realising what we are doing.
There are things you don’t say at church. There are things you do say in a therapist’s office. This is a version of what is called, in the world of politics, the “Overton Window”, a term used to describe the range of ideas that are considered “normal” or “acceptable” to be discussed publicly.
These social conditions are formed by us, and are entirely contingent – we could collectively decide to change them if we wanted to. But usually – at most workplaces, importantly not all – we don’t. Moreover, these conditions go past certain other considerations, about, say honesty. It doesn’t matter that some of us spend more time around our colleagues than those we call our partners. This decision about what to withhold in the office is frequently described as a choice about “professionalism”, which is usually a code word for “politeness.”
Severance, the new Apple television show which has been met with broad critical acclaim, takes the way that these concepts of professionalism and politeness shape us to its natural endpoint. The sci-fi show depicts an office, Lumon Industries, where employees are implanted with a chip that creates “innie” and “outie” selves.
Their innie self is their work self – the one who moves through the office building, and engages in the shadowy and disreputable jobs required by their employer. Their outie self is who they are when they leave the office doors. These two selves do not have any contact with, or knowledge of each other. They could be, for all intents and purposes, strangers, even though they are – on at least one reading – the “same person.”
The chip is thus a signifier for a contingent code of social practices. It takes something that is implicit in most workplaces, and makes it explicit. We might not consider it a “big deal” when we don’t tell Roy from accounts that, moments before we walked in the front door of the office, we had a massive blow-up over the phone with our partner. Which may help Roy understand why we are so ‘tetchy’ this morning. But it is, in some ways, a practice that shapes who we are.

According to the social practices of most businesses, it is “professional” – as in “polite” – not to, say, sob openly at one’s desk. But what if we want to sob? When we choose not to, we are being shaped into a very particular kind of thing, by a very particular form of etiquette which is tied explicitly to labor.
And because these forms of etiquette shape who we are, they also shapes what we know. This is the line pushed by Miranda Fricker, the leading feminist philosopher and pioneer in the field of social epistemology – the study of how we are constructed socially, and how that feeds into how we understand and process the world.
For Fricker, social forces alter the knowledge that we have access to. Fricker is thinking, in particular, about how being a woman, or a man, or a non-binary person, changes the words we have access to in order to explain ourselves, and thus how we understand things. That access is shaped by how we are socially built, and when we are blocked from access, we develop epistemic blindspots that we are often not even aware that we have.
In Severance, these social forces that bar access are the forces of capitalism. And these forces make the lives of the characters swamped with blindspots. Mark, the show’s hero, has two sides – his innie, and his outie. Things that the innie Mark does hurt and frustrate the desires of the outie Mark.
Both versions of him have such significant blindspots, that these “separate” characters are actively at odds. Much of the show’s first few episodes see these two separate versions of the same person having to fight, and challenge one another, with Mark striving for victory over outie Mark.

The forces of etiquette are always for the benefit of those in power. We, the workers at certain organisations, might maintain them, but their end result is that they meaningfully commodify us – make us into streamlined, more effective and efficient workers.
So many of us have worked a job that has asked us to sacrifice, or shape and change certain parts of ourselves, so as to be more “professional”. Which is a way of saying that these jobs have turned us into vessels for labour – emphasised the parts of us that increase productivity, and snipped off the parts that do not.
The employees of Lumon live sad, confused lives full of pain, riddled with hallucinations. The benefit of the code of etiquette is never to them. They get paid, sure. But they spend their time hurting each other, or attempting suicide, or losing their minds. Their titular severance helps the company, never them.
This is what the theorist Mark Fisher refers to when he writes about the work of Franz Kafka, one of our greatest writers when it comes to the way that politeness is weaponised against the vulnerable and the marginalized. As Fisher points out, Kafka’s work examines a world in which the powerful can manipulate those that they rule and control through the establishment of social conduct; polite and impolite; nice and not nice.
Thus, when the worker does something that fights back against their having become a vessel for labour, the worker can be “shamed”, the structure of etiquette used against them. This happens all the time in the world of Severance. As the season progresses, and the characters get involved in complex plots that involve both their innie and outie selves, the threat is always that the code of conduct will be weaponised against them, in a way that further strips down their personality; turns them into more of a vessel.
And, as Fisher again points out, because these systems of etiquette are for the benefit of the powerful, the powerful are “unembarrassable.” Because they are powerful – because they are the employer – whatever they do is “right” and “correct” and “polite.” Again, the rules of the game are contingent, which means that they are flexible. This is what makes them so dangerous. They can be rewritten underneath our feet, to the benefit of those in charge.
Moreover, in the world of the show, the characters “choose” to strip themselves of agency and autonomy, because of the dangling carrot of profit. This sharpens the satirical edge of Severance. It’s not just that the snaking rules of the game that we talk about when we talk about “good manners” make them different people. It’s that the characters of the show submit to these rules. They themselves maintain them.
Nobody’s being “forced”, in the traditional sense of that word, into becoming vessels for labour. This is not the picture of worker in chains. They are “choosing” to take the chip, and to work for Lumon. But are they truly free? What is the other alternative? Poverty? And what, actually, makes Lumon so different? A swathe of companies have these rules of etiquette. Which means a swathe of companies do precisely the same thing.
This is a depressing thought. But the freedom from this punishment lies, as it usually does, in the concept of contingency. Etiquette enforces itself; it punishes, through social isolation and exclusion, those who break its rules.
But these rules are not written on a stone tablet. And the people who are maintaining them are, in fact, all of us. Which means that we can change them. We can be “unprofessional.” We can be “impolite”. We can ignore the person who wants to alter our behaviour by telling us that we are “being rude.” And in doing so, we can fight back against the forces that want to make us one kind of vessel. And we can become whatever we’d like to be.
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Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
We are being saturated by knowledge. How much is too much?

We are being saturated by knowledge. How much is too much?
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BY The Ethics Centre 28 JUL 2022
We’re hurtling into a new age where the notion of evidence and knowledge has become muddied and distorted. So which rabbit hole is the right one to click through?
Our world is deeply divided, and we have found ourselves in a unique moment in history where the idea of rational thought seems to have been dissolved. It’s no longer as clear cut what is right and just to believe….So what does it mean to truly know something anymore?
According to Emerson, the number one AI chat bot in the world, “rational thought is the process of forming judgements based on evidence” which sounds simple enough. It’s easy to form judgements based on evidence when the object of judgement is tangible — this cheese pizza is delicious, a cat playing a keyboard wearing glasses is funny. These are ideas on which people from all sides of the political spectrum can come to some form of agreement (with a little friendly debate).
But what happens when the ideas become a little more lofty? It’s human nature to believe that our one’s ideas are rational, well reasoned, and based on evidence. But what constitutes evidence in these information rich times?
We’re hurtling into a new age where even the notion of “evidence” has become muddied and distorted.
So where do we even begin — which news is the real news and what’s the responsible way to respond to the news that someone as intelligent as you, in possession of as much evidence as you, believes a different conclusion?
Philosopher Eleanor Gordon-Smith suggests, “There are many, many circumstances in which we decline to avail ourselves of certain beliefs or certain candidate truths because we’re being very Cartesionally responsible and we’re declining to encounter the possibility of doubt. And meanwhile, those of us who are sort of warriors for the enlightenment of being very epistemically polite and trying to only believe those things that we’re allowed to do so on. The conspiracy theorists, meanwhile, consider themselves a veil of knowledge, which then they deploy in a very different way.”
Who gets to be smart?
Before the Enlightenment, the common man had no real business in the pursuit of knowledge, knowledge was very fiercely guarded by the Church and the Crown. But once it dawned on those honest folk that they could in fact have knowledge, it almost became a moral imperative to seize it, regardless of the obstacles.
Nowadays avoiding knowledge is an impossibility impossible. Access to information has been wholly democratised, if you’ve got a smart phone handy, any Google search will result in billions of possible pages and answers. It’s now your choice to determine which rabbit hole is the right one to click. To the untrained eye, there’s no differentiating between information that is thoroughly researched and fact checked and fake news. And according to Eleanor Gordon-Smith it is this saturation of knowledge has come to define our generation. So much so that the value of knowledge “has been subject to a kind of inflation”.
She asks, “how do you restore the emancipatory potential of knowledge that the Enlightenment founders saw? How do you get back the kind of bravery, the self development, the political resistance, the independence in the act of knowing in this particular moment…is there a way to restore the bravery and the value of knowledge in an environment where it’s so cheap and so readily available?”
It is this saturation of knowledge has come to define our generation. So much so that the value of knowledge “has been subject to a kind of inflation”.
Philosopher Slavoj Žižek suggests that perhaps our mistake is putting the Englightment on a pedestal, that those involved in the Enlightment’s pursuit of knowledge mischaracterised those who came before them as naive idiots. “Modernity is not just knowledge. It’s also on the other side, a certain regression to primitivity. The first lesson of good enlightenment is don’t simply fight your opponent. And that’s what’s happening today.”
Perhaps ignorance really is bliss
In the age of disinformation, misinformation and everything in between, admitting you don’t know something almost feels like an act of rebellion. American philosopher Stanley Cavell, boldly asked “how do we learn that what we need is not more knowledge but the willingness to forgo knowledge” (it’s worth noting that this line of questioning saw his publications banned from a number of American university libraries).
Sometimes it is better to be ignorant because, “true knowledge hurts. Basically, we don’t want to know too much. If we get to know too much about it, we will objectivise ourselves, we will lose our personal dignity, so to retain our freedom it’s better not to know too much.” – Žižek
Žižek however admits that we are in a the middle of the fight. We are not at the end of the story. We cannot afford ourselves this retroactive view in the sense of: who cares what is done is already done? “Philosophers have only interpreted the world, we have to change it. We tried to change the world too quickly without really adequately interpreting it. And my motto would have been that 20th century leftists were just trying to change the world. The time is also to interpret it differently. That’s the challenge.”
When the AI chat bot Emerson is asked, “how can you know if something is true” it responds, “truth is a matter of opinion” and given these tumultuous and divided times we are living through, there is perhaps no truer statement.
To delve deeper into the speakers and themes discussed in this article, tune into FODI: The In-Between The Age of Doubt, Reason and Conspiracy.
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Enough with the ancients: it's time to listen to young people

Enough with the ancients: it’s time to listen to young people
Opinion + AnalysisRelationships
BY Daniel Finlay Anna Goodman 6 JUL 2022
Nearly 20% of Australia’s population is between the ages of 10 and 24, yet their social and political voices are almost unheard. In our effort to amplify these voices, The Ethics Centre will be hosting a series of workshops where young people can help us better understand the challenges they face and the best ways for us to help. We’re listening.
You’re sitting at the dinner table at a big family gathering. Conversation starts to die down and suddenly your uncle says: “Have you seen that Greta girl on the news? I understand that climate change is a big deal, but the kids these days are so angry and loud. They’d get more done if they showed some respect.”
Many people under 25 have been in this position and had to make a choice about how to respond. This decision is often more difficult than it seems because there doesn’t seem to be a preferable option. Philosopher and feminist theorist Marilyn Frye gave a name to this kind of situation: a double-bind. In her essay Oppression, she defines the double-bind as a “situation in which options are reduced to a very few and all of them expose one to penalty, censure, or deprivation.”
Frye originally used the double-bind to talk about how women often found themselves in situations where they were going to be criticised equally for engaging with or ignoring gender stereotypes. The double-bind can be used to explain the difficult positions that anyone who experiences a negative stereotype finds themselves in and provides insight into why people with important perspectives often feel the need to censor themselves.
Let’s say we do choose to speak up. We can justify our anger. There are so many huge issues that impact the world – climate change, the pandemic, rampant inequality, and so on – and it feels like things are changing far too slowly.
Young people especially should be allowed to be angry, because this is the world we will inherit.
Unfortunately, it’s a common experience for younger generations to feel that their voices aren’t listened to or respected. Even though these reasons should more than justify the anger and frustration of young people, emotion can often (unjustly) obfuscate the reality of what we say.
So, let’s try the other way. We choose to not engage and instead let the comment slide. However, then we’re at risk of being seen as the “apathetic teen,” a narrative that has been perpetuated ad nauseam claiming that young people don’t really care about anything (which we know isn’t true).
Young people care about a lot, and have a lot to care about. Not only do they care, they act. A recent survey of 7,000 young people found that two-thirds of respondents seek out ways to get involved in issues they care about, and 64% believe that it is their personal responsibility to get involved in important issues. So, it’s not always easy to just let your uncle’s tone-policing go when you feel passionate about a topic, especially when staying silent can be as damaging as speaking up.
Here we see the double-bind in action: neither of the most obvious responses to the situation are favourable or even preferable. Because of a build-up of social and cultural assumptions and expectations, we’re often placed in a position where we seem to lose in some way no matter what we decide to do.
The Australian youth experience
Unfortunately, age discrimination towards young people doesn’t end at the dinner table. A 2022 survey conducted by Greens Senator Jordon Steele-John found that “overwhelmingly, young people are feeling ignored and overlooked”. Gen Z (people born between 1995 and 2010) are more likely to be viewed as “entitled, coddled, inexperienced and lazy,” which is having negative effects on young people’s confidence in the workplace. It doesn’t help that young people are hugely underrepresented in the Australian government and positions of power in the private sector.
Young people should not have to convince everyone that their voices are worth listening to. The combination of endless global issues and lack of representation in positions of power, which is compounded by a culture that doesn’t give appropriate weight to their contributions, creates a climate that leaves young people feeling frustrated and disempowered.
So, what can we do? As with most social issues, there isn’t one simple fix to the underrepresentation and misrepresentation of youth because it stems from a few different things that are ingrained in our society and culture. We can question our assumptions and those of others by recognising that “youth” as a social or cultural category isn’t really coherent anymore. There has been an enormous rise in the number of subcultures that are increasingly interconnected thanks to mass media and the internet, meaning that “young people” are more diverse than ever before.
Most importantly, we can bring young people together and into spaces where their voices will be heard by people who are in a position to make change.
As part of our mission to do just that, The Ethics Centre is developing a growing number of youth initiatives, like the Youth Advisory Council and the Young Writer’s Competition.
Through these initiatives, we are starting an ongoing conversation with young people about the areas in their lives and futures that they think ethics is needed the most.
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Anna is a graduate of Princeton University, majoring in philosophy. She currently works in consulting, and continues to enjoy reading and writing about philosophical ideas in her free time.
Based on a true story: The ethics of making art about real-life others

Based on a true story: The ethics of making art about real-life others
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BY Joseph Earp 29 JUN 2022
In October of 2021, The New York Times published a long article called ‘Who Is The Bad Art Friend?’, a story of kidney donations, poetic license, and vicious authors falling over one another to write damning words about those they publicly called their friends. Within hours of it hitting the internet, it had become the story of the day. And then the day after that. And then the day after that.
The thrust of ‘Who Is The Bad Art Friend?’ is simple. Seven years ago, an aspiring author named Dawn Dorland donated a kidney, a selfless act motivated – at least on first glance – by pure charity. Rather than let this act remain anonymous, Dorland instead posted about it frequently across the internet, particularly in a digital writer’s group she was part of. One of the members of that group, Sonya Larson, began murmuring to other authors about what she saw as Dorland’s shameless desire for attention, turning Dorland and her donation into a particularly damning punchline.
But rather than keep her takedowns to private messages, Larson wrote a not-so-veiled short fiction story about Dorland and her perceived bent towards self-celebration. Titled ‘The Kindest’, the story draws heavily on Dorland’s life, and turns her into a warped and twisted version of herself; too arrogant and self-involved to behave in a genuinely charitable way, motivated only by pride and sickening grandiosity. Flash forward a few years, and Dorland had launched legal action against Larson over the story, a protracted battle that serves as the climax for ‘Who Is The Bad Art Friend?’
There is a good reason that the fallout between the two writers so firmly captured the attention of the internet. It’s not just the tone of ‘Who Is The Bad Art Friend?’, the writing is unabashedly gossipy, filled with back-and-forths between Larson and Dorland that are laced with enough invective to make your toes curl. It’s that the story provided an opportunity for the internet to agonize over a very old argument, given new life in the era of streaming and a fixation on true crime: who has the right to tell another’s story?
This Is Your Life
We tend to believe that we are the authors of our own life story – that we have an essential and inalienable hold over our own narratives. There is nothing, so one cultural myth goes, as sacrosanct and personal as our identity.
As such, those who adopt this view on identity consider the act of turning another human being’s life into art to be one steeped in ethical conundrums: an issue of consent and privacy, where the wishes of the subject must be valued over the artistic decisions of the author.
These are the people who took Dorland’s side in the ‘Who Is The Bad Art Friend?’ argument. They are also the people who have a bone to pick with the recent glut of “ripped from the headlines” media content, from Hulu’s Pam & Tommy, a fictionalised version of the media fallout after the release of Pamela Anderson’s sex tape, to Inventing Anna, a series following the rise and fall of Anna Delvey (real name Sorokin), a socialite who scammed her way through America’s upper class.
In each of these cases, a real-life story – with, in many cases, real-life victims – has been shaped into fiction, often without the subject’s consent.
Anderson herself pushed against Pam & Tommy being made, while Sorokin wrote an angry letter about the series from her jail cell.

But to believe that you – and only you – can tell your own story is to believe in a shaky foundational premise. Such an argument rests on the idea that each of us is hermetically sealed away from the world, and hold important and relevant insight into ourselves that no others hold.
It is the case that we know certain things about our lives that others do not. But we are embedded in a web of social relations, and in the imaginations and minds of all those we encounter. We are not, in fact, the faultless experts on ourselves. Our personality, such as it is, is shaped and tested in the minds of those who receive us. The delineations between “my story” and “your story” or “our story” are shakier than it might first appear. We are constructed by the world, not sat in opposition to it.

Why This Argument? Why Now?
People’s sacrosanct belief in the importance of their own personal identity – treated as though our narratives about ourselves are delicate pieces of crystal we hold close to our chests, too fragile to let anyone else hold, is tied to a growing retreat from structural and systemic issues, and an embracing of personal ones. The ultimate social currency is often not based in the story of many, but the story of one. “I am me, and nobody else could be me, and for that reason, nobody else could tell my story but me.”
On the whole, the creative scope of the streaming giants, particularly Netflix, and major Western movie studios, has changed tremendously, from the cultural to the individual. Adam Curtis, the documentarian, has pointed this out, bemoaning the fact that there are few artists looking to describe how life right now feels. In America, Australia and the UK in particular, mainstream creatives have limited desire to capture any experience that expands beyond very particular lived ones, that are presented as isolated, and unique.
The theorist and philosopher Christopher Lasch covered this decades ago, in his groundbreaking work The Culture of Narcissism. He addressed what he saw as a tendency to go inwards: faced by a souring political climate, Lasch argued Americans had traded a hope for big change, with a fixation on smaller, more intimate and cosmetic shifts.
It is no surprise then that, though arguments around the ethics of storytelling have been waging for decades, they have been given new poignancy by the frequency of creative projects that fixate on only one life, and the increasingly popular belief that we are alone, and lonely, and utterly unlike even those from our same cultural and class background.
The beauty of art is that it need never be blinkered in this way. I am not advocating for only one type of art, the cultural instead of the personal – and I don’t believe that Curtis or Lasch are either. That’s one way of falling into precisely the artistic stalemate we find ourselves in. It’s not hopping from one mode of storytelling to another, it’s mixing the two, providing a rich, mainstream creative palette.
In fact, the problem is a creative fixation, one that has begun to dominate swathes of cultural discourse and entertainment. A generation of storytellers have settled themselves into a rut, hashing the same old beats over and over, telling stories with the same foundational premise – we are not like each other. In turn, that means our questions about so much mainstream art are becoming repetitive, the discourses surrounding ‘Who Is The Bad Art Friend?’ and Pam & Tommy and Inventing Anna just familiar talking points shot weakly through with a desperate, failing dose of adrenaline.
The question, asked over and over again, is: “Who can tell my story?” But perhaps we should ask why we even consider it “my” story in the first place.
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Joseph Earp is a poet, journalist and philosophy student. He is currently undertaking his PhD at the University of Sydney, studying the work of David Hume.
Beyond consent: The ambiguity surrounding sex

Beyond consent: The ambiguity surrounding sex
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BY Eleanor Gordon Smith 24 JUN 2022
In April 2021, partly in response to a series of high-profile sexual assault allegations, the Commonwealth government funded a set of educational videos about sexual consent. Safe to say, they did not do the job.
There was the infamous milkshake video, in which a girl smears ice cream on her partner’s face with a devious grin; one in which a taco is distinguished from a person by the fact that a taco cannot have preferences, and one set at a swimming pool, in which the desire to go for a swim is compared to the desire (or not) to have sex. The videos were condemned in ringing terms by educators and activists – they were “problematic”, an insult to students’ intelligence, or too flippant for the gravity of the subject.
Anyone who has sat through workplace or educational training about harassment and sexual boundaries knows what a difficult feat these videos had to pull off. It’s hard to talk about sex, because sex is not one thing – even between partners, much less across the population. This makes it hard, in turn, to talk about sexual ethics — there are many more ethical lenses available than the ethics of consent.
Sex ranges from the grave and the intimate to the flippant and the casual, from the depths of taboo to the frothiest of frivolities, from power and domination to play and healing, from authentic self-expression to pantomimed degradation. It is such a chimerical experience that it’s no wonder we struggle to talk about its morality in clear and unambiguous terms. No wonder our sexual ethics education materials can fall into a kind of “uncanny valley” – videos depicting wooden interactions between characters who at once are blithely unaware of sexual norms and calmly receptive to learning them, or oddly literal exchanges that feel like they’re discussing an experience almost, but not quite, entirely unlike sex.
How can sex be so operatic and so stone quotidian, so universal and so private, so dangerous and so familiar?
Why, when our sexual experiences are so many and so varied, do we hope that an ethics of consent will be able to accommodate them all?
If we wanted a more holistic approach to sexual ethics and education, which moral frameworks would we turn to?
Time was, if you wanted an ethics of sex, the psychoanalysts were the place to turn. Freudian analyses of desire located it squarely in the individual and the underbelly of their consciousness. Desire was seldom understood as something about which one could ask the questions of justice – Is it fair? Who deserves it? – or as a candidate for political analysis. But beginning in the 20th Century, a feminist perspective rejected this picture. Feminist philosophers and legal scholars like Catherine MacKinnon and Andrea Dworkin argued that desire was both an expression of and a means of enforcing the prevailing hierarchies of power. In Mackinnon’s “Pleasure Under Patriarchy”, she quotes poet Adrienne Rich’s Dialogues: “I do not know who I was when I did those things, or whether I willed to feel what I had read about”.
Once the questions of justice had been asked around sex – once it was pointed out that power and hierarchy do not stop at the door to the home or the bedroom – there emerged uneasy questions about how sexual unfairness could create demands of sexual fairness: for instance, does anyone have a right to sex? (This question has been explored by Oxford Professor Amia Srinivisan at length). Or can a person have a moral complaint when over and over again, they are rejected for sex; unable – through the aggregation of other people’s choices – to access an experience that everyone else says is one of life’s central joys?
Sexual desire has long discriminated along racial and disability lines – as Srinivasan notes, Asian men on dating apps or disabled people are frequently told to their faces that they are instantly rejected as prospective sexual partners because I would never sleep with someone like you. How can we make sense of the utter rigidity of the rule that nobody should have sex with anyone they don’t want to – alongside the possibility that those choices en masse enact a prejudice that each of us might individually deny? One more mystery for the ethics of sex; for the challenge of bringing justice to something as fraught as desire. As Srinivasan so memorably writes: “There is nothing else so riven with politics and yet so inviolably personal.”
In this morass of ethical grey, the concept of consent seemed to promise some black-and-white. We might not know the full list of our sexual rights, but an ethics of consent at least clearly names the sexual wrongs. The centrality of consent to sexual ethics is in fact a relatively recent development; the concept gained traction in the 1980s, at roughly the same time as the autonomous individual became the main character of political analysis. It was not long before then that “informed consent” was still a foreign notion in healthcare ethics, and that rape of a sex worker was often understood not as a violation of consent, but as theft of services.
Perhaps consent education reaches for simple metaphors like milkshakes, tacos, or cups of tea because an ethics of consent is simple – so simple we can say it in the familiar truism: “No means no”. But the trouble with centering consent in our sexual ethics is that it risks confusing ‘not-capital-B-Bad’ with ‘good’. Plenty of consensual sex is also cruel, harmful, selfish, painful, alienating, or subordinating.
Consensual sex is not necessarily ethical, nor even necessarily good. By treating non-consensual sex as the primary case about which to do sexual ethics – the jumping off point for our analysis and education – we risk introducing young people to sexual morality primarily through the category of wrong and how to avoid it, instead of through the lens of sexual joy and how to share it. Sex can be a way to connect with one another, to know, to be vulnerable, to give, to reveal, to trust – the intelligibility of aspiring to sex like this can be lost when the highest aspiration of our sexual ethics is “getting consent”.
By treating non-consensual sex as the primary case about which to do sexual ethics – the jumping off point for our analysis and education – we risk introducing young people to sexual morality primarily through the category of wrong and how to avoid it, instead of through the lens of sexual joy and how to share it.
One of the central tasks of an ethical life is to distinguish between the realm of duty – what can be demanded of us, and the realm of benevolence, what we can freely give, and to realise that the person who thinks only about their duties is in some ways a moral miser. An ethics of sex which prioritises duty by emphasising consent and permission can accidentally obscure the possibility of an ethics of benevolence – one which would not stop after asking what we owe to one another, but would carry on, asking how we might help them flourish.
To live an ethical life is more than avoiding wrong – how strange it would be to forget that in our most vivid encounters with others.
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