Summary
The Skeptic Editor Michael Marshall talks to Matthew Sweet about how we judge actions and truth. They're joined by New Generation Thinkers Elsa Richardson, who is a historian of the emotions at the University of Strathclyde working on a popular history of the gut-brain connection and digestion more widely, and Brendan McGeever, who teaches on sociology, racism and anti-semitism at Birkbeck, University of London.
Producer: Julian Siddle
Transcript
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| 0:00.0 | Can I just say? |
| 0:01.5 | You're about to listen to a BBC podcast. |
| 0:04.0 | It's such a wonderful listen. |
| 0:05.6 | So nice. |
| 0:06.5 | There are loads more like it on BBC sounds. |
| 0:08.8 | Different paces, different heights. |
| 0:10.6 | The roof is buckling. |
| 0:11.9 | Where you can also listen to live sports commentary. |
| 0:14.2 | It's right foot goes for goal. |
| 0:16.7 | And then enjoy even more podcasts full of analysis and reaction to the big stories. |
| 0:21.7 | The stat that is astonishing is they ended with the lowest amount of possession. |
| 0:25.2 | And she's had to live with that. |
| 0:26.8 | So if you love sport, a passion, it's almost like a religion. |
| 0:29.7 | Listen on BBC Sounds. |
| 0:31.7 | Sort of expecting that every week now. |
| 0:34.6 | This is the Arts and Ideas podcast, if you can stomach it. I'm Matthew Sweet and soon |
| 0:40.4 | you'll be going on a journey through the gut, its biology, its politics and its philosophy after |
| 0:47.1 | this message. I'm Tom Service and on the listening service every week I explore a universe of musical connections, sounds, |
| 0:57.8 | ideas and emotions that bind Gustav Marler to Miley Cyrus, Anna Meredith to Wolfgang Amadei |
| 1:05.5 | Mozart, classroom recorders to the Mandalorian soundtrack, Claude Debussy to Freddie Mercury, Johannes Brahms, |
| 1:13.0 | to Rick Wakeman. You've just got to lose your inhibitions about what genre it is, who wrote it, |
| 1:19.7 | played it and when, and realize that the whole musical universe is right there, that it belongs to |
... |
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