Nathan Schneider’s article about the Joy of Slow Computing is a fantastic first step to the book the world needs on this subject! It’ll be like the Joy of Cooking or the Joy of Sex (definitive informative work on going deep on the topic in a way that is engaging and timeless). The brogrammer culture that further genders am already male identified dominate culture has made the tech/geek space hustle and unfriendly to folks” the learning curve as people like Lilly have already pointed out. There are of course other intersections of identity to consider in this quest such as race and class. Taking hours to switch your digital life over is something of a luxury for the middle to upper class who either have savings or one job around which they can work on such a time heavy hobby and endeavor. Similar to low income individuals being separated from the tech community because of the high entry price of time that folks need to work their jobs while going to school, etc. There is also the hegemonic nature of tech groups, thankfully changing to better reflect the population at large. But as a black woman, I’ve already experiences how I have to pay a black tax and a gender tax (work twice as hard to get half as much) in other areas of my life and tech spaces are very similar. The proving of oneself already inherent in such spaces is coupled with the surprise, shock, or distrust that a woman, a BLACK one no less can hold her own as a coder/programmer/gamer etc makes that learning curve more like a black diamond slope I’m at the bottom of (as a beginner) and have to schlep my way up to the top without one of those handy ski lifts. More of the culture, as ppl like me join and participate, is forced to change and hopefully together we can flatten the learning curve and lower the cost of entry to slow computing.
Tag-Archive for » gender discrimination «
I’m thinking that in the field of techno arts and new media we need a Guerrilla Girls test, formed on the general model of Allison Bechdel’s infamous Bechdel test. Exhibitions, publications, conferences, and other public fora would have to pass the following criteria:
(1) There are more than an obviously token number of women involved. Let’s lowball it and take 25% for now, though obviously the number to shoot for is 50%.
(2) These women are not all chosen from within the organizing group—the editorial team or gallery staff, for instance.
As I write this, I pause to salute the Guerrilla Girls, who started trying to make this problem go away in the mainstream art world three decades ago.
I got to thinking about this because somebody recently pointed me to a newish publication, HOLO, from Creative Applications Network. The CAN website is plugging their first edition of HOLO like crazy:
226 pages, 34 contributors from 8 different countries, 12 months of blood, sweat and tears – the first issue of HOLO magazine, CAN’s exciting print spin-off that is “more a book than a magazine,” is near. And it’s bigger and better than what any of us could have hoped. Kickstarted in late 2012, HOLO set out to go beyond CAN’s daily project feed, step into the artist’s studio and uncover “the things we’re missing from the web: the faces, personalities and anecdotes behind important work”. A year of full-on, globe-spanning production later, we’rewe’re proud to say that HOLO is so much more than that. A unique blend of editorial formats, voices and ideas, HOLO captures what we feel no other print or web publication does: a carefully curated, comprehensive and people-centric snapshot of the creative dynamics at the intersection of art, science, and technology.
Here and on the main magazine page, they name-check 20 of the 34 contributors that make this a “comprehensive” look at “important work”: Philip Beesley, Greg Borenstein, James Bridle, Derivative, Eno Henze, Golan Levin, Wolf Lieser, Tim Maly, Raquel Meyers, NORMALS, David O’Reilly, Chris O’Shea, Ivan Poupyrev, Paul Prudence, Semiconductor (Ruth Jarman and Joe Gerhardt), Jer Thorp, Mitchell Whitelaw, Will Wiles, and Zimoun. Leaving aside the gender-indeterminate Derivative and NORMALS, 16 of 18 are men and 2 are women, or 11%. Either they’re hiding all the contributors who are women, or they just aren’t there.
This pattern continues elsewhere. Here is the mission statement of CAN itself:
CreativeApplications.Net [CAN] was launched in October 2008 and is one of today’s most authoritative digital art blogs. The site tirelessly beat reports innovation across the field and catalogues projects, tools and platforms relevant to the intersection of art, media and technology. CAN is also known for uncovering and contextualising noteworthy work featured on the festival and gallery circuit, executed within the commercial realm or developed as academic research. Contributions from key artists and theorists such as Casey Reas, Joshua Noble, Jer Thorp, Paul Prudence, Greg J. Smith, Marius Watz, Matt Pearson as well as CAN’s numerous festival involvements and curation engagements are a testament to it’s vital role within the digital arts world today.
Skipping over the grammatical error in the last line, one notices that of 6 people name-checked (presumably due to their importance), 6 are men. Representation of women: 0%.
And here is the masthead of CAN:
Filip Visnjic (fvda.co.uk) – Founder, Editor-in-Chief
Greg J. Smith (serialconsign.com)
Alexander Scholz (alexanderscholz.com)
Amnon Owed (amnonp5.wordpress.com)
Joshua Noble (thefactoryfactory.com)
Mike Tucker (mike-tucker.com)
Casey Reas (reas.com)
Paul Prudence (dataisnature.com)
Matt Pearson (zenbullets.com)
Emilio Gomariz (triangulationblog.com)
Andreas Zecher (pixelate.de)
Jer Thorp (blprnt.com)
David Wallin (whitenoiseaudio.com)
Nial Giacomelli (nial.me)
Jason Franzen (formationalliance.com)
Richard Almond (rafolio.co.uk)
Of this list of 16 names, 16 are men. Representation of women: 0%.
Does not pass the Guerrilla Girls test. Not even close.
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.
“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.