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Peake, Linda (2009) "Gender, Race, Sexuality" p. 59

“Throughout the 1990s the cultural turn in geography, entwined with the post-structuralist concept of difference, led to the discarding of the notion of a coherent, bounded, autonomous and independent identity... that was capable of self-determination and progress, in favour of a socially constructed category defined by the constitutive outside. The earlier distinction between gender as socially created, resting upon the biological distinction of sex, was abandoned, creating room for research that highlighted how gendered subjectivities, far from being based on a stable content, were produced, performed, destabilised and redrawn in complex ways, drawing meaning from routine interactions with others in specific historical and geographical contexts” 

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Mathilde ter Heijne is a Dutch contemporary visual artist. Specific topics featured in her work include women marginalized in society, domestic and political

Mathilde ter Heijne

German artist work often challenges attributes that patriarchal social structures have assigned to men and women over the centuries. Film, Installation, Sound and ceramics through experimental archaeology. 

http://www.terheijne.net

AssEmbling Past and Future

 The video installation Assembling Past and Future is part of the Blood, Sweat and Tears project. It was created in collaboration with a network of cultural- and peace activists, and transforms the exhibition space into a kind of virtual congress or assembly. The work blends historical images and text (including those from the First International Congress of Women at The Hague, 1915) with statements and portraits captured a full century later, effectively blurring the usual boundaries between protagonists, places and periods of time. This artistic strategy invokes different ways of grasping history while exploring new opportunities and possibilities for peaceful coexistence between various communities.

Blood, Sweat and Tears

Blood, Sweat and Tears—Assembling Past and Future takes its historical cue from the First International Congress of Women at The Hague in 1915, where early female activists debated the sociopolitical, economic, and intellectual preconditions for lasting peace in the future. The projects’ collaborative approach probes the relationship between the participating individuals and conditions at the exhibition venue Galerie im Körnerpark in Berlin, which was transformed into a place for discussing and reflecting on crises, conflict resolution and peace.Blurring the boundaries between protagonists, places, and periods of time, the project enables a new understanding of history while looking to the future of activism and nonviolent resolution. It self-consciously shifts the line between art and activism, suspending the typical separation between reality, fiction and virtual space, but also past, present and future, community and the individual. Blood, Sweat and Tears—Assembling Past and Future is an artistic search for the shared essence common to everyone who is committed to a more peaceful world.

Woman to Go

This interactive artwork is an ongoing project. Each postcard shows the portrait of an unknown woman who lived between 1839 (the beginning of photography with daguerreotypes) and the 1920s, while the “message” side of the card has text with the biography of a well-known woman who was influential or extraordinary in her time. The pictures and biographies were collected all over the world. The women with known biographies all fought for their individual goals in a world dominated by men – a world in which women had no right to choose or own property, and being remembered was an exclusively male privilege. Most of these women have been forgotten, and the many unknown women help us to remember those more well-known. Postcards can be taken free of charge, so the public can compile an alternative historiography with new individual biographies.

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Marika Shioiri-Clark architect

http://www.makers.com/moments/pink-collar-workers

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Marloes Ten Bhomer

http://marloestenbhomer.squarespace.com/exhibitions/

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The NSTAAF episode also talks about an AI software that can detect (up to 80% accuracy) if a person is angry, sad, happy or frustrated based on the way they use their mouse.

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This episode talks about ‘the angriest robot’ which is being used to teach telesales employees how to deal with angry customers. The robot monitiors the intonation of the telesales person to dictate how calm or bona fide the robot becomes - further automating the role of an employee.

http://www.telegraph.co.uk/men/the-filter/11600593/Artificial-intelligence-should-you-be-scared-of-angry-robots.html

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SOME OF the greatest masterpieces of modern French philosophy were written in cafes. Jean-Paul Sartre wrote the whole of Being and Nothingness in a window seat in the Cafe de Flore in Paris. I think about this every time I go to a Cafe Rouge. If you've ever tried to do anything more strenuous than read a newspaper in a cafe, you'll appreciate the immensity of the achievement. The bustle of waiters, the hiss of cappuccino machines, and existential phenomenology.

Sartres waiter - denotes that when we play a role of a waiter, we fall at risk of becoming a caricature of a waiter – slipping subserviently into narrow, socially fashioned roles.

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Crash Course was designed for the Digital Futures at the Victoria and Albert Museum and is a series of workshops allowing the audience to take part in project experiments. The participants learn specific skills to master a situation in order to prompt them to question the role design plays within social, political and institutional systems that construct our daily reality and steer behaviour. We taught people how to fall and be prepared for a possible failure to turn it into success. We taught the variations of a smile and direct human interaction or how to draw perfect circles and stimulate your muscles to build up a memory for certain movements. We trained people on delivering a message in the right tone, acting like a particular individual and using a public apology for themselves. The event allows the audience a glimpse of alternative methodologies through participating in project experiments and aims to provoke discussion about the potential use of these learned skills.
 Functioning as research tools each course is focused around training and introduces its students to elements of society that question existing social norms and systems. Crash Course was created by  Dionysia Mylonaki, Sandra Fruebing, Huishu Jia, Zhenhan Hao, Matt House and Yuki Uebo. What unites the group of designers is the strong engagement with the public to develop their ideas, which are mostly a cross section of the social, political, cultural and technological. While creating workshops that are open for discussion, the group of designers is using design as a method to address an additional curriculum of training and research to formal education.

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Past behavior guides future responses through 2 processes. Well-practiced behaviors in constant contexts recur because the processing that initiates and controls their performance becomes automatic. Frequency of past behavior then reflects habit strength and has a direct effect on future performance. Alternately, when behaviors are not well learned or when they are performed in unstable or difficult contexts, conscious decision making is likely to be necessary to initiate and carry out the behavior. Under these conditions, past behavior (along with attitudes and subjective norms) may contribute to intentions, and behavior is guided by intentions. These relations between past behavior and future behavior are substantiated in a meta-analytic synthesis of prior research on behavior prediction and in a primary research investigation

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Read the Transcript

Alix Spiegel and new co-host, Hanna Rosin, examine two grand social experiments that attempt to teach McDonald's employees in Russia to smile, and workers on an oil rig how to cry.

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Political is Personal 

The personal is political, also termed The private is political, is a political argument used as a rallying slogan of student movement and second-wave feminism from the late 1960s. It underscored the connections between personal experience and larger social and political structures. In the context of the feminist movement of the 1960s and 1970s, it was a challenge to the nuclear family and family values.[1] The phrase has been repeatedly described as a defining characterization of second-wave feminism, radical feminism, women’s studies, or feminism in general.[2][3] It differentiated the second-wave feminism of the 1960s and 1970s from the early feminism of the 1920s, which was concerned with achieving the right to vote for women.

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Seth Godin: Emotional Labour

Emotional labor

http://sethgodin.typepad.com/seths_blog/2017/05/emotional-labor.html

Emotional Labour

That's the labor most of us do now. The work of doing what we don't necessarily feel like doing, the work of being a professional, the work of engaging with others in a way that leads to the best long-term outcome.

The emotional labor of listening when we'd rather yell.

The emotional labor of working with someone instead of firing them.

The emotional labor of seeking out facts and insights that we don't (yet) agree with.

The emotional labor of being prepared.

Of course it's difficult. That's precisely why it's valuable. Sometimes, knowing that it's our job—the way we create value—helps us pause a second and decide to do the difficult work.

Almost no one gets hired to eat a slice of chocolate cake.

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How ‘Service With a Smile’ Takes a Toll on Working Women

When employees' emotions deviate from what’s expected of their gender, they are often left to process the backlash on their own.

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There was a poignancy about the moment, seeing Hillary Clinton crack with exhaustion from decades of yearning to be the principal rather than the plus-one.

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Ysable clare