Corruption in sport: From the playing field to the field of ethics
Play fair or play to win. The interests of an individual player versus the team. Bad leaders who get good results.
These are just some of the common ethical tensions occurring throughout elite Australian sport. And they lead to corruption.
The Ethics Centre undertook two high profile reviews of sporting organisations over the past 18 months, the Australian Olympic Committee (AOC) and Cricket Australia (CA).
Australian Olympic Committee
Our AOC review explored the comparison between sportsmanship and gamesmanship. Sportsmanship is the fair, honest and decent treatment of others in competition. Gamesmanship, on the other hand, is built on the principle that winning is everything. Athletes and coaches are encouraged to plot, ploy and bend the rules wherever possible in order to gain a competitive advantage over opponents.
Bridging the two approaches was problematic. It culminated in disenchantment, frustration and an organisational culture within AOC that neither represented the best of sport or organisational administration.
The Ethics Centre delivered a warts-and-all report with 17 recommendations, all of which were accepted.
Recent discussions with AOC reveal a major shift in the culture of the organisation over the last 12 months, under the leadership of CEO Matt Carroll and the head of people and culture, Amie Wallis. AOC staff need to be congratulated for their achievements.
Ball tampering and Cricket Australia
The other engagement was with Cricket Australia – a culture and governance review in response to the ball tampering incident in South Africa in March 2018, something that was clearly against the rules.
Initial attempts by players to conceal what they were doing was testament to this, but it wasn’t as clean cut as that. The incident seemed to represent an attack on something sacred to Australians. Many fans reacted as if they were personally afflicted.
Our subsequent interviews and surveys with CA staff, players, officials, sponsors and members of the public often explored the difference between sportsmanship and gamesmanship.
Comparisons were drawn between ball tampering, sledging and the underarm bowling incident in 1981 during a One Day International cricket match between Australia and New Zealand.
Sporting HR executives
We recently had the good fortunate of being invited to a discussion about such issues with a group of HR executives, representing some of the major professional sporting organisations in Australia, from Horse Racing to Rugby, organised by Mercer Australia.
We put to them the observation that when there is fraud in government, the actions are often labelled corruption, as they signify a greater social betrayal than a breach of the law. Fraud in the private sector doesn’t attract the same moral outrage and avoids the label of corruption. But there is one exception. Sport also uses the word corruption to describe fraudulent behaviour. We asked why.
The group started with the suggestion people take sport personally, as we all feel part of it and like we own it. We play it to pursue the best in us, we barrack for our team, our kids play it, and we use it as a tool to teach our children about values and what is important in life. We feel obliged to have an opinion about it, perhaps as Australians.
This is probably why people feel fraud in sport is a moral issue that goes beyond compliance with the law, a social ‘evil’ that the word ‘corruption’ better conveys. There was also the feeling that corruption is used because it reveals the interconnected network that comes with fraud in sport.
When asked about the dilemmas in sport more broadly, many spoke about the challenge players experience balancing their need to win and earn income, with their long-term wellbeing. Players often hide injuries to avoid being dropped from teams. These injuries are often physical, and sometimes mental. The period where an athlete is most successful financially is narrow. This creates pressure to sacrifice long-term health.
As HR professionals they also spoke of their dilemmas, when they need to balance advocacy for the individual player with the best interests of the company or business side of the sport. They spoke of this also in relation to the management of the team, when the coach feels the need to let someone play because their family is present, even though it may not be in the best interest of a win.
They spoke about how officials can overlook bad leadership when the characters themselves raise the winning morale of teams. Some spoke about the challenges of being considerate of a person’s background, but also being clear that it did not excuse bad behaviour such as sexual harassment.
We see related dilemmas in other sectors currently under the public spotlight. It is accepted that the unique relationship between sport and ethics has been neglected by philosophers.
There may be much to be learned by our experience of sport, and how its values are brought to the wider theatre of life. These discussions help us reach a better understanding about these relationships.
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BY David Burfoot
David has worked in the not-for-profit, public and private sectors domestically and internationally for organisations as diverse as the United Nations Development Program, Deloitte, the NSW Independent Commission Against Corruption and Sydney University. He has been an anti-corruption specialist with a number of government agencies and held senior positions responsible for corporate planning, change and internal communications.
Film Review: If Beale Street Could Talk
James Baldwin was one of the great American writers of the twentieth century.
His elegant, articulate and keenly perceptive work bore witness to the hostile, day-to-day realities in which African Americans lived, and the psychological implications of racism for society as a whole.
His fifth novel, If Beale Street Could Talk, is no exception. Forty-four years after it was published, Moonlight director Barry Jenkins has adapted it for the screen.
A different type of love story
A hypnotic, visually sumptuous and intimate love story, Beale Street has little of the structure of a traditional romance. The film begins, for instance, with the generic arc of courtship already complete. We first see the two young protagonists – Tish Rivers and her boyfriend Alfonzo ‘Fonny’ Hunt – walking slowly together in a park, their affections clear and perfectly mirrored. Growing up as childhood friends in the Bronx, there was never a time they did not love each other.
The story instead bears testimony to the resilience of love, and the strength it endows those who have faith in it. Here, we witness its many forms arrayed against a vast, malicious and coldly impersonal system which is rigged to destroy black lives and fracture the most precious of bonds.
Barely a minute into screen time, the plot throws Fonny (Stephan James) behind a glass wall. He’s in jail after being accused of rape. To his accuser and certainly the police, his innocence is irrelevant. As a black man, his identity in the white cultural imagination is as a violent savage – he was always-already condemned, regardless of his actions. It is through this transparent barrier that Tish (KiKi Layne) tells him that she is carrying his child.
When the past and present merge
Following this revelation, the story diverges in two interweaving streams of past and present. One, filled with hope and secret joys, sees the young couple come to understand each other as man and woman, while nursing dreams of a future together. In the second narrative, hope is not a simple impulse but an inviolable duty, as their baby swells in Tish’s womb, Fonny’s case stagnates and despair threatens. Each scene is freighted with the viewer’s knowledge that the lovers’ destiny is not their own.
Tish’s tale
This second narrative is also very much Tish’s story, and shifts its focus to a different kind of love. Beale Street is most affecting in its portrait of the Rivers family, who support Tish wholly and will do whatever they must to fight for her and the new life within her. Regina King won a Golden Globe for her portrayal of Tish’s mother Sharon, who embodies a fierce, calm and indominable maternal courage. Her father Joseph (played with a rich, growling warmth by Colman Domingo) and older sister Ernestine (Teyonah Parris) readily take on the role of advocate and defender.
Their unity has its foil in Fonny’s family, the Hunts, who refuse to partake in any struggle they did not ask for. Headed by a spiteful and Godfearing mother, who curses her unborn grandchild and rationalises prison as a place in which Fonny can find the Lord, theirs is a pride born of self-serving weakness. The Rivers’ contrasting pride is one born of unassailable dignity and a determination to act, in spite of the odds arrayed against them.
“What do you think is going to happen?” asks Mr Hunt when Joseph lays out a plan for them to steal from their workplaces to help their children.
“What we make happen.”
“Easy to say,” Hunt protests.
“Not if you mean it,” Joseph levelly responds.
Emotional explotation
Through these characters, Beale Street puts forward the case for love as the single most steadfast bastion against the dehumanising machine of systemic oppression. Those characters without this vital force are vulnerable to emotional exploitation – betraying family and friends to protect themselves. Hunt’s mother sacrifices her son rather than align herself with his fate.
Fonny’s old friend Daniel also deserts him when his words could have saved him, his integrity broken by the terror of returning to a prison that broke him. And Fonny’s accuser is so traumatised, she is locked in a prison of her own pain, insensible and insensitive the suffering of others.
None of these individuals are free. Living in a constant wash of fear without refuge or reprieve has deprived them of their integrity, transforming them into actively complicit agents in the perpetuation of a racist structure. This, Baldwin’s story reveals, is perhaps the most wretched and insidiously effective mechanism of tyranny.
Racial tensions
Daniel is sure that white man is the devil. But Beale Street itself doesn’t espouse this view. At crucial junctures, white allies take risks to intercede against social, economic, police and court racial injustice. A Jewish real estate agent grants the lovers a path to an affordable home. An old storekeeper stands up to a reptilian policeman. And Fonny’s lawyer is a ‘white boy just out of college’.
At two hours, the film is languid and poetic, with gorgeous cinematography by James Laxton. The deliberate slow pacing and the use of frequent close-ups demands of the viewer they recognise the central (and very beautiful) characters as subjects. In a culture which frequently effaces black bodies, fetishises them, or arbitrarily fashions them into villains, these images are quietly radical. The film plays out between the steady gaze of the two lovers, and plays within the gaze of an audience that can’t look away.
Quietly significant too, is the film’s inclusion of moments which are superfluous to the plot, but vital to the immersive legacy of Beale Street. One, impossible to forget: Tish’s parents swaying before a jazz record in the family loungeroom, holding each other close, smiling in the new knowledge of themselves as grandparents to be.
Final thoughts
Opening in Australia on Valentine’s Day, Jenkins’ film is a tender dream of two lovers trapped in a too-real nightmare. It is not difficult to remember that this nightmare still torments the freedoms of racial minorities in America, ‘the land of the free’, and other nations too – whether they characterise themselves as progressive democracies or not.
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BY The Ethics Centre
The Ethics Centre is a not-for-profit organisation developing innovative programs, services and experiences, designed to bring ethics to the centre of professional and personal life.
Banking royal commission: The world of loopholes has ended
Following the release of Commissioner Hayne’s royal commission final report on the banking and financial services sector, our Executive Director shares his take on the findings for the Australian Financial Review.
The Final Report of the Hayne Royal Commission is both unsparing and inspired.
Mr Hayne casts a wide net in his analysis of what went wrong in Australia’s banking and finance industry. However, there is one group on whom he pins ultimate accountability; the boards and senior executives of the entities whom he found to be at fault, “Nothing that is said in this Report should be understood as diminishing that responsibility. Everything that is said in this Report is to be understood in the light of that one undeniable fact …”
That is the unsparing part of the Report.
Kenneth Hayne is inspired in his injunction to all Australian business that it must apply some underlying principles, “These norms of conduct are fundamental precepts. Each is well-established, widely accepted, and easily understood.”
- Obey the law;
- Do not mislead or deceive;
- Act fairly;
- Provide services that are fit for purpose;
- Deliver services with reasonable care and skill; and
- When acting for another, act in the best interests of that other.
A dominant theme in Mr Hayne’s final report is that it is time to eliminate the law’s own exceptions to these principles – a series of ‘loopholes’ – often the product of political convenience – that allow the underlying principles to be violated by those with the wit, means and licence to do so.
There is a subtle quality to Mr Hayne’s arguments on this point. At no time does he suggest that ethical commitments should be elevated above compliance with the law. Indeed, he is clear that he opposes that approach. However, he makes it clear that the Law must conform with ethics – in the form of ‘underlying principle’.
The implications of this for the targets of his harshest criticism – boards and senior executives – are profound. For too long, it has been possible to ease through a loophole and take comfort from the fact that questionable (and profitable) conduct was ‘strictly legal’. That approach has cost us all dearly.
The fact that a loophole was available to be exploited does not mean that it should have been. The capacity to exercise ethical restraint (not to do everything that is possible) was always latent within the ranks of boards and senior management.
To be fair, we should acknowledge that boards and senior management have often exercised that capacity. We will never know (and credit will never be given) for the many cases of good judgement that have prevailed. Unfortunately, in the current environment, a multitude of good decisions counts for little when compared to the relatively few, but emblematic, cases of ethical failure – some of which may also have been unlawful.
Ethical failure occurs when core purposes, values and principles are betrayed. On some occasions this is done in a knowing and deliberate manner. More often, the cause is a failure of culture and governance (both intimately linked) that leads an organisation to ‘sleep walk’ into an ethical ‘death pit’.
Recognising this, Commissioner Hayne recommends that:
All financial services entities should, as often as reasonably possible, take proper steps to:
- Assess the entity’s culture and its governance
- Identify any problems with that culture and governance
- Deal with those problems, and
- Determine whether the changes it has made have been effective
In doing so, Hayne supports and extends the approach already adopted by APRA and ASIC by looking beyond ‘risk culture’ to evaluate the whole.
The Ethics Centre is a pioneer in the development and application of world-class tools for undertaking precisely the kind of evaluation being recommended by Hayne. This approach should not be limited to banking and financial services. It is essential for all organisations – whether in the private or public sectors.
The trouble is that boards and senior managers are often deeply reluctant to look into a well-polished mirror that reveals the truth about their organisation. Instead, they look to those who offer a ‘magic mirror’ that always reflects the comforting myth that you are the ‘fairest of them all’. It takes a certain kind of moral courage to ask for the truth. Perhaps Kenneth Hayne has strengthened the sinews of corporate Australia.
We will see!
Australia was one of the first countries to develop an ethical framework for banking and finance. The Banking + Finance Oath was created in the aftermath of the global financial crisis – at a time when all seemed to be relatively rosy on the domestic front.
The great disappointment was that so few people took up the opportunity to commit to the ‘underlying principles’ on which the BFO is based. Perhaps too many people saw that reality fell too short of the ideal.
If ever there was a time to make something better, it is now. In the wake of the Hayne royal commission, it is time for the ethical majority, working within banking and finance, to step up. Whatever your role or seniority – it’s time to own what is noble in the aims of banking and finance and to give life to its ideals.
Embrace underlying principle, measure and achieve alignment, exercise ethical restraint, regain trust. Do so in the expectation of profit and to earn that most elusive of rewards: a good name.
That is the opportunity that lies latent in the recommendations of the Hayne Report.
Dr Simon Longstaff is executive director of The Ethics Centre
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BY Simon Longstaff
After studying law in Sydney and teaching in Tasmania, Simon pursued postgraduate studies in philosophy as a Member of Magdalene College, Cambridge. In 1991, Simon commenced his work as the first Executive Director of The Ethics Centre. In 2013, he was made an officer of the Order of Australia (AO) for “distinguished service to the community through the promotion of ethical standards in governance and business, to improving corporate responsibility, and to philosophy.”
Ethics Explainer: Aesthetics
Aesthetics is the philosophical study of art. If you think about what is enjoyable, or valuable about artworks, and why art is important, then you are considering issues to do with aesthetics.
The study of aesthetics is tricky because there are so many different kinds of artworks and it is difficult to think about what they have in common or how they should be categorised or judged. A seminal question in the field of aesthetics is ‘what is art?’ – how ought art be defined? And this question alone has various answers depending on which theory is being applied.
Art defined.
Art includes sculpture, painting, plays, films, novels, dance and music. And it isn’t always clear what the category of art excludes – in large part because artists are always pushing boundaries. The creative nature of art sees works or objects being considered as ‘Art’ that provoke shock, outrage, censorship or exclamations of ‘That’s not Art!’.
Just think about the first time Marcel Duchamp tried to display an artwork called ‘Fountain’ in 1917. The urinal, a ‘found object’ was signed by the artist ‘R. Mutt, 1917’, and caused a riot of disagreement as to whether art must be created or made with one’s own hands or whether it can be intentionally chosen and displayed.
Is it the creation or the reception of the artwork that matters the most?
Who decides whether something is a work of art? Is it ‘the artworld’ of experts and critics? Is it the artist? Or is it the viewer? Many viewers may not understand what they are seeing or may not truly appreciate the skill involved in creating a particular artwork.
For instance, the first time one looks at a Rothko painting, which may appear as a blank canvas painted with a couple of coloured squares, a viewer may think, ‘I could have painted that!’ It is only with an understanding of Rothko’s technique that one may start to appreciate the effort he put in to create it.
And even if we appreciate the skill and effort an artist exerts, we may or may not feel any particular ‘aesthetic experience’ when looking at a piece of abstract or contemporary art, while watching an opera, or while reading a novel by Dostoevsky.
An individual perspective
One’s experience of art is subjective as individual tastes differ. And yet, if we are to claim that some artworks are better than others, or explain why some artworks stand the test of time and are valued by generations, we need to refer to some standards by which to judge them. Are there any features artworks must have to be considered as art? Should artworks be beautiful? Do they need to be moral? And who decides whether or not they meet this criteria?
Despite the historical interference by political and religious leaders who worry about the influence art may have in a society, debates as to what constitutes good art, aesthetically and even morally, has been a matter for debate for aestheticians.
Sometimes it takes time for something to be considered art, let alone to be considered aesthetically valuable. Think about Banksy’s graffiti art. It has been the case that unsuspecting council workers have removed graffiti from the side of a building only to later discover they have inadvertently eliminated a valuable artwork. And yet, not all graffiti is considered art or deemed valuable.
In fact, the opposite is true!
What makes Banksy an exception?
Definitions of art have changed over time. Traditional views of art usually cited ‘beauty’ as an important feature of artworks, but that has since altered. Indeed, is one meant to find the displayed urinal ‘beautiful’? An artwork need not be beautiful to be skilfully executed, meaningful and valuable.
The value of art in society
The defenders of art and its unique role in society usually claim art should be valued for its own sake. Aesthetic value is not to be valued instrumentally, for its financial value or for its status, or even for what we can learn from it or because it is deemed morally ‘good’. It may do any and/or all of these things, or none! Art is valuable because it affords an aesthetic experience.
In its creation and reception, as a form of self expression, imaginative engagement, cognitive as well as affective experience, source of individual and social reflection and contemplation, art has always been central to human life. If it is true that the arts capture and express something unique, and aesthetic experience is intrinsically valuable, then we should consider the place for the arts in society and support and value artists for the important contribution they make.
Dr Laura D’Olimpio is a senior lecturer in philosophy of education at the University of Birmingham, UK.
BY Dr Laura D’Olimpio
Dr Laura D’Olimpio is senior lecturer in philosophy of education at the University of Birmingham, UK, and co-edits the Journal of Philosophy in Schools.
BY ethics
Ethics programs work in practise
New research released today reveals that organisations with clear ethics programs are more likely to be seen as responsible in their business practises by their employees.
The new survey, undertaken by The Institute of Business Ethics (IBE) in partnership with our team at The Ethics Centre (TEC) found that the majority of Australian employees are aware that their organisations have each of the building blocks of an ethics program; a code of ethics, training, and a ‘speak up’ line.
“Ethics at Work” was launched to The Ethics Alliance members this morning through an intimate panel discussion that explored the implications of the findings, featuring Philippa Foster Back of IBE, John Neil and Cris Parker of TEC and Jill Reich of Uniting.
The survey reveals that awareness of ethics programs positively impact how employees feel their company deals with stakeholders. Those with an ethics program are significantly more likely to feel that their organisation acts responsibly in business dealings, at 84 percent. This compares to less than half of those without an ethics program (49 percent). There was one counter-intuitive result where 42 percent agreed their line manager rewards employees who get good results even if it’s through questionable practises.
We’ve spent the last 30 years working with individual organisations to establish ethical frameworks, and worked with many major organisations in recovery from ethical failure. The impact of clear lived values and principles at all levels of an organisation is tremendous, and instrumental to a positive, supportive culture.
The survey also illuminated the role managers play in upholding behaviours within the workplace. Managers were more likely than non-managers to view their organisation positively, both in engagement with stakeholders (77 percent vs 71 percent), and in application of social policy (75 percent vs 67 percent).
It further identifies pressures felt and attitudes toward management positions:
- Managers are more likely to feel pressure to compromise their ethical standards than those not in a management position (by nine percent)
- They were also much more likely to have lenient views toward charging personal entertainment as expenses and using company petrol for mileage
- Employees who have felt pressure to compromise their ethical standards were also more likely to feel their manager failed to promote/reward ethical behaviour (43 percent).
At an employee level, almost one in four reported awareness of misconduct in the workplace, yet worryingly only one in three of those workers decided to speak up.
Of those who have experienced misconduct at work, the most common types were bullying and harassment (41 percent), inappropriate or unethical treatment of people (39 percent) and misreporting of working hours (32 percent).
In addition, more than one in ten (13 percent) have felt pressured to compromise their ethical standards in the workplace.
The Ethics Centre, and our membership program The Ethics Alliance are committed to raising the ethical standards of business in Australia. To find out more about our work visit www.ethics.org.au
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'Vice' movie is a wake up call for democracy
America has sold a unique brand of exceptionalism.
Some say no modern nation surpasses its military, economic, scientific and cultural prowess. Prominent Americans revere their country as an “empire of liberty”, a “shining city on a hill”, the “last best hope on Earth,” and the “leader of the free world”.
These enduring paeans are an apparent result of America’s political philosophy. By privileging individual freedom for every citizen, the American finds themselves in a unique position all of the time: whenever they choose to do something, they exercise a political right.
This choice has come to be sacred. Vice is about the lengths a self-proclaimed patriot will go to protect it.
When director Adam McKay’s film The Big Short earned him an Oscar for screenwriting, audiences discovered the former SNL comic’s hidden skill – turning concepts that usually made people feel bored or stupid, engaging and funny.
It’s our luck that after the tenth anniversary of 2008 financial crisis, and one month after George H. W. Bush’s funeral, his next target of irreverence would be the shadowy figure of Dick Cheney.
Far from a hagiography, Vice – carried seamlessly by an unrecognisable lead in Christian Bale and a cuttingly ambitious Amy Adams as his wife Lynne – seems an unambiguous condemnation of the Bush-Cheney administration, an ancestor of today’s American right.
This is no typical biopic.
There are no sweeping landscapes and sombre confessionals in red-curtained studios, nor any attempt to feign journalistic objectivity. No off-screen interviewer neatly ties the narrative together and the fourth wall is broken in the first ten minutes.
Absurdity, characters addressing the viewer directly, and thick visual metaphors give Viceits unique personality (wait till you see the scene with the heart). McKay wants you to know he is speaking directly to you. This isn’t a squared off paragraph confined to history books. It is what shaped our present.
Make no mistake: just because it’s opinionated doesn’t mean it isn’t well researched. McKay told the New York Times that the movie encompassed “five decades of Cheney’s life, 200 locations and more than 150 speaking parts”. According to him, a more measured, less confrontational tone wouldn’t have suited the OTT political circus we live in now. “Why be subtle anymore?”
While a conservative backlash is to be expected, this Cheney is no bloodless monster. He’s human. An idealist. His tender love for his daughters and unquestioning devotion to his wife are the same qualities that bond him to the bawdy Donald Rumsfeld (Steve Carell), and the ranks of a post-Watergate GOP.
He’s a creature of a slower, sweeter time: honed by long scenes of fly-fishing and the vast plains of Wyoming. McKay contrasts this with the energetic, M&M crunching Bush, played by a chameleon-like Sam Rockwell.
Cheney watches and waits. And watches and waits. He leaves no trace. And he is in it for the long haul.
At its core, Vice is a story about democracy. It is a warning that the halls of power rarely grant wishes without demanding a sacrifice, and too often this sacrifice begins with stripping the humanity of the powerless. It is about the special accomplishment of the individual who advances into public life when retreating into privacy is the easiest and most natural thing to do.
It is an admission that envy, chronic discontent and loneliness are intrinsic to democracy, but that its expansive collectivism are how to combat it. It’s all of this, and a demand to keep paying attention.
In his letters, Alexis de Tocqueville speaks of his ambition “to point out if possible to men what to do to escape tyranny and debasement in becoming democratic.”
Philosopher Alexandre Lefebvre offers the following:
“He [Tocqueville] seems to say that tyranny and debasement are part and parcel of becoming democratic. But… [it] works the other way around as well: that in becoming democratic – that is, in becoming properly democratic, democratic in the right way – we can hope to escape the new kinds of tyranny and debasement that democracy brings about…
For as Tocqueville exhorts himself in an unpublished note, we must “use Democracy to moderate Democracy. It is the only path open to salvation to us.”
McKay, and Cheney, would agree.
Vice is released in movie theatres 26 December 2018.
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BY Aisyah Shah Idil
Aisyah Shah Idil is a writer with a background in experimental poetry. After completing an undergraduate degree in cultural studies, she travelled overseas to study human rights and theology. A former producer at The Ethics Centre, Aisyah is currently a digital content producer with the LMA.
The Ethics Centre: A look back on the highlights of 2018
Sometimes, good people do bad things. The last year confirmed this. Banks, schools, universities, the military, religious institutions – it seems 2018 left no sector unshaken.
These are the sorts of issues we confront every day at The Ethics Centre. In our reviews and confidential advice we have seen similar patterns repeat over and over again.
Yes, bad apples may exist, but we find ethical issues arise from bad cultures. And even our most trusted institutions, perhaps unwittingly, foster bad behaviour.
That’s why we have an important job. With your support we help society understand why ethical failures happen and provide safeguards lest they repeat.
As The Ethics Centre approaches its 30th birthday, we’d love to say we’re no longer needed. We hoped to bring ethics to the centre of everyday life and think we’ve made a small dent into that task. But there’s no point pretending there’s not a long way to go.
We thank you for supporting us and believing in us and are proud to share the highlights of another busy year with you.
If you’re short on time to read the full report now (and we’d really love you to take a look some time at what a small organisation like ours can achieve), here are seven highlights we’re particularly proud of:
• We launched The Ethics Alliance. A community of organisations unified by the desire to lead, inspire and shape the future of how we do business. In one year, 37 companies have benefited from the innovative tools that help staff at all levels make better decisions.
• We published a paper on public trust and the legitimacy of our institutions. Our conversations with regulators, investors, business leaders and community groups, revealed a sharp decline in the trust of our major institutions. We identify the agenda they need to in order to maintain public trust and contribute meaningfully to the common good.
• We ramped up Ethi-call. Calls to our free, independent, national helpline increased by 74 per cent this year. That’s even more people to benefit from impartial, private guidance from our highly trained ethical counsellors.
• We reviewed the culture of Australian cricket. When the ball-tampering scandal hit the world stage, Cricket Australia asked us to investigate. We uncovered a culture of ambition, arrogance, and control, where “winning at all costs” indicted administrators and players alike.
•We released a guide to designing ethical tech. Technology is transforming the way we experience reality. The need to make sure we don’t sacrifice ethics for growth is more pressing than ever. We propose eight principles to guide the development of all new technologies before they hit the market. You can download it here.
•We redesigned the Festival of Dangerous Ideas. FODI was created to facilitate courageous public conversation. The Ethics Centre and UNSW’s Centre for Ideas collaborated to untether the festival and produce a bold and necessary world-class cultural event. Every session sold out.
• We grew our tenth year of IQ2. We doubled the number of live attendees and tripled the student base showing audiences are more intelligent and hungry for diverse ideas than they are often given credit for. We welcomed a new sponsor Australian Ethical whose values align with our own. There’s never been a better time to support smart, civic, public debate.
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The Ethics Centre is a not-for-profit organisation developing innovative programs, services and experiences, designed to bring ethics to the centre of professional and personal life.
5 Movies that creepily foretold today’s greatest ethical dilemmas
Climate change. Nuclear war. Artificial intelligence. A new pandemic.
According to the non-profit organisation 80,000 Hours, these are the greatest threats to humanity today. Yet the big movie studios have been calling it for decades and were pondering the ethics behind these threats long ago.
1. Planet of the Apes (1968)
Seeing Charlie Heston scream in despair at a shattered Statue of Liberty still spooks the most apathetic viewer. And it’s as shocking a warning against nuclear weapons now as it was in the middle of the Cold War 50 years ago.
In Planet of the Apes, humans are being hunted. The primates they once experimented on have grown into intelligent, complex, political creatures. Humanity has regressed into primitive vermin to either be killed outright, enslaved, or used in scientific experiments. The strict ape hierarchy demands utility over compassion, holding a mirror up to the same vices that led humanity to destruction.
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2. 2001: A Space Odyssey (1968)
When a survey of living computer science researchers shows half think there’s a greater than 50 percent chance of “high-level machine intelligence” – one that reaches then exceeds human capabilities – it’s right to be concerned.
2001: A Space Odyssey begins with a jaunty trip to Jupiter. An optimistic team is led aboard by HAL 9000, the ship’s computer, but begin to suspect there’s more to the trip than they’ve been told.
After all, there are two sides to the utilitarian coin. What is murder to us is just programming to a robot.
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3. The Matrix (1999)
If reality is a simulation by super intelligent sentient machines, what does any self-respecting hacker do? Start a rebellion.
The Matrix goes even further than 2001: A Space Odyssey. Here, the machines are Descartes’ evil demon, unsatisfied with just killing us. Instead, they mine us for energy to survive, and keep us subservient on a diet of virtual reality. A world of love, work, boring parties, and paying bills occupy us while they use us as slaves.
The point of tension in The Matrix centres around the theory of Plato’s Cave. If you know what everyone is experiencing is an illusion, should you tell them?
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4. 28 Days Later (2002)
28 Days Later paints a bleak picture of a world unprepared to deal with the effects of an aggressive pandemic. And it’s not as unbelievable as it may seem. According to 80,000 Hours, the money invested into pandemic research isn’t nearly as much as we need.
From HIV-AIDS, Ebola, and Zika, we’ve seen countries drag their feet over who pays to contain one, or struggle to move people and supplies to where they’re needed.
“When you’re in the middle of a crisis and you have to ask for money”, says Dr. Beth Cameron at the Nuclear Threat Initiative, “you’re already too late”.
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5. Children of Men (2006)
What is arguably more important than any of these things is hope. And that’s what our last movie recommendation is about.
After two decades of unexplained female infertility, war, and anarchy, human civilisation is on the brink of collapse. Civil servant Theo Faron has lost all hope as the last generation of his species. Then he meets Kee – an illegal immigrant and the first woman to be pregnant in eighteen years.
The hope for a better future, for a future that is more just and more compassionate, adds intangible meaning to our struggles today. It becomes reasonable to struggle, to suffer, and even to die for this kind of hope.
What makes the hope of today different is that we are now closer to “hypotheticals” than we have ever been.
Are we prepared to turn this hope into action? Effective altruism offers one way to find out.
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BY Aisyah Shah Idil
Aisyah Shah Idil is a writer with a background in experimental poetry. After completing an undergraduate degree in cultural studies, she travelled overseas to study human rights and theology. A former producer at The Ethics Centre, Aisyah is currently a digital content producer with the LMA.
In Review: The Festival of Dangerous Ideas 2018
Being tied in a knot of lies, the danger of scepticism, micro-dosing LSD and dismantling bi-partisan politics were just some of the themes threaded throughout this year’s Festival of Dangerous Ideas.
Thousands crossed the threshold into the Festival’s new home on Cockatoo Island. Two days, 31 sessions, and 45 speakers later, they left with a feast of ideas and new perspectives.
For the first time, the island’s unique location and new full-day festival pass meant that you could delve deeper into FODI than ever before.
Caliphate host Rukmini Callimachi shared aching stories of violence and honour in ISIS camps; conservative historian Niall Ferguson forced us all to rethink before we retweet; and pop-culture savant Chuck Klosterman had us empathising with the unlucky aliens who colonise us.
“Hard truths, fleshy realities, blunt edged disagreement and sharp new ideas – all mixed together with a throng of people in an iconic location that spoke alongside the artists and speakers. It was a brilliant amalgam, FODI at its best,” said Dr Simon Longstaff, co-founder, co-curator, and executive director of The Ethics Centre.
For the first time, the island’s unique location and new full-day festival pass format allowed FODI-goers to attend a number of the 31 sessions and delve deeper into different topics and viewpoints while enjoying talks and panels, art installations, ethics workshops and even a touch of cabaret!
Even the master-of-all-trades, Stephen Fry, couldn’t avoid the glamour. A standing ovation roared through Sydney’s Town Hall for his delivery of the inaugural keynote, The Hitch. In honour of his dear friend, the late Christopher Hitchens, Fry had the sold-out venue in oscillating between stitches of laugher and solemn agreement when he lamented the lost art of disagreement in an age of deepening extremes.
Thinkers from around the globe tackled issues of truth, trust and technological disruption, including Caliphate podcast host and New York Times ISIS foreign correspondent Rukmini Callimachi, British conservative commentator Niall Ferguson, AI man-of-the-moment Professor Toby Walsh, and pop-culture savant Chuck Klosterman.
The sold out festival drew crowds of over 16,500 seats across the weekend, with #FODI trending across social media channels all weekend.
The Centre is enormously proud of this festival which we started a decade ago to provide a space to talk about the issues that divide and baffle us without tearing tearing ourselves and each other apart. And we’re thrilled it’s been a continued success in 2018 with a fantastic new partner, The University of New South Wales Centre for Ideas, and a fitting new home.
If you weren’t able to join us, many of our sessions were recorded and we’ll be releasing them over the coming weeks and months.
We’ll keep you posted in our enews or follow us on Facebook, Twitter, Instagram and LinkedIn for more release updates.
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BY The Ethics Centre
The Ethics Centre is a not-for-profit organisation developing innovative programs, services and experiences, designed to bring ethics to the centre of professional and personal life.
Inside The Mind Of FODI Festival Director Danielle Harvey
We sat down with Festival of Dangerous Ideas 2018 festival director Danielle Harvey to take peak into the inspirations, motivations and challenges behind creating one of the most confronting and thought-provoking events in Australia.
1. It’s been said FODI was Australia’s first disruptive festival. What is it about the festival that resonates so strongly with audiences?
People want more than a headline. They want to hear more in depth analysis and a range of perspectives. To hear straight from the academics, scientists, researchers and not have it filtered, distorted. A live festival doesn’t get more direct.
2. There are so many different ideas, themes and perspectives out there that matter. How do you narrow it down to land this year’s line up?
A lot of vigorous discussion! Myself and the co-curators are always looking at the next thing that’s going to hit, we’ve been very good at looking at the horizon in past festivals, discussing things like Russia, surrogacy and banking all before a scandal breaks.
We also look to the superstars of the non-fiction world, the academics and researchers doing great work and are great communicators. And we look for a multitude of perspectives, beyond politics. A discussion that involves people from across disciplines, experts in their field that bring to light a focus on a particular aspect and when combined help to show the complex nature of many of our biggest ideas and problems.
3. The festival has been going strong for 9 years now. What gets easier, what doesn’t?
This is my 7th FODI. I feel very lucky to have been able to grow my own understanding of the world in a very public way! The easier and harder is the same – finding great people.
Easier because people around the world know about this festival and we have great alumni and reputation, harder because we’ve presented so many amazing people and so many ideas… I look forward to next year… 10 feels like a good ‘best of’ opportunity!
4. What does it take to be a great festival director?
Curiosity about the world. I’ve curated and created a number of festivals – FODI, Antidote, All About Women, BingeFest and Mardi Gras and they always start about thinking about audiences and what they should be able to see/hear/experience. I am insatiably curious and I love finding connections between things.
5. What’s it like to produce a festival like FODI? What does a typical day look like for you?
Talking. Talking. Appreciating the amazing team around me. (I have the best people who do so much). More talking. Noodling on the internet, reading, watching. Talking some more. (I talk to people from all different walks of life to hear what is interesting them).
6. What do you think sets the 2018 festival apart from recent years?
The island! The opportunity to fully immerse yourself in a program sans distractions. It’s all about the ideas and engaging with them deeply this year. The opportunity to include more large scale art and theatre has also made this a very different festival. We have the space and time to do these things on Cockatoo.
7. Why the move to Cockatoo Island and what are the challenges or surprises in setting up a festival in the middle of Sydney Harbour?
Everything has to be barged on! That’s the biggest challenge. It’s an amazing site, full of potential, but it is an island with no real infrastructure. The history of the place is incredibly evocative and any time we go there we are amazed at this little gem sitting on our doorstep. It’s a great place to let your mind and feet wander (and wonder)!
8. Finally, we have to ask. Which bit are you most to looking forward to? What are the must-see events?
That is tough, it will all be great! I am really looking forward to Chuck Klosterman, to Rukmini Callimachi and of course Stephen Fry! I think the ‘Too Dangerous’ panel will also be full of excellent take-aways.
I am also excited about the two art installations – ‘Submission’ and ‘The Hand That Wields It’ these installations are excellent opportunities to see ideas represented in a different way rather than via a talk.
Everything you need to know: The Festival Of Dangerous Ideas 2018
From sex robots to sex clowns, to tying yourself up in lies and rope, this year’s festival on 3 – 4 November takes you beyond the hype and deep into the issues that confront and divide us.
Embrace the festival experience on Cockatoo Island with one-day or full weekend passes. All passes include free return ferry transport.
Featured speakers include ex Westboro Baptist Church follower Megan Phelps-Roper, conservative historian Niall Ferguson; iconoclast Germaine Greer; rock star of AI Toby Walsh; micro-dosing advocate Ayelet Waldman; pop culture critic Chuck Klosterman; academic and activist Mick Dodson and so many more!
To crown FODI 2018, join Stephen Fry at a special event at Sydney Town Hall, where he will deliver an oration on the lost art of fabulous disagreement.
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