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Wrapping and unwrapping a USB-cable: pleasure and pain

This day last week was International Women’s Day. This week, I received from my employer, very generously, a piece of equipment on loan. Unwrapping it sparked a happy feeling, but immediately afterwards also a very sad one.

The equipment came with the following:

Two black USB-cable ends, pointing downwards in a tightly fitting white plastic case.

The ends of this cable were snugly fitted in their little pre-shaped beds at the bottom, and, at the top, folded elegantly towards the back of the packaging, where they met each other in an equally neatly wrapped coil that again fitted perfectly in the plastic mould.

The middle section of the USB-cable, coiled up and tied up with black wire at the back of the white case.

It gave me great pleasure to see these shapes and how they worked together; to click the cable from its position, and back again in order to take the photo. I suspect that the enjoyment we can get from such shapes is to do partly with seeing and feeling that something fits well – works well. And partly with feeling a little bit like we ourselves are inside a well-tucked bed.

This was the happy feeling.

The sad feeling followed immediately after that. Because, as my fingers took the cable from its bed, I imagined the fingers that, perhaps a few months ago, must have placed the cable into its bed.* And how these fingers must be putting, not one cable, but perhaps several thousands of cables into their boxes every single day. And I imagined the owner of these fingers. Perhaps you who read this are this person. Or perhaps you have another repetitive job. The kind of job where your hands perform the same movement every few seconds for hours on end, and most of the rest of your body has to keep still.

Globally, it has for a long time often been people gendered female who get and keep such repetitive jobs, in electronics, textiles, data entry, food processing and, most of all, agriculture. The proportion of women in these sectors has been declining, and they may be overtaken by men soon: see the ILO report Women at Work (p. 24). Still, however, research using the ‘routine task intensity index’ (RTI index) suggests that women globally currently perform more routine work: see the report Quantum Leap (p. 49). So, if you have a high-routine job, likely you are woman, perhaps man, perhaps neither or both. Whichever way, you probably share a lot of experiences with others engaged in routine-intensive work.

I myself have had jobs like this, though only for very brief periods. The feeling associated with such tasks, for me at least, was not pleasure at all, but pain. The satisfaction of perfectly fitting components was absent, and the dominant sensation was pain. Literal, physical pain, in fingers, arms, eyes… and also what I can only describe as pain in the brain. I quit these jobs as soon as I could.

My unwrapping pleasures only put the wrapping-up pain that I imagine to have been there into starker relief. No one should have to do such fast and repetitive work as factories across the world force people to do. The alternative, of course, should not be automation and job loss, as is now often the threat, but healthier work.

I am doing my best not to be unwrapping new equipment from pleasant boxes many times in my life any more. Plenty of other nicely-fitting-things in the world!

* For my story, it does not matter whether mechanisation has developed far enough already for a machine to be able to put this cable into this particular box or not. There will be people employed in similar actions for a while to come.

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Pink Film Days 2022: steamy chests on Women’s Day

It is International Women’s Day and Queer History Month.* Therefore, a brief post today about queer women/’women’ – in film.

The annual Dutch film festival Pink Film Days coincides with Queer History Month. This year is the 25th edition. From 10 to 20 March, viewers will be regaled to tens of feature films, short and documentaries, which will screen not only in Amsterdam but also online.

A friend and I were browsing the online programme. It features stills of each film on offer. These stills, together with the titles of the films and the titles of the shorts programmes, suggested to us that many of the films might be divided into three different categories.

There were films about coming out, finding acceptance with family and others, and finding oneself, usually in relation to gender identity. And there were films that centre on romantic relationships: one category for men, and a different one for women, my friend observed. In other words, we saw a striking gender difference in the Pink Film Days programme. This also led to a further observation: the romantic relationships of people with less-binary or trans gender identities do not seem to get much screen time: most of the relationship films at the festival are either about cis-women or cis-men. Trans and non-binary characters do feature in many of the films, but the focus there is on their relationships to their family, friends, colleagues and neighbours.

Excerpt of programme suggesting six film screenings. For two of them, stills are visible: 1) 'Comets': two women sitting on opposite sides of a table, staring at each other; 2) 'The Swimmer': a tight group of five bare-chested men in swimming trunks.
screenshot https://rozefilmdagen.nl/online, taken on International Women’s Day 2022

The films about relationships between women** are mostly advertised in the programme using pictures of fully clothed people throwing troubled glances at each other. Many of the films about men, however, are sold using steamy imagery of naked chests, sensual glances and touches full of sexual tension. The category of shorts about ‘titillating/edgy [prikkelende] variations on the dating theme’ even only features films about men, it seems.

The effect of this selection of stills/movies is that

  1. it looks like more sexual content is available at the festival for those interested in male bodies;
  2. men are portrayed as more sexually interested and more sexually active than other people.

The festival may have had good reason for this decision. Perhaps it was grounded in the idea that sensual films about non-men cater for straight men. The festival may have wanted to counter the fear that programming more of such films would attract a certain kind of straight man, of such behaviour and in such numbers that the festival would no longer be a pleasant space for other visitors to attend.

An understandable fear, but perhaps also one that we are ready to leave behind. It is important that non-male visitors feel they can safely visit the festival, but is it right that we deny ourselves something we want, just because we feel we need to deny it to someone else?

This may need to remain an open question for now. However, this differentiated portrayal is also rooted in something that the festival perhaps did not make so conscious a decision about. It reaffirms the tendency of our male culture to see women as less interested in sex than men. In this way, the festival encourages limiting roles/rules for women and non-binary people, and strengthens the norm that they should present themselves as chaste. Yet it is the task of a queer festival to challenge exactly these gendered assumptions.***

Having said this, the films the festival does screen look fascinating and stunning: the girl films, the other films, and the boy films. And it’s great to see that LGBTI… film festivals are increasingly programming films about all genders, and not just men.

Now my wish for next year: a greater presence of sensual films and stills about people who are not men, and of films that show these people as having an interest in sex. Programming a film festival such as this is no easy task, it is true. But the films are there: they are being made. If they also start to be programmed more, we can look forward to an even more exciting line-up at the Pink Film Days of 2023.

* In the Netherlands.

** Here, I use ‘women’ both where the film festival uses that term, and for people who, on the basis of these stills, would be identified as women by most viewers in the Netherlands.

*** Equally interesting as seeing the festival thematise non-men’s sexuality more, it would be to see them thematise forms of asexuality. And just as I would welcome a greater presence of sexually active women and non-binary people, I would welcome a greater presence of people with a differently paced or no sexual interest. Both sides of our current sex norms need exploring further at art festivals like these.