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Be Careful What You Wish For?

I am impelled to write this out of fury as I watch American women’s right to affordable birth control (including abortion) get sacrificed in the Democrats’ push to pass a health care reform bill. I don’t even have much new to say on the subject that hasn’t been written elsewhere (see for example this post on doublex.com). In California, where I live, we have become used to watching a minority—Republicans—hold the will of the majority hostage through the rule that a 2/3 majority is needed to pass anything through the Legislature. This is exactly what is happening at the national level—a very small handful of Congresspeople—in this case, Democrats—has succeeded in holding the health care reform effort hostage to their outdated and misogynist views on birth control. Over 90% of American women use birth control at some point in their lives, and all of these women and their partners—representing a substantial majority of the country’s population—are going to be harmed by this perceived need to pander to a few legislators.

The phrase “be careful what you wish for” suggests that when one gets what one wants, there are usually unintended consequences that turn the moment into a Pyrrhic victory.  Certainly this looks like one of those moments for American women: take a big hit in the pocketbook, or even be forced by economic necessity to give up birth control altogether—which will be a catastrophe for many women and their partners—in order to get reform of a health care system that already discriminates against women (for example, in its pricing mechanisms). Yet even as I am placed in this double bind by Congress, I don’t find myself wishing I’d “been careful” and hadn’t supported the push for health care reform.  “Be careful what you wish for” implies an irreconcilable choice, but there is no sound reason why 100 million adult American women should not have both health care reform and insurance coverage of birth control.

I see this as a classic case of a technology that doesn’t have a powerful enough interest group behind it. Which suggests both that American women still have a long way to go in owning their fair share of political power, and that people should be much more skeptical about the socio-political mechanisms by which new technologies get adopted. If a small group can derail such an important and widely used technology, then in the case of a successful technology one should always look for the power groups that pushed it through and not just assume that it was bound to happen that way.

I find myself fantasizing about a last-minute rescue of the birth-control provisions of the health care reform legislation, or about some kind of constitutional challenge eventually going forward to the Supreme Court. The first fantasy is pathetic and the second—given the present makeup of the Roberts Court—seriously deranged. But fantasy is one of the pernicious side effects of political impotence.

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Cartoon We

In an idle moment the other day (yeah, I really shouldn’t admit to having those in academia), I loaded into my Firefox an add-on I found on Facebook called MyWebFace that promised to let me make a cartoon image of myself.

An aside: I might add that I found this app only because I was searching the Facebook ad board looking for an ad that I would be willing to  ‘thumbs up’ to appear alongside my page. Not only did I find no such thing, I discovered that Facebook now does not allow users to ‘thumbs down’ an ad. Possibly this is my fault, since I relentlessly thumbs-downed (down-thumbed?) dozens of ads in my first weeks on Facebook, hoping to help skew the ad pool toward public service ads and away from shopaholic ads (the bulk). It always gives you a good feeling as an adult citizen of a republic when your options are: you may approve of this, or you may approve of this.

cartoon-meBack to MyWebFace. It’s set up as a kind of simple Identi-Kit, allowing you to construct your face from mostly predictable parts: noses, eyebrows, lips, etc., all of various shapes. Size, color, and placement of most objects can be adjusted. After I was finished, I ended up with what you see here. Anyone who knows me will see that this is not a good cartoon of me; the reason for this lies in the kinds of choices the software gives—and just as importantly, withholds. Eyebrows, eyes, and mouths come in a fair range of shapes (not enough noses, though). Skin color is wide open– a matter of picking from a palette of millions of shades.

For face shape, however, you appear to be stuck with a default upper half of the face and a modifiable chin. Result for me: entirely wrong face shape. (Oddly, you can choose various kinds of ‘blush’ for your cheeks, as if that is more important than basic face shape.) In addition, the general body type is  too skinny for me and not modifiable (this head shot is a detail of a full-length image). Hair style: no options match my admittedly idiosyncratic style. Accessories: no glasses frames match the ones I wear. Hair accessories and hats: nothing matches what I wear; the earphones were the best option because I use them when playing online games. Clothing: nothing really matched in the limited choices, largely because almost all the clothing styles skewed at least a decade younger than I am. In general, registering aging was not an option. You can make your hair all blond/red/brown/black, or all gray, and nothing in between—no one in MyWebFace’s world is grizzled. There is one pane for wrinkles, but they’re so lightly drawn and weirdly thought out that they don’t make the face look older so much as scribbled on. Basically, you can’t make yourself look older than about 25 with this software (or to be fair, much younger either; no kids need apply). Can you say target demographics?

Filippa HamiltonCoincidentally, as I was halfway through writing this, I stumbled on the image below over on boingboing.net, in a post rejoicing in the wonderful  title “Ralph Lauren opens new outlet store in the Uncanny Valley.” They credited a favorite site of mine, Photoshop Disasters, where the image has since been made to disappear by a DMCA-wielding Ralph Lauren; see this Huffington Post entry for a similar threat against boingboing. Ralph Lauren has admitted to their “poor imaging and retouching that resulted in a very distorted image of a woman’s body.” Yet model Filippa Hamilton was fired by Ralph Lauren last April; she says they told her she was overweight. So fashion logic has finally created the inevitable impasse for itself, in which the cartoonized emaciation of this image is “very distorted” but a 5’10” model weighing 120 lbs is “overweight” (although one might want to take models’ claims about their height-to-weight ratio with a grain of salt; given the constraints of their job, they have every incentive to modify this figure to gain professional advantage.) In other words, at ground zero of the American female body image, the concept of “just right” has at last shrunk to a complete null set.

My reason for making this post, though, has less to do with the general problem of body image than with the propagation of this cartoonization through software—through Photoshop, which allows it (but does not require it; you can just as easily make yourself fatter and older in Photoshop), and MyWebFace, which actually requires it. What has previously been reinforced through consumption of media created by others, we are now made complicit in reinforcing through the software we ourselves use and the objects we ourselves make.

Dusting off the patriarch

For those of us who grew up in Massachusetts, immunized by long exposure to the national obsession with All Things Kennedy (sort of like 18th century milkmaids and cowpox?), this has been a long week of déja vu. Without detouring into the late Senator Edward Kennedy’s complex life, I want to consider why the media seemingly finds it impossible to refer to Kennedy without using the term ‘patriarch’—and, in at least one case that I stumbled across, ‘revered patriarch’. Of course, in our democracy there is no longer any legal sanction for the position of patriarch as head of an extended family, as that terrain of authority has been partitioned up among the much more modest scopes of “head of household,” “parent,” “guardian,” and the like, while expanding to include both men and women. In one sense, patriarch is now little more than an honorific designating the high influence within a family exerted by a senior male (although I should note that saying it is “little more than” an honorific does not do justice to the fact that by sheer repetition, honorifics reinforce the importance of the status that they assert).

However, the relentless appearance of the term coupled with Senator Kennedy’s name suggests that the word is doing other work as well, serving as code for what cannot be said otherwise. For one thing ‘patriarch’ makes visible a large number of otherwise irrelevant individuals by linking them up into a subordinate web: not just family, but abject family. It is impossible to use the word patriarch without envisioning a vast faceless horde milling about aimlessly, waiting for the patriarch to tell them what to do. Somewhere a Kennedy third cousin once removed is living some kind of life that has nothing to do with the ‘clan’, but evoking the word patriarch immediately sweeps this person into a crowd. One consequence is thus to make the patriarch’s position of informal influence seem larger than it may actually be. There is no question that Senator Kennedy was hugely influential in Congress, in the formal context of his job; but was he really the go-to guy for all those hundreds of random individuals linked by accidents of birth? To put it another way: doesn’t it actually put Kennedy down to suggest that he was influential because of progeneration rather than because of his own competence as a Senator?

Another function of the word patriarch in this particular instance may be to allow the media to underline the size of Senator Kennedy’s family—one of nine children himself, he has numerous near relatives in his own and the following generation—without getting bogged down in often fractious debates on family size in America. ‘Patriarch’ can thus serve as code for suggestions about Catholic fertility or male virility that the writer doesn’t want to explicitly adumbrate for fear of offending someone. It is left to the individual reader to decode the hidden text.

I believe that the chief work the word does in this context, however, is to express the realities of nepotism without going into the ugly details. Senator Kennedy’s father, Joseph P. Kennedy, ruthlessly bought, bartered, and finagled his way to wealth and power, and then used both to further political careers for three of his sons. Their individual qualifications for the jobs they held aside, they each benefited from Joe Kennedy’s machinations on their behalf; and this pattern has been replicated in the following generation. Certainly nepotism is no new force in American politics; indeed, a 2003 article in Atlantic Monthly by Adam Bellow argues that this is a golden age of dynastic politics (Bellow sees political nepotism as a force for both good and bad). ‘Patriarch’ puts a normative face on this reality that serves to sweep it back under the rug.

I do realize that this is something of a basic gloss on Patriarchy 101; also that I have not addressed the rather dissimilar use of the word ‘matriarch’ in connection with the Kennedys. But I do find it interesting that not all the disquisitions on patriarchy over the last half-century could keep journalists of all stripes from reflexively grabbing for ‘patriarch’ as a term of admiration when Senator Kennedy died.

Enough, already.

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blogging the numbers

I stumbled on an interesting post over at double X blog that roundly criticized much writing about how women have been affected by the economic downturn as “recession lite.” Its central complaint amounts to too much soft news, not enough numbers. The author—Linda Hirshman, a retired professor of philosophy and women’s studies at Brandeis—goes on to commend a number of feminist blogs and initiatives that are making a point of grappling with the relevant statistics, with an eye to affecting public policy.

I don’t know how accurate Hirshman’s overall picture is—though I picked up on it partly because I had long since become annoyed myself about all those silly depressionista stories about how Clipping Coupons Saves Thousand$! or When Mom and Dad Move In to Your Basement! Hirshman is mainly taking women writers to task for this, so I don’t know if she shares my (admittedly anecdotal) sense that just as much of this fluff is coming from men as from women writers but wants to hold feminist bloggers to a higher standard, or if she really thinks women writers churn out more anumerical fluff than men do.

If the latter is true, I am left wondering: is this one of the predictable downstream effects of an acculturation process that has pushed so many women away from mathematics in high school? Or an effect of longstanding gender assumptions in the publishing field, regarding both which stories women reporters should cover and which stories women want to read? Or both? Or, more optimistically, is the interesting story here to be found in the signs of a reversal, given that recent statistics show more women now take advanced math in high school and beyond (e.g. the 2008 study published in Science)?

OK, count me also guilty here of speculating about trends in the absence of good—make that: any—numbers. So tempting, and so dangerous…

where women aren’t

An interesting discussion has been taking place on the ‘faces’ listserv of women in media and communication arts concerning the continuing underrepresentation of women artists in galleries and other exhibition venues. Artist Deborah Kelly started the discussion off with a post entitled “Are there any women artists in France? At all?,” writing:

“I just received the regular newsletter from the Palais de Tokyo, which has a very active program which seems to show male artists exclusively. Not that the curators ever feel the need to mention or notice or highlight (OR EXCUSE) such a thing….

Women are ‘mysteriously’ vanishing from public life and art— perhaps partly because we stopped counting and calling to account.”

In the deluge of responses, many different aspects of this frustration were articulated: that when the issue is raised in public forums, men don’t see a problem or a need to participate in the ensuing discussion; that women curators don’t show enough women artists; that the need for Guerrilla Girls style activism never seems to abate. The writers are calling the situation bad everywhere, and some participants voiced concern that the situation is actually getting worse (and I would guess that it is likely to continue doing so, given that the poor state of the world economy will tend to make people behave more conservatively in general).

From artist Anne-Sarah Le Meur:

“I began to boycott exhibitions with 100% [male] participants. In France, if you have 10% women, you should be happy.”

From artist and writer Martha Rosler:

“In 2005 or 2006 a young male German curator working in England told me that a young male French curator had proposed a show for the English institution, and the curator says he exclaimed in shock, ‘But there are no women!’ The French guy stared at him and replied, ‘We don’t have to think about that any more!’….

Guerrilla Girls are still working hard here in the US because things are slipping back back back… And women artists are still disrespected by most critics.”

From artist Perry Bard:

“I just came back from Beijing where I’m in a show with 10 male Chinese artists and 10 artists from US male and female. When I asked the curator why no women he said they weren’t ready yet.”

Not to pick on China, but—over half a billion women and none of them are ready?

For a look at some recent statistics for Australia, check out the CoUNTess blog (“women count in the artworld”), which features a spreadsheet summarizing the poor situation on that continent.

In new media, digital media, computer art, techno-art, and related “hot” areas, a number of observers (myself included) have noted a closing down just in the last decade or so. That is, in the early 1990s, when the web was new and hardly anyone knew what “new media art” or “internet art” or “interactive art” or any of those other neologisms might be, women were much more visible and exhibitions were more inclusive than they are now. (It would be interesting to see some research nailing down this anecdotal evidence.)

One question this raises is the degree to which the problem in the techno-arts is not just one of inadequate curating, but might also have to do with women leaving the field in discouragement (or not entering it in the first place). Speaking from my own limited experience as a curator in the United States, I would venture that both are at work. In 2000, I co-curated a show on computer games and art (SHIFT-CTRL) that included roughly 40% women (the numbers are difficult to count precisely since several companies and large collectives were included). Four years later, when I co-curated a sequel exhibition on independent and alternative games (ALT+CTRL), the proportion of women artists was much lower despite energetic efforts by all three curators to recruit women for the show—no more than 15%, a percentage that reflected the tiny proportion of women who responded to the show’s open call and to our recruitment efforts. If I had this latter exhibition to do over, I would handle it quite differently; I feel that we missed a real opportunity to take issue with the culturally embedded notion that games are a male domain.

The question, as always, is: what is to be done? Several listserv participants noted that some women artists, perhaps especially younger artists, don’t want to be included (or made to feel they’re being included) in shows as part of a quota of women. But as artist and writer Faith Wilding noted in her response:

“Maybe tactics of solidarity have to be invoked again—if you are the only, or one of the only women artists invited to an exhibition, conference, etc. then tell them you won’t participate unless they change the list (also make them think about needing to include differences in general).”

And Martha Rosler likewise noted that it is critical that women own the fight and not succumb to that maddening sense that it should have been won by now.

She added:

“In 2003 a young female French curator held a panel in Paris about this very problem and the audience was packed with young women. One asked, in anguish, ‘Why did we fail?’ I could only answer that history is not yet over…”

And this is really why the problem has to be addressed vigorously. Exclusion from exhibitions is only the first stage in a vicious spiral. If you’re not in the exhibitions, you don’t get bought by collectors, who later pass their collections on to museums, who draw on those collections for future shows. And perhaps most importantly, you don’t get included in the books that periodically emerge summarizing the state of a field. You are literally written out of history. (And don’t count on the rewrite—it’ll have its own inaccuracies).

If this sounds like a call to arms, it is. And I’m not just talking to you (whoever ‘you’ are). It’s myself I need to remind, as much as anyone.

Gender on Ice

Gender on Ice (great title) is an upcoming conference at Barnard College, New York (Nov. 20-21) focusing on “the intersection of science, policy, race, and gender in the way the Arctic and Antarctic are studied, represented, inhabited, and imagined.” Participants come from an unusually wide array of disciplines — photography, women’s studies, astronomy, filmmaking, philosophy, art history, geography, environmental studies, science writing — so it looks to be an interesting conversation at the very least.

The conference kicks off with a screening of True North, a film about Matthew Henson, the first African-American to explore the Arctic with Robert Peary in 1909. For more information, check the Gender on Ice website.

man and machine

The image below is the call-for-entries flyer for a gallery show in nearby Costa Mesa:

Man and machine”? Are we to understand that the sexualized cyborg babe qualifies as both the man and the machine? Not human, not even woman; a convenient female assemblage of fetishistic flesh and prosthetics. Love that belt—is that the lock of a chastity belt or the metaphorical ‘lock’ of the always-available female? And it’s not enough to propose a union of art and the graphic novel; apparently it has to be a marriage, with all the conventionalized baggage of that state.

The statement of “Exhibition Intent” continues this line of thought:

“Artists will address the idea of man’s manipulation of biological and mechanical systems and their convergence in an improved and customized physiology: the perfection of the species.

I’ll spare you the rest of the futuristic drivel, but the key question appears towards the end of the intent statement:

“Can we, for example, design the perfect mate?”

I’d say the “answer” to this silly question is right there in the ad…

Full info, including show blurb, at the Grace Lane Gallery website.

The Battle Over Wikispace

Recently I was made aware, through a listserv I am on, of a contest that was taking place over a new entry on Wikipedia. Although anyone can add an entry to Wikipedia, likewise anyone can nominate it for deletion. Both entry writers and would-be entry deleters are supposed to follow Wikipedia’s guidelines for what constitutes a worthwhile article and not either add or delete items randomly or at whim. Of course, this is not necessarily what actually happens where the avatar meets the interface…

What I found interesting about this particular contest was that it highlights the phenomenon of editorial bias, which has been somewhat obscured on Wikipedia because of its “anyone can write for us” policy. I’m not talking about the problem of bias in individual entries (which has been much commented on) so much as the problem of imbalance in topics and categories—what you might call the categorical topology of Wikipedia—which in turn directly reflects the interests of Wikipedia’s self-defined pool of contributors. It hasn’t escaped my notice, for instance, that just about every U.S.-produced computer game ever released, no matter how obscure, has its own entry, while very significant international artists, especially women and people of color are completely absent. And that’s just to point to two areas I happen to be interested in; I’m sure there are many others. A rather funny article on the Something Awful blog shows up what it terms the “nerd bias” of Wikipedia (I would categorize it differently myself) by comparing the length and professionalism of generally useful entries to loosely related but silly entries—modern warfare vs. light saber combat, for example.

Wikipedia has recognized the problem and is trying to remedy it through what it’s calling the WikiProject: “Wikipedia project suffers systemic bias that naturally grows from its contributors’ demographic groups, manifesting as imbalanced coverage of a subject. This project aims to control and (possibly) eliminate the cultural perspective gaps made by the systemic bias, consciously focusing upon subjects and point of view neglected by the encyclopedia as a whole.” A creditable goal—though I notice that the light saber page is “part of WikiProject Star Wars, which aims to build an encyclopedic guide to the Star Wars saga on Wikipedia”– hardly a neglected topic on Wikipedia! In any case, I think the problem runs deeper and can’t be entirely fixed in this straightforward fashion.

Which brings me to the article in question, which was an entry on “cyberformance,” a term coined by a new media artist and theoretician named Helen Varley Jamieson to talk about a particular form of online performance practice. (Disclosure: I know Helen, and one of my essays is listed under “Further reading” for this entry, probably because I am one of the people who have picked up her term and started using it.) Reading the “Articles for deletion” page where the discussion for and against deleting the cyberformance entry took place, the first thing that struck me was how ludicrous the rationale by the would-be deleter was:

“I’m not going to call Neologism on this one, despite all the sources being self references to Second Life culture… however not every word has a topic associated with it that can be considered encyclopedic. There’s no acedemic [sic] view on “Cyberformances” and more importantly there is little to say on the matter that makes it any different from an extremely sad (POV) form of Real Performance.”

By my count (and leaving aside idiosyncrasies of punctuation and capitalization), that two-sentence comment by “Jimmi Hugh” contains one misspelling, at least two factual errors, and a total absence of reasoned argument. As a subsequent post by the entry’s original writer pointed out:

“Jimmi Hugh’s initial comment that the sources all reference Second Life is just plain wrong and implies a rather careless initial reading. In addition, to make a flippant passing judgment that this kind of work is “extremely sad” seems to me not in keeping with Wikipedia standards of discourse, especially when it is not backed up with an informed analysis of the current state of performance practice.”

My purpose here is not to argue for or against the cyberformance entry itself—indeed, those Wikipedians who took the trouble to discuss the matter in an informed manner were divided on whether it should be kept or deleted, and as of this writing the decision is ‘no consensus’ (which in Wikipedian jargon means the entry stays for the time being). My point has to do with the way in which it was nominated for deletion in the first place. It’s remotely possible that Jimmi Hugh targeted the cyberformance entry through some obscure logic of his own, perhaps as part of a personal campaign to delete entries beginning with the letter c. But given the tenor of his comment, I can’t help thinking that his attempt to have it deleted is a reflection of virulent assumptions about who and what is worthy—assumptions that I suspect are not just individual to Jimmi Hugh but actually underpin the systemic topical bias of Wikipedia. Certain topics, like games, are in effect pre-validated on Wikipedia; and although I have only the evidence of my own casual browsing of entry histories, I seriously doubt that individual entries pertaining to those topics have to meet much, if any, scrutiny of their right to exist. The bar to entry is set low. Other topics—like, say, an unusual form of performance significantly associated with female practitioners—are forced to fight for initial validation. Fighting to be at the table, so that you can then fight to be heard in the discussion—sound familiar?

WikiProject can encourage people to write entries on missing topics—but it can’t keep the next Jimmi Hugh from reflexively pushing the delete button.

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beta-testing on a grand scale

About a week ago, I heard a radio commentator whose beat is the stock market exclaim, “The market is broken!” What struck me about this is that nearly all such market commentators, whether on NPR or Fox, are free marketeers who at most pay lip service to what one might call ‘regulation lite’. So I found myself wondering in what possible sense could the present crisis be construed to mean that the free market is broken? On the contrary, isn’t this a classic example of a (substantially) free market working… freely? Notably, the mess around credit default swaps and other new derivatives has happened in precisely the least regulated areas of the market. I’m no economist myself, but I have to wonder what it means when something that operates as it’s supposed to is nonetheless taken to be broken, not by its critics but by its adherents. For one thing, it suggests that a good many people who argue for free markets actually don’t understand the concept (taking the promise of good outcomes on faith, an economic religion) or engage in self-deception, preferring to look only at the upside. I suspect that either position–the faith or the self-deception–is enabled by belonging to the safer zones of the middle class and becomes harder to sustain the closer you get to the economic margins.

Speaking of credit default swaps, it occurs to me that the slew of such financial instruments being invented over the last decade constitutes a new technology of money, and that what the banks that promulgated them have been doing is beta-testing them on us. Forced, de facto beta-testing is nothing new (think Microsoft Vista), but I wonder if one consequence of the computer era is that we have internalized the idea that such beta-testing of new technologies without consent of the testees is socially acceptable. If Microsoft can do it to its user base, AIG can do it to, in effect, everyone. Bioengineering is another obvious example of a field in which citizens have been beta-tested (through their food) without prior consent. To put it another way, free market capitalism normalizes large-scale beta-testing as as an opt-out rather than an opt-in system–but without any easy way to opt out.

We’ve had several hundred years of beta-testing free market capitalism. I hereby volunteer as a beta-tester for a true American social democracy.