Ethics and Public Sector Management: The Western Australian Experience

This paper considers two specific difficulties in developing a code of ethics for the public sector, the contested nature of the values to be expressed in a code of ethics and the organisational demands of a corporate managerialist framework which uses performance indicators. Using the example of the Western Australian public sector code of ethics, the authors conclude that a good strategy for developing a public sector code of ethics will recognise contestability, demonstrate philosophical integrity in the code, mesh the code with identified performance indicators and provide whistleblower protection. The strategy described provides a sufficient framework for any public sector bureaucracy to develop a justifiable code of ethics for use by public sector employees.     

Offsetting Uncertainty: Reassurance with Two-Sided Incomplete Information

Conventional models of bargaining and reassurance under incomplete information assume that actors' behavioral signals are objectively cooperative or noncooperative. Even if actors are uncertain of each other's preferences, they know what types of actions the other will view as cooperative. Yet on many real-world issues, cooperation is subjective, and what constitutes a cooperative action is conditional on the receiver's preferences. We present a formal model showing that in these cases, two-sided incomplete information actually incentivizes honest behavior and facilitates credible signaling. Because uncertain senders do not know whether a particular action will be interpreted as cooperative, they have little incentive to misrepresent, and instead honestly pursue their true goals. Thus, where cooperation is subjective, mutual uncertainty is “offsetting,” such that credible signals allow actors to quickly and accurately update their beliefs. We illustrate this logic through a case study of the Sino–Soviet split, and highlight the model's implications for contemporary U.S.–China relations.     

Ulrike Marie Meinhof's Bambule and the Censorship of Terrorism in the Arts

Ulrike Marie Meinhof's televised play Bambule was not broadcast for fear that it would elicit sympathy for the terrorist organisation she founded. This is despite there being no justification of violence for political ends. The withholding of funding and sponsorship continued into the late 1980s for works that condemned violence, but which also refused to provide positive support for the anti-terrorist measures of the state. Although understandable when a society is confronted by a crisis such as terrorism, it may hinder both the understanding of the complexities of political violence and debate over the issues it raises.