Tag Archives: gender

Celebrating women in science: Shohini Ghose shares 5 fascinating facts about female physicists

Shohini lab copy

Theoretical physicist Shohini Ghose has two great passions: physics, and advocating for gender equity in the sciences. This week, her passions converge as she chairs the 5th IUPAP International Conference on Women in Physics at Wilfrid Laurier University, in Waterloo, Canada – the first time this prestigious conference will be held in North America. Why the focus on women? “There are still relatively few women in physics – and the higher up the ladder in academia or industry you go, the fewer women you find,” says Ghose. “Yet the laws of physics themselves are gender neutral, and the beauty of the universe is equally accessible to everyone. So why so few women, and how can we change that?”

For the next four days, delegates from over 50 countries – including astronomer and TED Prize winner Jill Tarter – will gather to showcase and celebrate scientific work in all areas of physics, and build a strong, diverse and inclusive worldwide physics community. To celebrate the conference launch today, we asked Ghose to share her favorite facts about women and their contribution to physics. “Women have made many important contributions in science, including physics, and have personally inspired me to become a physicist myself,” says Ghose. “Here are just a few.”

Only two women have ever won the Nobel Prize in physics. Marie Curie won in 1903 for her studies of radioactivity. She shared the prize with her husband Pierre Curie and with the other discoverer of radioactivity, Henri Bequerel. Originally, the Nobel prize committee had only selected Pierre Curie – but he refused to accept it without proper acknowledgement of Marie’s contribution. In 1911, Curie won the Nobel Prize in chemistry for her discovery and studies of radium and polonium. To this day, she remains the only person – male or female – to win Nobel Prizes in two different scientific disciplines.

Maria Goeppert Mayer won the Nobel Prize in 1963 for her model of the structure of the atomic nucleus. Goeppert Mayer faced a great deal of gender bias in her career: she had to work in unpaid positions at Columbia University and University of Chicago, where her husband was employed.

British astronomer and astrophysicist Cecilia Payne-Gaposchkin – one of my all-time favorite physicists – established that the sun and other stars are all composed mostly of hydrogen. Payne-Gaposchkin later became the first woman to chair a department (astronomy) at Harvard.

Austrian physicist Lise Meitner first developed the theory explaining the process of nuclear fission, but she was overlooked by the Nobel Committee, who instead awarded Meitner’s colleague Otto Hahn the prize in 1944. Meitner came to be known as the “mother of the atom bomb,” although she refused to work on the Manhattan Project after fleeing Nazi Germany. Element 109 is called meitnerium in her honor.

Albert Einstein called German mathematician Emmy Noether – author of Noether’s Theorem, a fundamental idea on which much of modern physics is built – a creative mathematical genius. Her theorem, published in 1918, states that if an object has symmetry – i.e., if it looks the same regardless of changing locations or times – then this leads to conservation laws in nature. A simple example is a movie of the motion of a ball when you throw it. The motion looks the same if you run the movie backwards in time (time symmetry). This means that the total energy of the ball remains the same (conservation of energy) – the energy just gets converted into different forms as the ball moves. This is a simplified example, but the theorem is widely applicable and is a real workhorse of modern physics.

 

Gaza’s only female photojournalist, Eman Mohammed, shows the devastation of war on private lives

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At the age of 19, Eman Mohammed became the only female photojournalist based in Gaza, breaking longstanding cultural taboos around the role of women in society. Three weeks into her career, the Gaza War began. Now 26, Mohammed continues to document harrowing and intimate stories of war and its aftermath in Gaza and beyond. Here, Mohammed tells the TED Blog her extraordinary story of battling professional bias and sexual harassment from male colleagues — while simultaneously documenting the battle raging around her.

 How did you end up on the battlefield as a photographer? What was your inspiration?

My inspiration is my mother. My father’s Jordanian with Palestinian roots, and my mother is a Palestinian — Gazan. When they separated when I was 3, my mom went back to Gaza and raised me there. In those years, I saw how the community mistreated her because she was divorced and raising her kids alone, an unknown thing. In that culture, if you get divorced, mothers aren’t supposed to raise their kids. You leave the kids with their dad. It’s a punishment. And if you don’t, you can’t remarry, by law. My mom didn’t want to remarry because she didn’t want to give away her kids.

It’s always the woman’s fault?

Always. Even when the husband is clearly in the wrong, divorced women are despised — or neglected, or the black sheep in the community — one way or another. You have zero chance of remarrying if you keep the kids. This is because, in a lot of cases, women don’t work. They can’t afford to survive. They can’t afford to raise kids alone. Nowadays, people are questioning this custom.

My mother struggled, but we still managed to travel. If she couldn’t afford much, she went to the poorest countries on Earth, and she dragged us all over the place with her, which was really fun. We visited cities in Romania, Egypt, Turkey, Saudi Arabia. Travel changes everything. When you get exposed to different cultures and places, you just gain a lot of information and a way of thinking that schools don’t teach you. It was life-changing: we got to learn English, we got to learn about a lot of things that normal people in Gaza would not care about.

Meanwhile, my mother sent me to a church school, because it was one of the top schools in the city, then I went to the Islamic University of Gaza, which is owned and operated by Hamas. Both of them were extreme, in a way. It gave me a wider perspective on things.

Eight Palestinian children in the Jabalia refugee camp, in the northern Gaza strip, look through their window where laundry is hanging, watching a funeral (not shown) process past their house. Photo: Eman Mohammed

Eight Palestinian children in the Jabalia refugee camp, in the northern Gaza strip, look through their window where laundry is hanging, watching a funeral (not shown) process past their house. Photo: Eman Mohammed

You started doing photojournalism as a teen. Did you always know you wanted to be a photographer?

I knew I wanted to be a journalist, but I didn’t know that there were a million fields of journalism to choose from. At university, we don’t have photography as a subject. It doesn’t exist. I knew from the start that it would be hard to get a job in journalism in Gaza. I took internships, starting with radio stations, then newspapers, news channels on TV. Eventually I was trained by a local agency — it was a secular agency, but my boss was Islamic Jihad. He offered me a staff position — amazing considering I was 19, and still in my second year of university — as an editor in English and Arabic, and a producer. I made a condition that I would carry a camera with me, so that I could take photos. But I didn’t say that out loud: as a woman, you can’t say “I want to be a photojournalist” without being heavily criticized for it and in most cases forbidden.

Why would you be allowed an internship but not be allowed to be a photojournalist?

It’s OK to be a reporter as a woman, working in an office. TV reporters are OK, too, because they are only in the field for the final part of the report. As long as you spend most of your time inside the office, it’s fine. But to go into the field full-time with men as your colleagues is different — and you can’t be a photographer and work in the office. As a field photographer, you’d be the only woman with a lot of men. Just the idea was fascinating in a very negative way for me. Why? I didn’t get it, even though I’d lived all my life in Gaza. I know how conservative people can be, and how they mix tradition with religion. Religion has nothing to do with these very conservative, extremist traditions they have.

To read the full interview, visit the TED Blog >>>

 

From abstraction to the vibrant female form: Fellows Friday with Sharmistha Ray

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Artist Sharmistha Ray has spent her life moving between India, the Middle East and the United States, discovering, layer by layer, her own sense of self, sexual identity and artistic vision in contrast or harmony with each new environment. Now, as her latest exhibition Reflections + Transformations is set to open at the Aicon Gallery in New York City on October 24, she tells the TED Blog about how her journey has unfolded so far, taking her from figurative art to abstraction and back to vibrant colors and lush, sensual textures that celebrate and reclaim the female body.

You have quite a complicated background. When people ask where you are from, what do you say?

It’s complicated because I’m an artist. People want to know where you’re from as a way of understanding your deepest creative impulses. I started to define myself as diasporic because the many migrations in my life played a very big role in terms of defining who I was, as well as my outlook on life and my artistic practice. I was born a British citizen in Calcutta, but spent my growing-up years in the Middle East and then migrated to the United States with my family later on. I didn’t stop there; a residual nostalgia beckoned me towards India, and after exploring Kolkata for a few months in 2006, I moved to Mumbai and made it my home.

Growing up gay in a traditional Indian family in an Islamic society in Kuwait also created its own displacement. I experienced oppression very early on within my family and society. My sexuality, which started to emerge in my early teens, was a terrifying realization for me. I lived in mortal fear of anyone knowing my dark secret. But ironically, the fear also bore my love for art. It was through art that I was finally able to find my own voice.

Even though I spend most of my time in Mumbai now, I can’t attribute any one of my multiple social, linguistic, cultural, queer, ethnic and geographic ties as the singular source of imagination. It’s really the grazing together of all these identities that has created a messy hybrid form, with many points of location. I am even starting to recast the term “diaspora,” as it feels limited to a binary of homeland and not-homeland. Once the migrant has moved back to the homeland, does he or she continue to be “of the diaspora?” I’m gravitating towards a new term I encountered in reading Gyan Prakash’s excellent historical account of Mumbai in his book Mumbai Fables. He revisits the notion of cosmopolitanism throughout the book, and it struck me that to be “cosmopolitan” strips the subject of a desired location or need to belong. To be “cosmopolitan” essentially means “being in the world.”

Nude #6, 2013

Nude #6, 2013

What prompted your decision to move to India?

I was curious — and curiosity is probably the starting point for deep infatuations. I had schooled in Kolkata for close to two years during the Gulf War in Kuwait, where my family lived at the time. Becoming a refugee and living in forced exile with my family formed, at a young age, a confusing network of associations between stability and belonging. As I matured as a thinker, the idea of India took shape as a sort of dreamland, a place of possibilities. I wanted to live without the burdens of identity politics for a while and investigate a more poetic entry point into the question of “being.” Of course, I’m not saying that identity politics is exclusive of poetics, but my work had become riddled with an anxious rhetoric caught between the binaries of “self” and the “other.” I wanted to find a different way of locating myself in a milieu that accepted me first as “Indian.” Interestingly, in India I found myself thrust into other negotiations — with gender and sexuality in particular — which took me many years to untangle. And despite my initial longing to connect to an Indian identity, I am as much an outlier there as I was in America, as I am anywhere else!

You mention gender and sexuality. When did you start exploring these themes in your work?

I started in the last year of high school. Although I lived in a conservative Islamic society in the Middle East, I became emboldened in my final year of art studies and decided to take the plunge. But as I had to be careful, the work is very subtle. In those early works, some of which are lost now, the narratives center around myself and a female agent, but there’s always this physical and psychological distance between the two figures in the frame. It mirrored my life at the time, and the feeling of disconnect from my family and society.

To read the full interview, visit the TED Blog >>>