Philosophy in the public square

My night with Slavoj Žižek.

Thick with heat and windows dripping with condensation, the atmosphere in and overcrowded Café Oto was almost tangible as I walked around the packed floor of eager participants looking to prop myself up against a vacant wall space. I found one at the back of the room and waited for the night to begin.

I was there for a marathon evening based on the work of philosopher Slavoj Žižek, and his latest book Less Than Nothing.  A non-stop 24-hour (yes, you read that correctly) event that began with a seminar by Iain Hamilton Grant before a talk by Žižek himself was then turned over to the general public who in turns read from the author’s latest offering throughout the night and next day. Frazzled from a particularly trying week at work, I didn’t quite manage the whole 24 hours.

I couldn’t and I’m not going to attempt to summarise Žižek’s lecture – you can listen to it yourself below - but there was something about the persistent heckling during this talk that made me think, not about the heckle itself but about what was going on in the room. About the public engaging with philosophy. Even though the man’s complaints were drowned out against the far more numerous groans of Žižek supporters that greeted it, it made me contemplate the possible role philosophy could and should have in society.

There is a possibly apocryphal interpretation of Socrates that says he used to sit in the Athenian square debating with the general public about the subject of philosophy. That this practice, for him, in someway constituted doing philosophy. That philosophy should really be about debating with everyday people and bringing academic subjects to the public as opposed to a conception of the subject in which philosophers sit alone in universities and think about philosophical problems. Fast-forward over 2,000 years and this debate about whether academic subjects should prioritise public engagement or research is - with universities having to justify funding against the backdrop of education cuts - as current as ever.

The tension between working in an academic environment and engaging the general public in those subjects was something familiar to me from my time studying philosophy. Throughout my studies at a BA and MA level I often wondered, ironically perhaps, what was the point of my chosen subject. Why was I doing philosophy and did it serve any purpose or public good? Over the course of four years I went from believing I was doing something useful to believing I was not. The further up the academic ladder I went – with the increasing specialisation and alienation from the general public this requires - the less I felt the academic work I was doing was a valuable public service. Writing a dissertation on objections related to a probabilistic account of subjunctive conditionals (yes, again you read that correctly) was the point I realised my time in the subject was up.

The Saturday previous to the Žižek talk, I’d been at a similar event. This time though at Kensington’s Institut Français and the My Night with Philosophers event – a vast assortment of lectures and talks comprising the audiovisual, written, musical and theatrical that took place through the night. Having drunk enough wine and coffee to power me through the 12 hours I fell into a twitchy sleep haunted by words such as subjunctives, truth, beauty, reality and all manner of other philosophical concepts. Spurred on by the amount of conversations about Descartes’ sceptic I’d heard the night before, when I awoke I even pinched myself to double check I was really awake. Although, as Descartes would say, this is no guarantee to know that I was really awake as opposed to just being tricked by some malicious demon.

As with the Žižek talk, people were actively engaged in philosophy. Over the course of the evening through readings, performances and most importantly arguing and debating with each other as well as the philosophers giving talks it was strikingly clear that there is not only a need but an appetite for this kind of public engagement of academic subjects. Particularly appealing for myslef was watching the philosophers debate between themselves (see here Beyond The Fringe’s fantastic spoof of such debates) and, in certain debates, try to find their own answers to the questions that had bothered me so much as a student and that I’ve outlined above. They didn’t reach any conclusive answers but then again, if I’d learned anything from studying philosophy and attending these events, it was that it isn’t the point of the subject. And maybe that’s why we need it.

Sean Gittins is a performer, broadcaster and producer of the Arts Council England funded project Til Debt Do Us Part. You can follow him at http://www.seangittins.co.uk/Home.html and @sean_gittins

In the agora: Slavoj Žižek at Café Oto Photo: Tim Ferguson
Scott Cresswell on Flickr via Creative Commons
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Podcasting Down Under: Tom Wright on how Australia is innovating with audio

The ABC producer, formerly of the Times and The Bugle, makes the case for Australian podcasting.

In September last year, Ken Doctor wrote that “We can mark 2016 as the year the podcast business came of age.” Statements like this have been coming thick and fast since the first series of Serial dropped in October 2014. We’re either living through a golden age of podcasting, or the great podcast advertising boom, or the point when podcasting comes of age, or some combination thereof. For the first time, everyone seems to agree, podcasts are finally having their moment.

Except this isn’t the first podcasting gold rush. Tom Wright, now a producer for the Australian Broadcasting Corporation (ABC), was there the first time media organisations rushed to build podcasting teams and advertisers were keen to part with their cash. Speaking to me over Skype from Australia, he said that seeing podcasts attain “hot” status again is “very strange”. “The first iteration had similar levels of excitement and stupidity,” he added.

In 2006, Wright left BBC Radio 1 to join the Times newspaper in London as a multimedia producer. The paper was “very gung ho” about using podcasts, he explained, particularly comedy and sport shows, as a way of reaching new audiences. There, he launched The Bugle with comedians Andy Zaltzman and John Oliver, The Game with football writer Gabriele Marcotti, and a number of different business shows. “This was ahead of the crash of 2008,” Wright noted.

The shows found large audiences almost immediately – “in my time, The Bugle had 100,000 weekly listeners,” Wright said – and The Game (plus periodic special podcasts pegged to the football, rugby and cricket world cups) brought in good sponsorships. Both podcasts and the videos that Wright also worked on were seen by the Times as “an add-on to the main deal” – ie, the paper’s news stories and features.

“Podcasts, especially in comedy, are still kind of seen as a marketing exercise for something else. . . My feeling is that a lot of comics – let's just pick on one country – in America, say, do a podcast and it's not particularly funny or good, but they flog their tickets for their tour relentlessly so you come and see the really good stuff.” Wright, however, saw the podcast form as something more than a marketing exercise. “My feeling was that we had this opportunity to do comedy, and maybe make it a bit more ambitious, you know?”

It all changed after the financial crisis of 2008, when the advertising money dried up. A new boss came in at the Times and Wright said the focus shifted to online videos and a greater emphasis on hard news. “Amazingly, they let The Bugle continue, which is fantastic,” he said.

(For long-term listeners of The Bugleof which I am one – Wright is a much loved presence from the first 100 episodes. He is referred to solely as “Tom the Producer” and used to chip in regularly to try and keep Zaltzman and Oliver to time, and to express his disgust for the former’s love of puns. Listeners used to write emails for the show straight to “Tom”, and he has his own section on the slightly bonkers Bugle wiki.)

Wright left the Times and moved to Australia in 2010. That year, the paper had introduced a hard paywall, and Wright said that he and other colleagues felt strongly that this wasn’t a good idea. “Who wants to be writing or making stuff for 5,000 subscribers?” he said. “It was also a cost of living decision for me,” he added. “I'd been living in London for ten years with my wife, and we did the sums and just realised we couldn't afford to live in London if we wanted to have kids.”

Wright tried to keep producing The Bugle from Melbourne, a decision which he now describes as “insane”. “It was around 2am [Australian time] when they started recording,” he explained. “I was using my in laws’ Australian-speed wifi, and because I was uploading huge reams of data to the Times, they got stung with an enormous bill. I thought maybe this is a message that I should seek some local employment.”

Wright joined the ABC and went back to live radio, producing for a call-in programme on a local Melbourne station, before moving over to triple j – a station he describes as a bit like BBC Radio 1 in the UK. It was hard work, but a great introduction to life in his new country. “The best way to learn about Australian culture and the way of life was being at the ABC,” he said. “It's the most trusted organisation the country has, even more so I think than the BBC in relation to Britain, given all the scandals recently.”

After the success of Serial, he said he remembers thinking “are podcasts back now?”. “The Nieman Lab in America came out with a journalism survey about reader engagement, and it said the average interaction with a video is one minute, the interaction with a page is almost ten seconds, and with podcasts it's 20 minutes. That was just this eureka moment – all these people thought wow, that's an aeon in online time, let's try doing this.”

In Australia, Wright explained, as in the UK and elsewhere podcasts had been “just the best radio shows cut up to a vast extent”. But in 2014 publications and broadcasters quickly moved to take advantage of the renewed interesting in podcasting. He is now part of a department at the ABC developing online-only podcasts “that will hopefully feed into the radio schedule later on”. It’s a moment of unprecedented creative freedom, Wright said. “That sense of risk has been missing from radio, well media, for a long time. . . Like at the Times, we’re told ‘just go do it and come back with some good ideas’, and it's fantastic.”

Wright is focusing on developing comedy podcasts – as “Australian comedy is great and criminally underrepresented,” he said. One show that has come out of his department already is The Tokyo Hotel, an eight-part series following the inhabitants of an eccentric hotel in Los Angeles. It’s a great listen: there’s a lot of original music, and the fast-paced, surreal script feels at times reminiscent of Welcome to Night Vale. “It was hugely gratifying but immensely hard work,” Wright said. “It had its own score, numerous actors, a narrator who was Madge from Neighbours. It was quite literally a big production.”

The plan for 2017 is to bring out another, similarly ambitious production, as well as “a couple more standard ‘comedians chatting’ things”. Australians are already big podcast fans, and Wright reckons that enthusiasm for the form is only growing. “I think that Australia is a place that's not afraid to embrace the new in any way,” he said. “Podcasts are a new thing for a lot of people and they're really lapping it up. . . It's very curious because I think in Britain anything old is seen as valued, and the new is sometimes seen with suspicion. It's almost the exact opposite here.”

Five Australian podcasts to try

Little Dum Dum Club

Comedians Tommy Dassalo and Karl Chandler run a charming weekly interview show.

Free to a Good Home

Michael Hing and Ben Jenkins, plus guests, chat through the weird and wonderful world of Australian classified ads.

Let’s Make Billions

Simon Cumming and his guests aim to launch a new billion-dollar startup every week.

Meshal Laurie’s Nitty Gritty Committee

The commercial radio host shares the stories she’s been most surprised and moved by.

Bowraville

Dan Box, the crime reporter at the Australian newspaper, investigates the unsolved serial killings of three Aboriginal children.

Do you have ideas for podcasts I should listen to or people I should interview? Email me or talk to me on Twitter. For the next instalment of the New Statesman’s podcast column, visit newstatesman.com/podcasts next Thursday. You can read the introduction to the column here.

Caroline Crampton is assistant editor of the New Statesman. She writes a weekly podcast column.