Tag Archives: Heather Dewey-Hagborg

Ars Electronica and gender

A Sept. 12, 2016 essay in the Guardian by Heather Dewey-Hagborg, Addie Wagenknecht, Camilla Mørk Røstvik, and Kathy High discusses the festival’s top prizes and the preponderance of male winners (Note: Links have been removed),

Today [Sept. 12, 2016] is the last day of the annual Ars Electronica festival, held in Linz Austria. Over the past 37 years it has aimed to provide an environment of “experimentation, evaluation and reinvention” in the area broadly defined as art, technology and society. Its top award, the Golden Nica, honours forward-thinking work with broad cultural impact, in an effort to “spotlight the ideas of tomorrow.” However, the prize, hailed by many in the field as the top honour for artists working with science and technology, has a gender problem.

This was uncovered by artist Heather Dewey-Hagborg after she received an honourable mention in the Hybrid Arts Category last year. The prize’s online archive showed that throughout its 29-year history, 9 out of 10 Golden Nica have been awarded to men.

It was only weeks before the festival and her work was already shipped. Unable to withdraw, Heather began discussing the problem with other artists to develop a plan. A painstaking review of the statistics confirmed that more than 90% of winners self-identified as male. Although fewer women had applied, there was no shortage of great female artists among the applicants: the archive included internationally recognized women such as Rebecca Gomperts, Lillian Schwartz, Mariam Ghani, Pinar Yoldas, Daisy Ginsberg, Holly Herndon, Kaho Abe, and Ai Hasegawa. In response, Heather and the other artists developed a social media campaign: #KissMyArs.

There was an interesting response to the campaign (Note: Links have been removed),

… While many were supportive, some voiced disagreement, including 2013 Golden Nica winner Memo Atken. He commented on what he viewed as the campaigners’ misrepresentation of statistics, focusing only on the winners rather than diversity of submissions. After being confronted with a significant backlash to these comments on social media, pointing out among other things that the prize was not a lottery and there was no shortage of impressive female applicants, Atken apologised.

On the flip side artists Golan Levin and Mushon Zer-Aviv critiqued the campaign as not being radical enough for their liking and calling for a “feminist revolution across media arts.”

The two artists criticizing the campaign are both male and far less likely to suffer the kind of repercussions that women do. From the Sept. 12, 2016 essay,

In an insular field like art and technology, making a statement means that you risk your career. Heather Dewey-Hagborg writes, “My participation in this campaign stemmed from a frustration that this highly esteemed prize was one designed for men, and others need not apply. As women in art and tech we are consistently under-recognised, under-funded, and written out of history. We are made to feel that our work must simply not be as good as that of our male peers, and if only we made better work we would attain the same accolades and accomplishments as they did. Last year I finally realised that this was bullshit.”

Addie Wagenknecht, a collaborator on the campaign, became aware of issues of gender bias in the tech industry when she joined a game development company out of college. Constantly surrounded by “a few thousand men” at game conferences started to feel suffocating, although a decade later she felt a shift in attitudes, not only toward women but also people of colour and from LGBTQ communities.

Nevertheless, Addie sees Ars Electronica’s top prize, as “the perfect metaphor of how women are represented”. It is a golden sculpture of an idealised female form, with her head cut off: “I find the irony in the ‘award’ being of a headless woman, to speak volumes towards how we commodify women within the communities in which we claim to be honouring.” She sees the male-bias of the prize as connected to a larger systemic problem which excludes women from exhibitions, under-cuts and discounts women’s work in galleries, and ultimately cuts women out of the larger canon of contemporary art.

The systemic issues mentioned by Dewey-Hagborg and Wagenknecht can also be seen in the world of film. A July 12, 2016 article by Nico Lang for Salon.com discusses film criticism in the context of the ‘all women Ghostbuster’ reboot (Note: Links have been removed),

After months of fanboys arguing over a movie no one has even seen, critics finally got a peek at Paul Feig’s “Ghostbusters” reboot, in which comedians Leslie Jones, Kate McKinnon, Kristen Wiig, and Melissa McCarthy suit up to fight the supernatural. And much to the relief of everyone who has spent months preparing themselves for the worst, the consensus is mainly positive: The film currently holds a 77 percent fresh rating on Rotten Tomatoes.

There is, however, a growing gender divide over the film’s reception. As of the time of writing, the film’s scores from female reviewers are considerably higher, with 84 percent of women giving the movie a thumbs up. Time’s Stephanie Zacharek comments, “The movie glows with vitality, thanks largely to the performers, who revel in one another’s company.” Meanwhile, the New York Times’ Manohla Dargis writes that it’s “cheerfully silly” and Kate Muir of U.K.’s The Times says it’s a “rollickingly funny delight.”

On the flip side, 77 percent of the critics who gave the film a thumbs down are male.

Roger Ebert’s one-time sidekick, Richard Roeper, called it a “horror from start to finish,” while David Rooney of The Hollywood Reporter referred to “Ghostbusters” as a “bust.” That disparity has hampered the film’s reception: Currently, there’s a 10 percentage point difference between male and female opinion on the movie. If reviewing were left up to male critics alone, “Ghostbusters” would have a 74 percent approval rating.

What gives? As Meryl Streep pointed out in a 2015 speech, this discrepancy is likely due to the fact that in a way, these critics are watching two different movies.

“Women are so used to that active empathizing with the active protagonist of a male-driven plot,” Meryl Streep said during a 2015 panel. “That’s what we’ve done all our lives. You read history, you read great literature, Shakespeare, it’s all fellas. But they’ve never had to do the other thing. And the hardest thing for me, as an actor, is to have a story that men in the audience feel like they know what I feel like. That’s a really hard thing. It’s very hard thing for them to put themselves in the shoes of female protagonist.”

Because men are commonly treated as the default in movies—the everyman who stands in for the audience—they rarely are forced to empathize with others’ perspectives. If cinema does not reflect men’s experiences, it can, thus, be difficult for male audience members to see themselves in the picture in the way women are forced to. That affects not only the way that men interact with movies but also how they review them.

I wonder if this same type of bias, the man’s perspective and approach to art and technology as the default might also affect the Ars Electronica prize system?

In any event, there’s much food for thought in both the Guardian piece (which offers some suggestions for positive change) and the Salon piece (which has some fascinating statistical information on how female critics and male critics differ in their judgments).

Stranger Visions at Woodrow Wilson International Center for Scholars June 3, 2013 in Washington, DC

I got a notice from the Woodrow Wilson International Center for Scholars Science and Technology Innovation Program about an art/science presentation taking place on June 3, 2013 in Washington, DC. From their May 30, 2013 announcement,

Stranger Visions: The DNA You Leave Behind

Heather Dewey-Hagborg is an information artist who is interested in exploring art as research and public inquiry. In her recent project Stranger Visions she creates literal figurative portrait sculptures from analyses of genetic material collected in public places. Working with the traces strangers unwittingly leave behind, Dewey-Hagborg calls attention to the impulse toward genetic determinism and the potential for a culture of genetic surveillance. The project raises questions about the DNA we leave behind, privacy, and numerous legal and bioethical issues.

Designed as a provocation, Stranger Visions has been featured in the international news media, including Smithsonian, CNN, the New York Times, and National Public Radio.

In this exhibit and policy discussion, Dewey-Hagborg will discuss her process and progress on Stranger Visions. She will join Professor Sonia Suter of the George Washington University Law School and Dr. Todd Kuiken and Eleonore Pauwels of the Synthetic Biology Project  in a discussion and public Q&A about the bioethical, legal, and policy dimensions of the work.

You must register to attend the event. No RSVP is required to view the webcast.

Click here to RSVP. [If you are attending in person; viewing the webcast does not require an RSVP]

*** Webcast LIVE at [http://www.wilsoncenter.org/event/stranger-visions-the-dna-you-leave-behind]***

 

What: Stranger Visions: The DNA You Leave Behind

When: June 3, 2013 from 3:00 p.m. – 5:00 p.m.

Who:Heather Dewey-Hagborg, Information Artist and Ph.D. Candidate at Rensselaer Polytechnic Institute; Professor Sonia M. Suter, George Washington University Law SchoolNancy J. Kelley, JD, MPP; Founding Executive Director of the New York Genome Center; a representative from the FBI is tentatively scheduled to discuss their methods and protocols surrounding DNA collectionand analysis.

Dr. Todd Kuiken and Eleonore Pauwels of the Synthetic Biology Project will moderate the session.

Where: Woodrow Wilson International Center for Scholars

6th Floor Board Room

Ronald Reagan Building

1300 Pennsylvania Ave NW

Washington, D.C.

For directions, visit: http://www.wilsoncenter.org/directions

To learn more about the Synthetic Biology Project, visit: http://www.synbioproject.org/about/

It was not immediately apparent to me that this event is being held as part of the Center’s Synthetic Biology Project event series. Interesting approach to bioethical and other issues.

ETA June 3, 2013: Eleanore Pauwels, one of the Wilson Center researchers on the panel, wrote a May 31, 2013 commentary on some of the issues raised by Dewey-Hagborg’s work on Slate.com (Note: Links have been removed),

… Heather Dewey-Hagborg, a 30-year-old Ph.D. student studying electronic arts at Rensselaer Polytechnic Institute in Troy, N.Y., has the weird habit of gathering the DNA people leave behind, from cigarette butts and fingernails to used coffee cups and chewing gum. She comes to Genspace to extract DNA from the detritus she collects and sequence specific genomic regions from her samples. The data are then fed into a computer program, which churns out a facial model of the person who left the hair, fingernail, cigarette, or gum behind. Using a 3-D printer, she creates life-sized masks that offer a depiction of what the anonymous DNA donor might look like. And they may be coming to a gallery wall near you, with a show at the New York Public Library slated for early 2014.

Such a process might seem artistically cutting edge to some. But, for most of us, the “Yuck!” factor kicks in quickly. Whether you find it cool or creepy, though, this DNA-profiling experiment raises a number of legal and ethical questions that no one knows how to handle. To what degree does the DNA we leave behind in public spaces belong to us? Does a facial mask without a name raise the same issues as a photo? In either case, what exactly is our expectation of privacy?

Just because an individual sheds DNA in a public space does not mean that he or she does not care about preserving the privacy of the genetic material. There was no informed consent given to access that data. On the other hand, some might say the major problem is not unauthorized access to data but misuse of data. It is easy to imagine a scenario in which someone sequences the genome of an acquaintance (or rival) who left a cigarette behind. If the person who tested the cigarette found a risk gene for a mental disorder and posted the results on Facebook with the smoker’s name, the information could affect his social and professional life.

…  To what extent do genetic traits (such as ancestry) tell you about how a person looks? Based on the analysis of these genetic traits, how accurate is the 3-D facial model produced by the computer? At the request of a Delaware forensic practice, Dewey-Hagborg has been working on a sculpture from a DNA sample to identify the remains of an unidentified woman. This opens another black box at the connection between law enforcement and what we might call “DIY forensic science”: Here, what is the role of the state versus that of the individual?

I recommend reading the commentary in its entirety. As for the questions Pauwels raises, I’m wondering how I’d feel if I saw a mask that l00ked like me at the New York Public Library in 2014. Of course, that begs the next question, would I recognize myself?