Over the past year and a half, I took a series of notes on my practice. I gathered those in various documents, shuffled them around, and merged in older thoughts and reflections. Lockdown #6 was an opportunity to bring all this to shape. I am now sharing those thoughts as a series, forming a sort of mosaic on my work, and what has been driving it.
I was chatting the other day with my friend Erin. ‘Editors are Gods’, she wrote, ‘I don’t know how someone could do it and not make mistakes. Like how do you learn how to do that?!’
As an editor, I felt surge of pride. I also took this opportunity to reflect on how I learned my skill. As I was drafting a reply, I came to realize it came from three main sources.
First, I trained in Greek philology. I spent large amounts of time, in a classroom and at my desk, reading passages from speeches, history, philosophy and literature, written in a language that is no longer in use. The goal was to train my brain in accessing the mental world of people who lived in a different context from mine, through the linguistic traces they left. It was also to make their meaning accessible to my contemporaries, through translation and commentary. More generally, the art of translation, which I practiced extensively through my studies, is probably the closest approximation to the art editing. You must understand the logic, meaning and style of an original, disentangle them from their linguistic form, then find the right equivalent in your language. Success is making your presence invisible: leave no scars after your intervention.
Second, I trained across a broad range of disciplines. When I prepared for Ecole Normale Superieure in Paris, beside Greek philology, I studied history, philosophy, literature, English, German, and some geography. Later, I complemented my training with neuroscience, anthropology, sociology – and a smattering of design, ecology, politics, computer science and business. A good editor must have an extensive culture, because they need sensitive antennae, to pick up whatever seems ‘not quite right’ in areas where they have no deep expertise. Whether laziness or hybris, I see many writers follow the poor example of journalists, politicians, and public intellectuals. They like to use blanket statements to make a point; except the statement is often unverified or untrue. Common culprits are sentences that begin ‘people have always’, ‘our ancestors’, or just ‘everyone. When this happens, the role of an editor is to play the risk management game with their authors. In comments, I often write things like ‘you’re making generalising statement x, y, z. I am quite ignorant of this domain, but I’d like to double check with you that all the sources confirm what you’re asserting without ambiguity, or whether there is some debate, and some sources could invalidate your claims. If the latter, I would suggest possibly rephrasing as x, y, z. Please, accept my apologies for my ignorance, and simply disregard if what I’m writing is confusing or naïve in any way.’ Generally, my comment is neither confusing nor naïve, and the author tones down their bold statement for something less brassy, but more accurate.
Third, I learned the art of flattery during my short-lived experience as a film director. In 2010, I wrote, directed and coproduced one short-film. When I describe the experience, I like to say that it was a perfect dom fantasy. On set, I told people exactly what to do, and everyone obeyed. They were looking for someone to give them orders. Earlier, during rehearsals, I observed how actors craved attention. As long as I gave it to them – describing what I saw them try with care and precision – they would happily try whatever I suggested. Editors need gentle firmness. Writing is very personal, egos easily wounded, and trust needed for suggestions to be taken on board. Like a good dom, the editor must have the pleasure of their partner in mind, and be thoroughly guided by benign intentions. In that, we differ most from the critic who points out flaws in an argument, or props up their own ego by stepping on someone else’s shoulders. There may be suffering involved, or effort, in perfecting a text, but It’s all about helping an idea find its ideal shape, and shine through. Editing, then, comes with a measure of eroticism. Like diplomacy, it is a subtle power game, where the goal is mutual victory, and the weapon language.
Over the course of lockdowns #5 and #6 – and that short nondescript period of time in-between – I ran out of gay fiction to read. To keep myself sane, I turned to that millennial classic, and finally read the seven volumes of Harry Potter.
For about a year, I have renewed my commitment to writing fiction. The exact project is still taking shape. It started as a climate change revenge tragedy, and evolved into rom-com. It has, however, prompted me to read genre, unashamedly. Since March, I have devoured gay literature. Much recommended in times of pandemic. It started on a high with Simon vs the Homo Sapiens Agenda, and slowly went downhill from there. Before trying my luck with How to Bang a Billionnaire, I thought I would take a pause.
Harry Potter was referenced in almost all of the books in my gay rom-com pile. I missed that train at the time – but it struck me that I could not really understand my own generation without reading Harry. And that it could even make for a good time. Well it did. And it prompted a few reflections. I have not engaged with the fan-fiction, or any critical reading, so I’m sharing impressions here in a loose manner, somewhat unsure how much of this will be somewhat original, or totally self-evident. If the latter, I hope at least it will show the ongoing relevance of the book.
From about the end of volume two, I started telling my partner: ‘I think Harry Potter is about climate change.’ Of course, I’m biased – it’s a key preoccupation, and the latest IPCC report is not helping. But bear with me here. Isn’t Voldemort all about unrestricted appetite for power, and contempt for all life-forms he perceives as below him? And isn’t that the precise ideology that has led us to climate change? A sort of coal-based dark magic, that will not recoil at destruction and pain, let alone consequences, to get its way?
Then come the Horcruxes. Claim immortality by tying parts of your soul to precious material objects, and lose your human shape in the bargain. Isn’t that exactly what Western boomers have been doing, trading their conscience for jobs in the system, to buy SUV’s and house extensions with the cash? A vain attempt at immortality.
I recognised a lot of my own feelings in Harry’s experience – I’m only two years older, after all – particularly the lack of elder support, and a sense of betrayal from those in power. Ministers are not to be trusted. ‘Wait a minute,’ I thought, ‘I’m sure Scott Morrison was imperiused by Gina Rinehart and the coal barons.’ That’s what Dark Money‘s all about, right?
The book does encourage a healthy mistrust of power. Our politicians would rather force youth into silence than acknowledge their own limitations, past errors, or present fear. Large parts of the population side with them. Those who don’t are soon disposed of, or drained of their souls by the media dementors.
The final heroic triumph of youth, however, gave me some hope. Go Greta, go the climate kids! Maybe you can defeat evil. Painting youth triumphant is part of the young adult trope, certainly. What I enjoyed in Harry though is how this youth is trained, not purely naive. Knowledge is part of the package – enter Hermione, saint patron of nerds – and knowledge is something you learn at school.
Hogwarts is a the core of the series. It is a school where people actually learn things, and what they learn is useful in the world. It is what all my friends working in education and edtech are looking to build. A place where you develop the skills to change the world for the better, build deep companionship and a sense of identity. Note how, as part of the package, Harry Potter values teachers. McGonaggal is fierce. Even Snape knows how to turn a good potion. None of that ‘those who can, do; those who can’t, teach’ bullshit here.
Beyond this clear respect for knowledge, I enjoyed and celebrate the book’s radical technophilia. There’s no wizard without a wand. And good magic is not purely about the mind. It involves matter – knowing plants, spells, and the structures of the real. It involves objects, and learning how to use them appropriately. To defeat the Voldemort’s of today, and their armies of doom – vampiric boomers and Fox News dementors – the path is not to retreat into the forbidden forest, and embrace centaurian arrogance. It’s about building tools, learning to use them, and take over from evil through better magic.
Learning new languages played a critical role in my education. I like to say that I learned how to think through classical philology, translating Greek texts into French, and reflecting on the distance between those two languages. But it all really started seriously in middle school. Back then, I was playing adventure games, and learning English was the way to explore this passion, and gamer identity. They were text-heavy games – anyone remembers King’s Quest, Maniac Mansion, or Leisure Suit Larry? – and none of those were translated. English was also a major subject at school, and I was well-aware that mastery would impact my academic success, and future social positioning.
Not long ago, I posted the following on Facebook: “Facetious but real question to my multicultural friends (and others): are there any (good) program or resources out there to help multilingual migrants (or minorities) help build empathy with monolingual people? As in – what is it like to live with only one language in your brain? How does it affect your vision of the world? What are the associated blindspots? This is for a potential project I’m ideating on. I’m not looking for a rant on how monlinguals are the worst, but rather, ways to genuinely empathise with what it’s like to * not * have multiple languages, which I believe is deeply inconceivable to many multilinguals.” (The project, incidentally, is a new turn in the Marco Polo Project story, supported by a City of Melbourne grant, under the codename ‘migrants to citizen’. Keep posted for more.)
My post attracted interest, and it seems there is no model to build said empathy. One friend though (thanks Armelle du Roscoat!) raised the following question: ‘aren’t multilinguals able to remember how they used to think before they have multiple languages in their head ? What that opened up in them?’ This triggered a new insight. Sure, I can sort of remember what it’s like to be monolingual, but I was a child back then. Learning foreign languages was so central to my education that, at some level, it is inconceivable for me to be an educated adult, who speaks and understands only one language.
Which means, when I think of, or speak with, monolinguals, I have three ways of relating to them. The first is, those are uneducated people. Which is fine, unless they’re in professions and positions that call for education – teacher, lawyer, doctor, manager, or any role of responsibility. Then I cringe. The second is more disturbing. I came to realise that I tend to think of monolinguals as radically immature, some sort of monstrous child-like narcissist, trapped in an adult body. Here, there is an odd mixture of repulsion and fascination. But the third mode offers a way out. My multilingual identity, the capacity to shift across languages and cultures, emerged from puberty onwards. I became able to decode various social cues, and adopt my performance, in a form of ‘language-fluidity’. Maybe, monolinguals are just like extremely cis-gender people, who wouldn’t dream of performing beyond received gender-norms – or fall into the worst stereotypes when they try. Sure, it’s a limited take on the world, but I have learned to relate to cisgender types, and I’m on that spectrum myself – so, monolinguals may not be continents away.
PS: if you know any good resource to build empathy with monolinguals, or would like to work on one, please reach out!
In 2020, I completed a PhD. My thesis maps an emerging ecosystem of digital Chinese language learning. I started the research in January 2015. At the time, the PhD was a way to fund my work on Marco Polo Project. Short-term, through a scholarship; longer term, by looking for ways to build partnerships either with universities or other digital platforms. Then life knocked on the door, and messed up with the plan. I was offered a COO gig with the China Australia Millennial Project, then a seat on the THNK School of Creative leadership, then a job as editor in chief with the Global Challenges Foundation. My skills, my interests and my perspective evolved, impacting both the PhD research proper, and the motivation for it.
I decided to stick with it though. This was my second PhD. I enrolled in one from 2003 to 2008, at Paris Sorbonne University, exploring collective nouns in contemporary English. I was on scholarship, and expectations were that I would get a role at a French University right after finishing – although life came knocking when I met my Australian partner in 2006, and messed up with the plan. Still, I completed my thesis. I was due to defend in early September 2008, a few weeks before leaving Paris for good. The research was ‘stimulating and original’, yet two of my assessors had found that the thesis fell outside of disciplinary boundaries. My supervisor had been aware of issues, I learned later, and conducted backdoor negotiations, but would not force things. Bad reports would stand in the way of any future academic career. There was an option to stay in France for another year, rewrite, and try again. I had planned a move Down Under, and wanted a fresh start, so I let it go.
It left me with a sense of caution regarding universities, and PhDs, but also with the sense of something unfinished. When I decided to try again at Monash, on the very first conversation with my prospective supervisor, I shared the story of this debacle. I was also very clear that I did not want to work in academia, but was genuinely committed to the sharing of knowledge. Gloria was wonderful, and fully on board. I knew better what to do this time – and was more closely guided – so, despite occasional bouts of ‘I should quit’, I completed the second PhD, through the pandemic.
Why did I bother? Sure, there is a title, photos with a floppy hat, and the job done. But I also did learn certain things that – maybe – only doctors know. Reflecting on that question, it strikes me that we put so much focus on the product, the thesis, and forget about the person. It’s not just about having a PhD, but becoming a Doctor. So, what have I learned by becoming one? And how is that valuable? Since the purpose of a PhD is to articulate original knowledge, I think I did learn something about knowledge – and originality. In a knowledge economy, this is probably valuable. But let me dig deeper.
We know less than we think
Education is always about confronting one’s own ignorance. Writing a PhD means confronting collective ignorance. I realized this most clearly when I tried to answer a seemingly simple question: how many people are currently learning Chinese around the globe? I had always assumed that we – somebody, somewhere – knew the answer, and everybody could get that answer if we – myself, anybody keen to find out – simply knew where to look. I had also assumed my supervisors, experts in the field, could direct me to the right source. No such luck. All sorts of figures floated around the Internet – 40 million learners now, 100 million soon, typically. But when I tried to confirm those numbers, the tracks lost themselves after some late 2000’s newspaper article from Canada, or a vague unsourced mention of ‘Hanban’.
I once wrote, in a moment of annoyance, that much of academic writing is not original thought, but platitudes with footnotes. I have come to appreciate the value of footnotes. At least, you can check where ‘facts’ come from. If a statement is not congruent with the source, you have grounds to start doubting the author. It takes effort, sure, but ensuring that facts and assertions at least can be verified is some protection against fraud. It also keeps in check the drive to cut corners and put forward unverified assertions in order to make a point.
Now, I have also learned to be cautious of footnotes. Not everyone follows the rules in spirit. When trying to figure out how many people are learning Chinese, I found an article – somewhat by chance – by Professor Hyeon-Seok Kang, called ‘Is English being challenged by Mandarin in South Korea? A report on recent educational and social trends involving the two languages’ (published 2017). The paper had a reference to ‘Lei & Cheng, 2010’, stating that there were 40 million Chinese learners around the world in 2010. Curious, I went to check that Lei & Cheng source. It was not, as I naively hoped, a solid survey from a pair of serious researchers from a serious university, but an article from China Daily online, attributing this figure to Hanban, with no source. Innocent overlook, or underhanded rebrand of hearsay? We shall never know.
When I look back, I think: of course, nobody knows how many people are learning Chinese. It’s incredibly difficult to assess. For one, what do we mean by ‘learn Chinese’? Is it anybody enrolled in any language class? Of any age? And for how long? Plus, how do you aggregate figures from around the world? How do you keep the numbers up to date? At best, we might have educated guesses (which I attempted – my rounded estimate is 6 – 17 million).
Yet before the PhD, I had an illusion that there was knowledge – illusion fed by the Internet, where figures were quoted in apparent confidence. On this point, and on many others, I was convinced that someone, somewhere, must know the facts, and the truth. This is a dangerous illusion, which I am now less likely to fall prey to.
So, learning #1: we know less than we think. If I don’t know, maybe nobody does. And if you’re ever doubtful, check the source.
It takes effort to build knowledge
Ignorance is uncomfortable. It brings feelings of shame, and anxiety. Research demands courage: willingness to face the chaos of radical uncertainty, and associated social ambiguity. It also demands endurance. Contemplatives are at risk of sloth – acedia, the noon-day demon of depressed procrastination. ‘Just write’ said my supervisor. I did, mostly. It was not my first rodeo, I wrote four novels (one published), and one thesis before. I have also written and edited hundreds of shorter texts. From experience, though, I know there’s a big difference between a 1000-word essay or short-story, and an 80,000-word document. A PhD thesis is not something you can physically complete in a burst of inspiration, or over a couple of late evenings. It is mainly perspiration, and you cannot afford to burn out.
Yet there is something about completing a PhD that differs from other long-form writing – say, novels. It’s not just about endurance, but patience. You must accept others’ unbearable slowness. Academic degrees up to Master’s level have skills and knowledge assessed by people who know more than the student. As a Doctor, author of original knowledge, you are by definition the world’s foremost expert in your topic. Meaning, you’re assessed by people who know less than you. Not in absolute, just on your topic. Still, this marks a step-change, directly related to my first insight, that we know less than we think.
So, learning #2: a doctor has shown capacity to present original knowledge to the next most knowledgeable audience, and convince them to reorganize their understanding of the world on the basis of that presentation. Doctors reduce ignorance, absolutely.
Knowledge does not exist in a void
New knowledge is not another brick in the wall. When I was a teacher, I used the following mental model: that my students already know everything. Except, that knowledge is vague, and mainly incorrect. Early in my candidature, I remember identifying the KPI for a successful thesis as: it will prompt readers to reshuffle their mental library. Incidentally, this is the purpose of the literature review – a section that gives a brief overview of relevant writing on the topic. It’s a trust building exercise, demonstrating homework done. It’s also there to assist the reader in this mental reorganisation: help them identify where to place the thesis and its original insights.
This was a piece I had to do right. My first attempt at a PhD failed for overstepping disciplinary boundaries. Academic disciplines are branches of knowledge: conventional ways of describing an aspect of the world, what counts as a fact, and how to gather valid data. They’re also social constructs – people working in different buildings, reading different books, and writing in different journals, with different funding streams and criteria. I’ve come to think of it like sports. Each discipline has its own rules, its own league, and its own champions. Sure, you won’t get anywhere unless you’re generally fit and coordinated, but it’s not the same skills, or body types, or attributes, that make for success. So, each discipline gathers different types of people, who have spent years honing a very narrow set of skills.
When you start a PhD, you can choose to play by the rules. Pick your sport, find a good coach, train hard, and if you’re good enough, with a bit of luck, you’ll make it to the league – i.e. tenure at a university. That’s disciplinary research. There’s another approach though, which is about figuring out what discipline – what methods and models – will be most useful to better understand a part of the world, or solve a complex problem. In academic jargon, that’s ‘transdiciplinarity’. It’s not a good bet for a research career, but if done well, it’s useful ‘out there’. It’s also what my research does. It tries to make sense of ‘what’s happening’ in that part of the digital world where people learn Chinese – what that part of the digital world looks like, who’s creating and maintaining it, and what we could do to make it work better. It’s about tech and education. It’s about digital communities, startups, and geopolitics. It’s looking at companies and people, websites, apps, and social media streams, and how all those pieces combine. It’s about what is there, measured against what was, and what could be.
Now, a PhD – whether ‘trans’ or not – goes beyond insights and good ideas. It is a question asked well, and a detailed protocol to reach an answer, with a lot of referencing in the middle. It involves not only reading piles of books and papers, but also gathering ‘data’ from the world, then analyzing it, in line with a defined method. Each discipline has its own key concepts, methods and benchmarks. Each sees ‘the world’ differently, and gathers different data. In my case – in ‘trans’ research – part of the work is precisely figuring out what to do. There was no ‘state of the field’ I could question or build on, nor a clear method to follow. So, there were wrong starts and double-ups. I observed, I interviewed, I reflected, I read. Methods attempted yielded insights which suggested other methods. Not all the data was entirely consistent. And there certainly wasn’t a neat linear process, following a clear-cut hypothesis-method-gathering-analysis-conclusion sequence. Describing this was embarrassing: it was not grand, and it was certainly not clean. Yet – and here I was very well guided – I had to be precise. ‘What did you do? Just write that’. I interviewed people. ‘How many? Where? For how long? Why them?’ I spent a few hours using a range of apps, read through the ‘how-to’ guide, and associated social-media feeds. ‘Which apps? Why those?’ I unlearned habits developed at innovation events – always present your best angle – and listed exactly what went into the sausage. I was terrified it would cause horror. It didn’t, and I strengthened my honest muscle in the process.
The final layer of work was to put the research into words: order the argument into chapters, and make sure all key terms were rigorously defined and consistent. In early drafts, I used ‘agent’ and ‘actor’ indifferently. Surely, the reader could figure it out? It was a firm ‘no’. Different disciplines use different words – or worse, the same word with a different meaning. I should not leave ambiguities, and always make it easy for the reader to ‘get it’. The same ethical drive towards maximal comprehension impose the drudge of formatting standards. You’re asking people to change their habits of thoughts, by reading a very long, very detailed argument – so please, be consistent with your style at least. Common courtesy, really.
So, learning #3: the reader is not you. If they miss the point, don’t blame them, write better. Leadership 101.
This process, of course, is extremely slow. It is made even slower by the machine, the very bureaucratic university with its many dysfunctions, ‘tick-the-box’ exercises and arbitrary deadlines. Waste of time? Well, a friend once put it this way: ‘creating a new product and selling it on the market, that’s easy. We all have desires and too much money to spend. But having one person really see the world differently, and change their minds, now that’s hard.’ I’m not one to praise impatience, and even – not always, but sometimes – found freedom in the deliberate slowness imposed by academic procedures. I rediscovered the world of otium, open intellectual leisure, that I first encountered in Year 12 philosophy. Here was a space where I could be free from the dominant logic of business. I would get no reward for ‘saving cost’ or ‘bringing revenue’. Quality standards were non-negotiable. This caused frustration, yes, but also protected my freedom to think, and for this, I am very grateful.
When I was close to completing, and at peak frustration, I described the PhD process as a deliberate exercise in humiliation. In retrospect, I think I was onto something. There is no good research without radical humility: that we know so little, that knowing is exhausting, that others resist correct knowledge. In the words of Pascal, that truth has no force of its own. Yet on the other end of humility comes deep self-confidence. With courage, and efforts, and discipline, I have touched on a solid kernel of correct knowledge. Others have seen and recognised it. So, whatever comes next, I’m probably not up to the task, but I might well be just as good as it gets. And that’s a doctor for you.
Over the course of my PhD, I became deeply disappointed with conferences and study days. Those were always presented in the marketing as an opportunity to share and question ideas with peers. Yet the design was hardly conducive to that goal. It was either plenaries or parallel sessions, with a clear division of roles: speakers, listeners. Presenters had one single slot of about 40 minutes in the conference to share their research or ideas. They were invited to leave time for questions, but everybody went overtime, limiting interations to 10 minutes at best. Which typically consisted of a ‘question that is actually a remark suggesting an alternative reference’, clarification on a minor point of detail, and a theoretical challenge with hardly any time to reflect. How is that an opportunity to share ideas with peers?
I noted similar contradictions with the ‘milestone presentations’ I was invited to do, as part of Monash University’s PhD program. Here again, in theory, it was an opportunity to receive feedback – but in fact, seemed to serve mainly the purpose of confirming my academic capacity. I had to share documents in advance, give twenty minutes of presentation, then get feedback from faculty members, and give a short response. Document had to be formatted to standards: how misaligned with research as an emergent process. Practically, it meant a lot of time spent formally perfecting early stage prototypes. Nor was the presentation a proper dialogue, but professorial expert feedback. Again, not a great mode of interaction, especially for an extravert like me.
It’s unlikely that any of this can change: habits run deep. I soon gave up attempts to bring what I had learned in innovation and entrepreneurial circles to a university setting – the final drop was one memorably dysfunctional conversation with a mid-level administrator. Yet, in the margins of a conference, I remember discussing an alternative model, as a provocation, with a friendly peer.
I’m a bit of a design nerd, so, on that evening, I jotted down notes for this conference model. It has remained at the back of a drawer, in draft form, for years. I thought I might take it out, give it shape and share it. Much of it is inspired by the wonderful Liberating Structuresmodel of Henri Lipmanowicz and Keith McCandless. The timings are slightly tight, with long pauses. This means, it’s possible to extend the length of activities and ‘eat into’ pauses a little. Pauses are also intended for introverts to relax.
I’d love to try it out one day, but not on my own. So, if anyone would like to pick it up? Please, I’d love to talk.
Day 1: Fast prototyping
Prior to the conference, participants have been invited to prepare a presentation on either their whole research, or part of their research. They have been warned that the purpose of the day is to exchange ideas, tackle challenges, and review their presentation – so to prepare something that could be changed.
9:00 – 9:30: Coffee & tea
Sequence 1: introduction (9:30 – 10:30)
Goal: set the mood and principles for the day. Break the ice. People feel a sense of connection with other participants. People reflect on ‘what brought them here’ and set goals for themselves.
Five finger ice-breaker (9:30-9:55)
Participants are invited to lift their five fingers in turn, and form pairs based on ‘who has a finger that looks a little like yours’. Each round, they reflect and discuss a different question. 3’ / round.
What is the latest paper you read?
What’s an author or thinker you keep returning to and why?
What’s an idea, or theory that you’re trying to destroy?
What would you like to achieve with your research? What’s the big vision?
As a researcher, what’s a thing you’re really good at?
General introduction (9h55-10h00)
Principles of the day – this is a conference optimized for deep exchange of ideas
Over the course of two days, you will present the same paper three times, in different formats, gathering feedback as you go.
Participants form groups of 3, and rotate between three roles: speaker, listener, observer. 9 minutes / round
Round 1: Pitch your paper. The listener listens silently. (Rotate roles, 3’ for each speaker)
Round 2: Pitch your paper. The listener can ask clarifying questions. (Rotate roles, 3’ for each speaker)
Round 3: Pitch your paper. The listener can challenge or make suggestions (Rotate roles, 3’ for each speaker)
Debrief – what happened
Observers: How did the pitches evolve? What else did you notice?
Listeners: How did it feel to ‘listen differently’? Did you have time to ask any question?
Speakers: How did it feel to have listeners’ attention? Did you modify the pitch?
All: What else did you notice?
Review your pitch (11h45 – 12h15)
Participants are given 30 minutes to review presentations, based on the morning’s experience.
Lunch: 12h15 – 1h00
Note, over lunch, participants can choose to socialize, or work on their presentations. Colour-coded stickers may be provided to indicate if participants want to ‘chat’ or ‘be quiet’.
Sequence #3: first presentation (1h00 – 2h15)
Participants form groups of three, in breakout rooms or separate corners of a main room.
In turn, candidates present their paper, to an audience of two peers. Time is strictly limited to 15 minutes. After 15 minutes, listeners share questions and comments for 10 minutes. Listeners can interact with each other. Candidates cannot respond.
Sequence #4: silent reflection (2h15 – 3h15)
Alone, candidates reflect on what they heard and review their presentation accordingly.
Sequence #5: second presentation (3h15 – 5h00)
Participants form groups of three, in breakout rooms or separate corners of a main room.
In turn, participants present their paper, to an audience of two peers. Time is strictly limited to 15 minutes. Participants then interact for 20 minutes with their audience, actively sharing challenges and uncertainties with the audience, and looking for ways to improve their approach, presentation or thinking.
Sequence #6: Closure (5h00-5h15)
Participants are invited to digest the day and review their presentation for the next day.
Note – it would be possible to hold this as a one-day conference, and close with a ‘what, so what, now what’ activity (detailed at the end of Day 2)
Coffee and tea (9h00 – 9h30)
Sequence #1: Fast pitching (9h30 – 10h15)
Participants are invited to form pairs, and do short presentation of their papers, in five successive rounds, with a different focus each round. Strictly 3’ for each person each round.
Round 1: focus on why the research matters
Round 2: focus on the methodology
Round 3: focus on the references
Round 4: focus on the data you used
Round 5: focus on what’s original about the research
How was it? What did you learn? Did your thinking evolve?
Sequence #2: Third breakout room presentation (10h15 – 12h15)
Participants form groups of three, in breakout rooms or separate corners of a main room.
In turn, participants present their paper to an audience of two peers. Time is strictly limited to 15 minutes. Participants then interact for 20 minutes with their audience, actively sharing challenges and uncertainties with the audience, and looking for ways to improve their approach, presentation or thinking.
Between each round, participants are invited to take a short 5’ break.
Sequence #3: work lunch (12h15 – 1h30)
Participants finalise their presentation over a light lunch.
Sequence #4: plenary (1h30 – 4h30)
Participants are split in groups of 8 presenters. An external audience may be invited to attend. They present a final, reviewed version of their paper, with strictly 20’/presenter, and no time for question.
A short 10 ‘ pause is given after the first four presenters.
Depending on attendance, the length of this section may vary, and groups of different sizes can be organised.
Closure: (4h30 – 5h15)
Participants are invited to reflect on the process, and what can be applied from it, following the What, so what, now what liberating structure.
Participants are invited to discuss the following questions in turn. For each question, participants start with 1 minute to think about the question alone, then discuss in groups of 3-5 (depending on total numbers), for 6 minutes.
What happened? What did you notice? What stood out or was new?
So what? Why is a process like the one we went through important? What can be learned from it?
Now what? After going through this process, what will you do differently?
Participants are then invited to share key insights and actions with the group.
The conference ends with a ritual round circle, where participants are invited to share their experience in one word.
Default settings was an experimental project exploring questions of reflectivity, discourse, polyphony and audience agency. We invited a digital audience and a small cast of diverse associate storytellers to reflect on the various intersecting story-worlds that they inhabit, and stretch their capacity to create a common world by interweaving different stories, stemming from different languages and traditions.
The Default Settings experiment was designed by Julien Leyre and Matthew Ziccone, through the Marco Polo Project, with support from the City of Melbourne and the Victorian Multicultural Commission. It was produced by Maddy Bean, with participation from Associate Writers Declan Fry, Kay Stravrou and Xueqian Zhang.
The Default Setting experiment consisted of two prototypes and one pilot. The format involved five Associate Writers and a Producer, engaging online with an audience located around the world. Associate Writers were invited to prepare a 22’ sequence on the basis of a one-word prompt, in a format and language of their choice. The prompts chosen for the experiment were ‘plastic’, ‘vessel’ and ‘seed’.
Here is the rundown of the format we adopted. After a short meditative segment led by the Producer, Associate Writers share their stories in five parallel digital breakout rooms. During this time, audience members are shifted from room to room, every two minutes. As a second part to the event, audience and writers are guided in a reflective process to make sense of the experience. The process aims to build awareness of the ‘default settings’ guiding our digital lives, and stretch our capacity to follow and weave multiple narratives in order to make sense of the world.
Conversational norms, prevailing stories, and narrative freedom
The Default Setting experiment responds to the radical shift prompted by the COVID pandemic. Our professional, social and emotional lives are increasingly unfolding in digital environments: we interact with the world, with our colleagues and with our friends and family through screens. Unless we actively learn how to build meaningful connections in this virtual world, we are at risk of disconnection and alienation. So, we must explore and invent new ‘codes’ to interact online in an effective manner.
This shift is a source of tension, but also a great opportunity. In our multicultural societies, multiple parallel stories and value systems always circulate, manifesting in the way we talk and interact with others. Most of us inhabit multiple such story-worlds, and hop across them depending on the setting – one for family, one for work, one for friends, etc. Deciding what story to follow in order to make sense of the world and guide our action – and along with that story, what value system, what identity, what style, what tone – is our most fundamental political, social and ethical decision. Yet often, this decision is not consciously made. Rather, it is imposed on us by the force of habit and peer pressure. To that extent, awareness of the stories guiding us in any situation, so that we can actively choose to embrace them – or otherwise reject them – may be the root of all freedom.
Conversational default settings, the format of public events and mediated interactions, are an expression of power relationships. Some people speak, others listen, in an implicit but culturally defined manner. A language is adopted, others are silenced, or interpreters serve as go-between in a pre-defined mode. Body language and rhythmic pauses define turn-taking rules, guided by a default cultural norm. Those who have not mastered the norm, or take half a second more to process thoughts in that language, lose their turn and stay in the shadow. This is the offline world. Online, ingrained patterns lose their edge. Who never said ‘Sorry, you go’ when talking over someone else on a zoom call? So, here is an opportunity for reinvention – and newfound freedom.
Default settings was a deliberate attempt at relinquishing control. In the design phase, Matt and I held each other back: ‘Yes, you could lead that section, so could I, but let’s have Maddy do it, so none of us takes over.’ When two neurotic writers actively give over control to someone else, you know something interesting is happening. In the same manner, we let go of our desire to control narrative form. Associate Writers were given complete creative freedom over the story they wrote, and the language they chose to perform in. We would not even give them pointers, other than one single word.
This deliberate looseness triggered hiccups of course, but those became part of the experience. Stories did not transition smoothly, the experience was jagged. Participants experienced the virtual world of ‘Default Settings’ as chaotic: things were messy. But that turned out to be OK. Participants did evoke a sense of FOMO – they would get into a story, then be shifted to another room, and need to let it go. They also shared how they quickly learned to deal with it, and find joy in that letting go. Various analogies emerged: ‘It’s a bit like zapping’, ‘like a great dinner party’, ‘like a train station’, ‘when people start talking to you in public, and you shift across different conversation’, ‘like chatroulette’. Ultimately, learning into the chaos was comforting: ‘I loved the impression of complete freedom that I got from it’, shared Jasmine.
As a storyteller – and designer – I became keenly aware of that digital chaos myself. Ten minutes into the first prototype, my Zoom suddenly disconnected. I didn’t have the link ready, so fumbled back through my emails to find it, clicked, and waited to re-join the room. It took a few minutes, and completely threw me off. When I was disconnected, there would have been audience members alone in my breakout room, with no explanation. What would Maddy decide to do? Where would I pick up my story? Would everyone be shifted one room over? Should I pick the story where I left? Would we all speak for longer? I had no idea, and no way of interacting with anyone to check what was happening, as we were all focused on keeping things going, in strictly separate rooms. This was ‘show must go on’: I had no choice but to rely on others continuing without me, and that things would be fine.
It’s hard for a designer and writer – it’s hard for me – to let go of control and responsibility. Yet it’s crucial that we learn to do that! It wasn’t just the zoom incident. I had invited friends to take part. Some weren’t able to connect on time, or were just normally late, and tried contacting me through Facebook Messenger or WhatsApp or SMS after things started. I was performing, on camera, and couldn’t handle them at the same time. I chose to ignore them, and focus on the present: a deliberate exercise of mindfulness. As it turns out, they didn’t mind.
An invitation to authenticity
Key to creative freedom is the capacity to stay in shapeless, ambiguous, uncertain modes of thought, so things have time to settle and crystallise. This is all very good, and I can do that anytime with my eyes closed. Yet for extraverts like myself, the question is rather: how do you gain the energy you need from the outside world while things settle? It’s awkward to share unformed stories – yet when I don’t share for too long, things may well die for lack of nurture. This, I realised, is what Default Settings resolved. I would have no clear idea whether my story as a whole ‘worked’, of course, since I couldn’t follow reactions. But there would be some extraverted energy here and, well, with two minute sequences, I didn’t feel too bad sharing something half-baked.
With that came one surprisingly moving element. It was the first time since I migrated to Melbourne twelve years ago that I performed in French to my local friends, and experienced a sense of connection. Migration had demanded a shift of language. There was joy in that shift, and a stimulating design challenge. How could I recreate my French self in Australian-English? Likely, I chose to keep a touch of accent for that reason, and accentuated my body language. But also, adopting English as my new default meant, there was an aspect of me that my new friends would never get to see. Comfortable and gently shady French-speaking Julien would disappear. With Default Setting, I felt comfortable bringing him back on stage. I knew my audience could not follow what I said, but imposing that person for two minutes at a time was short enough not to be obnoxious. And so, that part of me was seen in this country for the first time.
Another reason I was comfortable speaking in my first language is that the setting freed me from the need to compete for attention. The audience would be brought to me by design and technology, in a group small enough that I could rely on their attention. It was like a dinner party, sure – but one where you wouldn’t fear losing your counterpart to more glamorous conversation partners. ‘Nice talking to you, I’m gonna get a drink now’. Guaranteed attention kept the competitive ego in check, leaving room for creativity.
New rules for audience engagement
Theatre hinges on a paradox. Here’s a real human talking to real humans in real time. Here’s an actor on the stage, radically separate from the audience. In a Zoom breakout room, what model applies? Each Associate Writer took a different approach. Some were strictly performers, told their story and then, when it came to an end, smiled silently. Others interacted, inviting feedback or asking questions. ‘Which part of my story have you heard already? Should I sum it up for you?’ Kay, I heard, even complimented Maddy’s flatmate on a painting in their room. This is the magic of Zoom. We’re not in the theatre, but inside each other’s intimate space. With this comes a radical reset of the relationship between performer and audience.
Default Settings was designed to prompt equality. For this, we programed a moment of facilitated reflection. People were gathered at random in breakout rooms, audience and performers mixed in, and invited to share their impressions on different aspects of the experience, what moved them, what irritated them, how it resembled other aspects of their lives. Prompts and small groups freed participants from the fear of ‘not knowing the rules’, and associated silence, prompting exchange and connection.
Each Associate Writer had invited their friends and contacts, from Australia and around the world. Zoom has this magical quality that it frees us from the constraints of geography. What this meant is, people from different periods of my life were part of the same event, talking to each other, meeting and exchanging. This only should happen at weddings, funerals or graduations – well, also with Default Settings! My ex in France, a facilitator friend in Cambodia, a neighbour in Melbourne, sharing appreciations of stories they just heard. And now, when I mention one in passing to the other, I get a nod of recognition: ‘oh Patrick, he was in that event you organized, wasn’t he?’
Literacy for the digital world
As our lives shift to the digital world, we must not only design new ways of engaging with each other, and with the stories that guide our lives, but we must actively learn to navigate the digital chaos. ‘It’s so easy to misunderstand someone when you pass judgement based on such a short interaction’, reflected one of the participants. This experience in fragmented storytelling would change the way they thought of the news, inviting more caution. ‘There is a lot of literacy work to be done. We haven’t been taught that stuff. And it’s important.’
But it’s not just about our capacity to think and engage. It’s about our capacity to perceive beauty, and connect through shared aesthetics. ‘I had this sense of you when you came on the screen’, said Jasmine, ‘you were calm, and even if I couldn’t understand, there was a rhythm. Each speaker had theirs.’ Then a moment of pause, and someone else chips in: ‘It’s like, when you’re driving in the country, and you tune into different frequencies on the radio. You don’t follow the song to the end, but somehow you know what each station is about.’
We tend to put a lot of emphasis on narrative arcs, the structure of an argument, the logic of exposition. And so, we fear fleeting attention, because it threatens misunderstanding. We compete for it – and so get trapped in our ego. Maybe, the secret is to shift emphasis, away from the rational, high-level arc of our thoughts and intention, into micro-structures of expressions, subtle rhythms, intonations, breathing, all this defining a style, a way of showing up, that is instantly recognisable. Maybe, to thrive in the digital world, we must embrace the wisdom of American minimalism, lieder-cycles, or concept albums, where the fragment reflects the whole, style is substance, and art an invitation to flexible attention, lifting the fetters of self-evidence.
THNK taught me to think of education as a form of socio-emotional engineering in group context. The purpose is for each participant to transform. In other words, the goal of education is to change people. That change is more likely to come about through well-designed interaction among peers than through new knowledge, even weighing in the possible charism of an inspirational speaker, and the desire to emulate them.
There’s a common cliché going around. That Chinese education does not encourage creativity: Instead, it proposes antiquated models based on rote learning. ‘Western’ Universities, on the contrary, train critical thinking, creativity and collaborative problem solving – all the treasures of a balanced life.
I had direct experience of learning in a Chinese university, during a term at Nanjing Daxue, and was deeply dissatisfied with it. Yet I would like to consider Chinese models of education under a different light.
In preparatory class, in the debrief of an oral presentation where I did averagely, my philosophy teacher pointed out I should find ways of better structuring my thoughts. ‘How can I do that?’ I asked. He winked: ‘There is a secret, but don’t tell anyone I’ve told you’ – I guess enough time has pass that I can get away with sharing this now – ‘You must copy. Take a book, a well-written book, like Montesquieu’s L’Esprit des Lois, take a notebook, and simply copy. And I can guarantee that you will improve.’ With all this talk of originality, we tend to forget the value of copying. Not just to memorise and interiorise knowledge, but develop the capacity to reproduce a movement of thought. And then, if after proper understanding, we continue to disagree, then we might consider rejecting. And how much stronger, how much sharper, how much more valuable, this informed originality.
One person I used to work with was often talking about how ‘some people are just wasting his time’ and you should ‘not waste people’s time’. On Grindr, ‘time-wasters’ are certainly not liked. Social media may be just ‘a waste of time’.
Well, now we’re spending a lot of time at home, and on social media. I’m retreating away from ‘productive work’ to thinking and writing. Are we all wasting our time?
I never understood that expression. If I try to follow the underlying logic, time is wasted when the outcome doesn’t match expectations. But then, isn’t the outcome of any social interaction, in part at least, that interaction itself? And if that is so, how can time ever be wasted? Maybe I simply don’t believe in the capitalist motto that time is money? Or maybe, there is presumption in the expression ‘wasting time’ – pride, in the mistaken belief that we know what our goals are and should be, and that we can therefore assess, in the moment, what was and wasn’t valuable.
To try and understand wasting time better, we could look for its opposite, ‘saving time’. Here again, I don’t understand. ‘Saving time’ is about finding techniques and processes that allow you to do the same task, to the same level of quality, in less time. Years ago, I used to tutor high school students. One of the mothers always asked me to do things ‘quickly’. I never quite believed it was possible. You might get an essay ready more quickly – in fact, there have been times when I half wrote that student’s essays. But some was lost in the process: including, how much did that student actually learn?
When I worked on developing educational models, my goal was never to ‘save people time’. What I did focus on, though, was how to try and make learning somewhat easier to access. Save, not time, but effort. And more open-ended: instead of saving time towards a pre-defined goal, increase the potential goals, or benefits, or the time spent learning. Because goals may change, particularly when one learns, and what seemed like wasted time then, may end up highly profitable . Happy times are a sure gain. And maybe, so is learning to deal with a measure of frustration.
I am reading a French book on Zhu Xi, compiler of Confucian knowledge and Chinese philosopher from the 12th century – a remarkable introduction to Chinese metaphysics. The fourth chapter, labelled ‘perfectionnement de soi’, focuses on education.
Speaking about meditation techniques borrowed from Buddhism and adapted to Confucianism, Zhu Xi writes: ‘To sit in calm is not about interrupting one’s reflection, unlike what happens in Zen sitting meditation. It is just about calmly collecting one’s heart and not letting it fly off to otiose ideas. The heart is then spontaneously in a state of serenity without any [disturbing] event, concentrated on its sole object.’ [This is my own second hand translation from the original Chinese via French]
I put down the book for a moment and pondered. I have been through years of schooling in France – and here in Australia. Not only did I receive solid knowledge, but I was also trained – rather well, I believe – in structuring and communicating ideas through language. Yet I cannot recall any specific training in the art of concentration. Looking back – how surprising! For I had to spend considerable amounts of time reading, memorising, analysing, and writing during those years of study. Yet the core competence to support this effort – the capacity to concentrate – was never part of the curriculum.
Here, I believe, lies the radical optimism of Confucianism: not only can people memorise facts and dates and not only can they derive knowledge from this information; more fundamental competences – attention, listening, concentration – can also be taught, irrespective of bloodlines or family background. If only western educators and institutions today could show the same level of optimism, and instead saw the systematic training of cognitive and emotional core strength as a full part of their mission!