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"content": "\u003cp>A beloved egg statue in Palo Alto is at risk of being taken down by the city, raising questions about the city’s policy towards public art.\u003c/p>\n\u003cp>The removal of multimedia artist Adriana Varella’s “Digital DNA,” a prominent fixture in the city’s Lytton Plaza, will be put to a vote by the Palo Alto Arts Commission in November. According to a report issued by the City of Palo Alto, the decision to deaccess the sculpture is driven by the statue’s excessive maintenance costs and current state of disrepair.\u003c/p>\n\u003cp>“Digital DNA” has become somewhat of a fixture in Palo Alto since its installation in 2005, but it carries a fraught history.\u003c/p>\n\u003cp>https://instagram.com/p/BXeWqMpj1Yg/\u003c/p>\n\u003cp>“Digital DNA” is 7-feet-tall, and made of welded steel and circuit boards shaped to resemble an egg. Each board is sewn together with multilingual commentaries on modern technology.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Computers (and the Internet) have the power to amplify communications to a scale never seen before. It can be used to educate, inform, but it can alienate, colonize, manipulate, make wars, surveil,” Varella wrote in an e-mail to KQED. “This work proposes a reflection on all of that.”\u003c/p>\n\u003cp>It was originally commissioned in 2000 by Palo Alto’s Public Arts Commission. But in 2001, a neighbor of Varella’s threw away a lot of circuit boards that she had embroidered, effectively throwing away months worth of work.\u003c/p>\n\u003cp>In 2004, the egg was completed and waiting to be installed. Stored in a warehouse in San Bruno, \u003ca href=\"https://www.paloaltoonline.com/weekly/morgue/2004/2004_06_23.dna23mb.shtml\" target=\"_blank\" rel=\"noopener\"> it burned up when the building caught fire that June\u003c/a>. At the time, the sculpture’s installation was put on hold as Arts Commission members and other Palo Alto officials debated over new plans for a fountain in Lytton Plaza. After the fire, Varella built another version of the sculpture.\u003c/p>\n\u003cp>Nearly a decade after its original commissioning, the piece was completely refurbished by Varella with funding from the city in 2010 — an effort that took place alongside renovations at Lytton Plaza. Since then, maintenance efforts in 2013 and 2014 required a third-party conservator to install UV-protective sealants and other products to help “Digital DNA” withstand the elements.\u003c/p>\n\u003cp>And, now, with the implementation of a new statue removal policy by the City of Palo Alto, the saga continues.\u003c/p>\n\u003cp>“We are continuing to evaluate how the Arts Commission is handling my situation,” Varella said. “There are problems with the policy, especially provisions that allow the City to destroy artwork.”\u003c/p>\n\u003cp>Varella contends that the city’s new deaccession procedure, which was implemented this February, falls in violation of the Visual Artists Rights Act (VARA) and the California Art Preservation Act (CAPA) — federal and state legislation designed to protect the moral rights of artists, including preserving their artwork from destruction.\u003c/p>\n\u003cp>It might be worthwhile to note that VARA permits relocation of an artwork as long as it is not destroyed in the process.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kickstarter.com/projects/23597203/palo-alto-site-specific-digital-dna-restoration\">Varella recently set up a crowdfunding campaign on Kickstarter\u003c/a> to fund “Digital DNA”‘s restoration, preservation and possible relocation, based on the outcome of the Arts Commission’s vote. The funds will go toward a solution to preserve the piece, such as installing a weather-resistant acrylic box to serve a barrier. Some of the funds may go toward a lawsuit against the city and its deaccession policy.\u003c/p>\n\u003cp>“Despite all obstacles, I’m persistent,” said Varella. “It is not about my work; it is about collective consciousness, it is about history, and it is about questioning our present as well.”\u003c/p>\n\u003cfigure id=\"attachment_13811548\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811548\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-800x1203.jpg\" alt=\"Digital DNA, the Adriana Varella-designed sculpture that has held its place since its installation in 2005\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-1920x2888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-1180x1775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Digital DNA, the Adriana Varella-designed sculpture that has held its place since its installation in 2005 \u003ccite>(Wonderlane/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elise DeMarzo, the director of Palo Alto’s Public Art program, maintains that the vote for deaccession is only a matter of preserving the artwork itself.\u003c/p>\n\u003cp>“Once the plaza was rebuilt, ‘Digital DNA’ just immediately started deteriorating,” said DeMarzo. “We’ve just had these ongoing dialogues trying to find a suitable solution that will preserve it. No matter how many types of sealants we’ve tried and Adriana’s tried, those materials [in the sculpture] are just really problematic. Circuit boards are not intended to be out in the sun. They’re brittle and they break.”\u003c/p>\n\u003cp>Repairs and maintenance for “Digital DNA” since its installation in 2005 have cost $20,752, \u003ca href=\"https://www.cityofpaloalto.org/civicax/filebank/documents/59127\" target=\"_blank\" rel=\"noopener\">according to the deaccessioning report issued by the city. \u003c/a>The city of Palo Alto, DeMarzo notes, has searched for a suitable site for the sculpture’s relocation to no avail.\u003c/p>\n\u003cp>If deaccession goes underway, DeMarzo says that the benefactors of Lytton Plaza hope to establish a series of rotating art exhibitions that will be held in place of “Digital DNA.”\u003c/p>\n\u003cp>“We’ve done what we can to keep the piece alive, but it has been a real labor of love,” said DeMarzo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The vote for “Digital DNA”’s deaccession will be held on Nov. 16.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A beloved egg statue in Palo Alto is at risk of being taken down by the city, raising questions about the city’s policy towards public art.\u003c/p>\n\u003cp>The removal of multimedia artist Adriana Varella’s “Digital DNA,” a prominent fixture in the city’s Lytton Plaza, will be put to a vote by the Palo Alto Arts Commission in November. According to a report issued by the City of Palo Alto, the decision to deaccess the sculpture is driven by the statue’s excessive maintenance costs and current state of disrepair.\u003c/p>\n\u003cp>“Digital DNA” has become somewhat of a fixture in Palo Alto since its installation in 2005, but it carries a fraught history.\u003c/p>\n\u003cp>https://instagram.com/p/BXeWqMpj1Yg/\u003c/p>\n\u003cp>“Digital DNA” is 7-feet-tall, and made of welded steel and circuit boards shaped to resemble an egg. Each board is sewn together with multilingual commentaries on modern technology.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Computers (and the Internet) have the power to amplify communications to a scale never seen before. It can be used to educate, inform, but it can alienate, colonize, manipulate, make wars, surveil,” Varella wrote in an e-mail to KQED. “This work proposes a reflection on all of that.”\u003c/p>\n\u003cp>It was originally commissioned in 2000 by Palo Alto’s Public Arts Commission. But in 2001, a neighbor of Varella’s threw away a lot of circuit boards that she had embroidered, effectively throwing away months worth of work.\u003c/p>\n\u003cp>In 2004, the egg was completed and waiting to be installed. Stored in a warehouse in San Bruno, \u003ca href=\"https://www.paloaltoonline.com/weekly/morgue/2004/2004_06_23.dna23mb.shtml\" target=\"_blank\" rel=\"noopener\"> it burned up when the building caught fire that June\u003c/a>. At the time, the sculpture’s installation was put on hold as Arts Commission members and other Palo Alto officials debated over new plans for a fountain in Lytton Plaza. After the fire, Varella built another version of the sculpture.\u003c/p>\n\u003cp>Nearly a decade after its original commissioning, the piece was completely refurbished by Varella with funding from the city in 2010 — an effort that took place alongside renovations at Lytton Plaza. Since then, maintenance efforts in 2013 and 2014 required a third-party conservator to install UV-protective sealants and other products to help “Digital DNA” withstand the elements.\u003c/p>\n\u003cp>And, now, with the implementation of a new statue removal policy by the City of Palo Alto, the saga continues.\u003c/p>\n\u003cp>“We are continuing to evaluate how the Arts Commission is handling my situation,” Varella said. “There are problems with the policy, especially provisions that allow the City to destroy artwork.”\u003c/p>\n\u003cp>Varella contends that the city’s new deaccession procedure, which was implemented this February, falls in violation of the Visual Artists Rights Act (VARA) and the California Art Preservation Act (CAPA) — federal and state legislation designed to protect the moral rights of artists, including preserving their artwork from destruction.\u003c/p>\n\u003cp>It might be worthwhile to note that VARA permits relocation of an artwork as long as it is not destroyed in the process.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kickstarter.com/projects/23597203/palo-alto-site-specific-digital-dna-restoration\">Varella recently set up a crowdfunding campaign on Kickstarter\u003c/a> to fund “Digital DNA”‘s restoration, preservation and possible relocation, based on the outcome of the Arts Commission’s vote. The funds will go toward a solution to preserve the piece, such as installing a weather-resistant acrylic box to serve a barrier. Some of the funds may go toward a lawsuit against the city and its deaccession policy.\u003c/p>\n\u003cp>“Despite all obstacles, I’m persistent,” said Varella. “It is not about my work; it is about collective consciousness, it is about history, and it is about questioning our present as well.”\u003c/p>\n\u003cfigure id=\"attachment_13811548\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811548\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-800x1203.jpg\" alt=\"Digital DNA, the Adriana Varella-designed sculpture that has held its place since its installation in 2005\" width=\"800\" height=\"1203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-1920x2888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-1180x1775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-960x1444.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-375x564.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o-520x782.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/3200144082_7e0f6b7cb2_o.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Digital DNA, the Adriana Varella-designed sculpture that has held its place since its installation in 2005 \u003ccite>(Wonderlane/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elise DeMarzo, the director of Palo Alto’s Public Art program, maintains that the vote for deaccession is only a matter of preserving the artwork itself.\u003c/p>\n\u003cp>“Once the plaza was rebuilt, ‘Digital DNA’ just immediately started deteriorating,” said DeMarzo. “We’ve just had these ongoing dialogues trying to find a suitable solution that will preserve it. No matter how many types of sealants we’ve tried and Adriana’s tried, those materials [in the sculpture] are just really problematic. Circuit boards are not intended to be out in the sun. They’re brittle and they break.”\u003c/p>\n\u003cp>Repairs and maintenance for “Digital DNA” since its installation in 2005 have cost $20,752, \u003ca href=\"https://www.cityofpaloalto.org/civicax/filebank/documents/59127\" target=\"_blank\" rel=\"noopener\">according to the deaccessioning report issued by the city. \u003c/a>The city of Palo Alto, DeMarzo notes, has searched for a suitable site for the sculpture’s relocation to no avail.\u003c/p>\n\u003cp>If deaccession goes underway, DeMarzo says that the benefactors of Lytton Plaza hope to establish a series of rotating art exhibitions that will be held in place of “Digital DNA.”\u003c/p>\n\u003cp>“We’ve done what we can to keep the piece alive, but it has been a real labor of love,” said DeMarzo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The vote for “Digital DNA”’s deaccession will be held on Nov. 16.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-shoe-should-fit-one-womans-fight-for-emoji-ballet-flats",
"title": "The Shoe Should Fit: One Woman's Fight for Emoji Ballet Flats",
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"content": "\u003cp>As the number and variety of emojis grow, the language is gradually becoming more diverse and reflective of the people who use it. Its progress plods along one emoji at a time, propelled by women like Florie Hutchinson.\u003c/p>\n\u003cp>Hutchinson is a vivacious independent public relations specialist in the arts. She’s also a busy mom with three young girls, and a dedicated feminist.\u003c/p>\n\u003cp>One night not too long ago, Hutchinson was up in the wee hours breastfeeding her youngest at her home in Palo Alto. While texting a friend in another time zone, and she typed in the word “shoe.”\u003c/p>\n\u003cfigure id=\"attachment_13807140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_2371-800x1047.jpg\" alt=\"Florie Hutchinson and her daughter Beatrice mug for the camera.\" width=\"800\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-800x1047.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-768x1005.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-520x680.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florie Hutchinson and her daughter Beatrice mug for the camera. \u003ccite>(Photo: Courtesy of Florie Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I realized I was staring, slightly deliriously, at this red, high-heeled stiletto,” Hutchinson says. Was that her phone anticipating her preference as a woman? As if most women wear a shoe better suited to a Barbie doll?\u003c/p>\n\u003cp>With a little digital leg work, Hutchinson discovered there are \u003ca href=\"http://unicode.org/emoji/charts/emoji-list.html#1f1f8_1f1e9\" target=\"_blank\" rel=\"noopener noreferrer\">four other shoe emojis\u003c/a>, but all three female shoes involve a heel: the red stilleto, the mule, and the riding boot. Unless you type in the word sneaker, the stiletto appears to be the default.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She asked friends of various ages, genders and nationalities to type “shoe” – and they got the stiletto, too, “Whether they were typing in shoe, or chaussure or zapato.”\u003c/p>\n\u003cp>Hutchinson doesn’t think early emoji designers were intentionally trying to bake in stereotypical gender norms. Nonetheless, that’s the result, and as our usage of the visual language \u003ca href=\"https://www.theparisreview.org/blog/2017/08/18/emoji-poetry/\" target=\"_blank\" rel=\"noopener noreferrer\">grows\u003c/a>, so does the impact of unconscious choices.\u003c/p>\n\u003cp>“Being a mum, I’ve become very aware and hypersensitive to what I see is implicit gender bias, something that is pervasive in every aspect of life from the age of zero onwards,” Hutchinson said.\u003c/p>\n\u003cfigure id=\"attachment_13807141\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807141\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large.png\" alt=\"It's not that Florie Hutchinson doesn't wear a heel for a date night or the opera. She just wants there to be a "non-sexualized" female option.\" width=\"480\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-240x240.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-375x375.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-150x150.png 150w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">It’s not that Florie Hutchinson doesn’t wear a heel for a date night or the opera. She just wants there to be a “non-sexualized” female option.\u003c/figcaption>\u003c/figure>\n\u003cp>But how to influence the discussion as a PR Lady with no experience or contacts in tech? Cue the obvious Google search: “How do emoji get made?” And the first result is the Unicode Consortium, the non-profit in Mountain View that maintains a global, standardized list of approved emoji.\u003c/p>\n\u003cp>The web site’s FAQ includes a lot of helpful history. The Japanese were the first to use pictographs — images of things such as faces, weather, vehicles and buildings, food and drink, animals and plants — or icons that represent emotions, feelings, or activities. Hence, the word \u003cem>emoji\u003c/em> comes from the Japanese \u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E7%B5%B5\" target=\"_blank\" rel=\"noopener noreferrer\">絵\u003c/a> (e ≅ picture) + \u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E6%96%87\" target=\"_blank\" rel=\"noopener noreferrer\">文\u003c/a>\u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E5%AD%97\" target=\"_blank\" rel=\"noopener noreferrer\">字\u003c/a>(moji ≅ written character).\u003c/p>\n\u003cp>The consortium’s emoji subcommittee meets four times a year to approve or deny new proposals. Yet, even with this deliberative approach, some emoji prove far more useful and appealing than others, a fact dramatically visualized at \u003ca href=\"http://www.emojitracker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">emojitracker.com\u003c/a>, which tracks the realtime use of many emoji in Twitter.\u003c/p>\n\u003cp>It’s a young language, and it continues to evolve. Even though there are already nearly \u003ca href=\"http://www.unicode.org/reports/tr51/#Identification\" target=\"_blank\" rel=\"noopener noreferrer\">2,700 emoji\u003c/a>, the Consortium is wide open to new proposals.\u003c/p>\n\u003cp>Hutchinson was impressed with how easy the Consortium makes it to understand the \u003ca href=\"http://unicode.org/emoji/selection.html\" target=\"_blank\" rel=\"noopener noreferrer\">application process\u003c/a>. “There are lots of templates on the Unicode web site, some of successful emoji proposals, some of unsuccessful ones. And it’s just a matter of making a compelling case for why it should exist and why the existing emoji don’t do the job that you’re looking to do with your emoji.”\u003c/p>\n\u003cp>\u003cstrong>Do your homework; then hire a designer\u003c/strong>\u003c/p>\n\u003cp>It does help to hire a professional designer. \u003ca href=\"http://www.apheemesser.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aphee Messer\u003c/a> wears a sandal whenever weather permits in Lincoln, Nebraska, and so she practically leapt on board the project. “You can look at it as a baby step, but I think any steps towards more diversity on the emoji keyboard are great,” says Messer, whose best known emoji may be the recently approved hijab.\u003c/p>\n\u003cfigure id=\"attachment_13807142\" class=\"wp-caption alignright\" style=\"max-width: 341px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13807142 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hijab.png\" alt=\"Aphee Messer has designed numerous emoji. She created this one of a girl in a hijab on behalf of a 15-year-old from Germany who realized there wasn't one.\" width=\"341\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab.png 341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab-240x343.png 240w\" sizes=\"(max-width: 341px) 100vw, 341px\">\u003cfigcaption class=\"wp-caption-text\">Aphee Messer has designed numerous emoji. She created this one of a girl in a hijab on behalf of a 15-year-old from Germany who realized there wasn’t one. \u003ccite>(Photo: Courtesy of Aphee Messer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early July, Hutchinson submitted a proposal for a \u003ca href=\"http://www.unicode.org/L2/L2017/17274-womans-flat-shoe.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">ballet flat\u003c/a> in multiple hues, ” anything except pink!” Within a month of applying, her emoji appeared on the Consortium’s \u003ca href=\"http://nymag.com/selectall/2017/08/67-emoji-drafts-considered-for-2018-addition-by-unicode.html\" target=\"_blank\" rel=\"noopener noreferrer\">draft list\u003c/a> for consideration… The final decision comes out in November.\u003c/p>\n\u003cp>“I couldn’t believe it!” exclaims Hutchinson. “That this crazy idea that I got in the middle of the night would actually become a reality, and even if it doesn’t make it through, which I sincerely hope it does, I can honestly turn to my girls when they’re preteens or older and say, you know, this was important to me and I did something about it, and it was not only for me but also for you.”\u003c/p>\n\u003cp>Any plans for a follow-up? “I have my eyes on a one piece swimsuit,” Hutchinson says, before adding “To be honest, what I’d love is for more women to take some time to go through the emoji and think about what in their daily lives isn’t reflected in this global vocabulary that we’re building.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You have your marching orders.\u003c/p>\n\u003cfigure id=\"attachment_13807138\" class=\"wp-caption aligncenter\" style=\"max-width: 601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13807138 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BalletFlat.png\" alt=\"If the ballet flat wins final approval from the Unicode Consortium, it will show up in blue.\" width=\"601\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat.png 601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-240x149.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-375x233.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-520x323.png 520w\" sizes=\"(max-width: 601px) 100vw, 601px\">\u003cfigcaption class=\"wp-caption-text\">If the ballet flat wins final approval from the Unicode Consortium, it will show up in blue. \u003ccite>(Photo: Courtesy of Aphee Messer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "The Shoe Should Fit: One Woman's Fight for Emoji Ballet Flats | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the number and variety of emojis grow, the language is gradually becoming more diverse and reflective of the people who use it. Its progress plods along one emoji at a time, propelled by women like Florie Hutchinson.\u003c/p>\n\u003cp>Hutchinson is a vivacious independent public relations specialist in the arts. She’s also a busy mom with three young girls, and a dedicated feminist.\u003c/p>\n\u003cp>One night not too long ago, Hutchinson was up in the wee hours breastfeeding her youngest at her home in Palo Alto. While texting a friend in another time zone, and she typed in the word “shoe.”\u003c/p>\n\u003cfigure id=\"attachment_13807140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_2371-800x1047.jpg\" alt=\"Florie Hutchinson and her daughter Beatrice mug for the camera.\" width=\"800\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-800x1047.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-768x1005.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-520x680.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florie Hutchinson and her daughter Beatrice mug for the camera. \u003ccite>(Photo: Courtesy of Florie Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I realized I was staring, slightly deliriously, at this red, high-heeled stiletto,” Hutchinson says. Was that her phone anticipating her preference as a woman? As if most women wear a shoe better suited to a Barbie doll?\u003c/p>\n\u003cp>With a little digital leg work, Hutchinson discovered there are \u003ca href=\"http://unicode.org/emoji/charts/emoji-list.html#1f1f8_1f1e9\" target=\"_blank\" rel=\"noopener noreferrer\">four other shoe emojis\u003c/a>, but all three female shoes involve a heel: the red stilleto, the mule, and the riding boot. Unless you type in the word sneaker, the stiletto appears to be the default.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She asked friends of various ages, genders and nationalities to type “shoe” – and they got the stiletto, too, “Whether they were typing in shoe, or chaussure or zapato.”\u003c/p>\n\u003cp>Hutchinson doesn’t think early emoji designers were intentionally trying to bake in stereotypical gender norms. Nonetheless, that’s the result, and as our usage of the visual language \u003ca href=\"https://www.theparisreview.org/blog/2017/08/18/emoji-poetry/\" target=\"_blank\" rel=\"noopener noreferrer\">grows\u003c/a>, so does the impact of unconscious choices.\u003c/p>\n\u003cp>“Being a mum, I’ve become very aware and hypersensitive to what I see is implicit gender bias, something that is pervasive in every aspect of life from the age of zero onwards,” Hutchinson said.\u003c/p>\n\u003cfigure id=\"attachment_13807141\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807141\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large.png\" alt=\"It's not that Florie Hutchinson doesn't wear a heel for a date night or the opera. She just wants there to be a "non-sexualized" female option.\" width=\"480\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-240x240.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-375x375.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-150x150.png 150w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">It’s not that Florie Hutchinson doesn’t wear a heel for a date night or the opera. She just wants there to be a “non-sexualized” female option.\u003c/figcaption>\u003c/figure>\n\u003cp>But how to influence the discussion as a PR Lady with no experience or contacts in tech? Cue the obvious Google search: “How do emoji get made?” And the first result is the Unicode Consortium, the non-profit in Mountain View that maintains a global, standardized list of approved emoji.\u003c/p>\n\u003cp>The web site’s FAQ includes a lot of helpful history. The Japanese were the first to use pictographs — images of things such as faces, weather, vehicles and buildings, food and drink, animals and plants — or icons that represent emotions, feelings, or activities. Hence, the word \u003cem>emoji\u003c/em> comes from the Japanese \u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E7%B5%B5\" target=\"_blank\" rel=\"noopener noreferrer\">絵\u003c/a> (e ≅ picture) + \u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E6%96%87\" target=\"_blank\" rel=\"noopener noreferrer\">文\u003c/a>\u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E5%AD%97\" target=\"_blank\" rel=\"noopener noreferrer\">字\u003c/a>(moji ≅ written character).\u003c/p>\n\u003cp>The consortium’s emoji subcommittee meets four times a year to approve or deny new proposals. Yet, even with this deliberative approach, some emoji prove far more useful and appealing than others, a fact dramatically visualized at \u003ca href=\"http://www.emojitracker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">emojitracker.com\u003c/a>, which tracks the realtime use of many emoji in Twitter.\u003c/p>\n\u003cp>It’s a young language, and it continues to evolve. Even though there are already nearly \u003ca href=\"http://www.unicode.org/reports/tr51/#Identification\" target=\"_blank\" rel=\"noopener noreferrer\">2,700 emoji\u003c/a>, the Consortium is wide open to new proposals.\u003c/p>\n\u003cp>Hutchinson was impressed with how easy the Consortium makes it to understand the \u003ca href=\"http://unicode.org/emoji/selection.html\" target=\"_blank\" rel=\"noopener noreferrer\">application process\u003c/a>. “There are lots of templates on the Unicode web site, some of successful emoji proposals, some of unsuccessful ones. And it’s just a matter of making a compelling case for why it should exist and why the existing emoji don’t do the job that you’re looking to do with your emoji.”\u003c/p>\n\u003cp>\u003cstrong>Do your homework; then hire a designer\u003c/strong>\u003c/p>\n\u003cp>It does help to hire a professional designer. \u003ca href=\"http://www.apheemesser.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aphee Messer\u003c/a> wears a sandal whenever weather permits in Lincoln, Nebraska, and so she practically leapt on board the project. “You can look at it as a baby step, but I think any steps towards more diversity on the emoji keyboard are great,” says Messer, whose best known emoji may be the recently approved hijab.\u003c/p>\n\u003cfigure id=\"attachment_13807142\" class=\"wp-caption alignright\" style=\"max-width: 341px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13807142 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hijab.png\" alt=\"Aphee Messer has designed numerous emoji. She created this one of a girl in a hijab on behalf of a 15-year-old from Germany who realized there wasn't one.\" width=\"341\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab.png 341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab-240x343.png 240w\" sizes=\"(max-width: 341px) 100vw, 341px\">\u003cfigcaption class=\"wp-caption-text\">Aphee Messer has designed numerous emoji. She created this one of a girl in a hijab on behalf of a 15-year-old from Germany who realized there wasn’t one. \u003ccite>(Photo: Courtesy of Aphee Messer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early July, Hutchinson submitted a proposal for a \u003ca href=\"http://www.unicode.org/L2/L2017/17274-womans-flat-shoe.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">ballet flat\u003c/a> in multiple hues, ” anything except pink!” Within a month of applying, her emoji appeared on the Consortium’s \u003ca href=\"http://nymag.com/selectall/2017/08/67-emoji-drafts-considered-for-2018-addition-by-unicode.html\" target=\"_blank\" rel=\"noopener noreferrer\">draft list\u003c/a> for consideration… The final decision comes out in November.\u003c/p>\n\u003cp>“I couldn’t believe it!” exclaims Hutchinson. “That this crazy idea that I got in the middle of the night would actually become a reality, and even if it doesn’t make it through, which I sincerely hope it does, I can honestly turn to my girls when they’re preteens or older and say, you know, this was important to me and I did something about it, and it was not only for me but also for you.”\u003c/p>\n\u003cp>Any plans for a follow-up? “I have my eyes on a one piece swimsuit,” Hutchinson says, before adding “To be honest, what I’d love is for more women to take some time to go through the emoji and think about what in their daily lives isn’t reflected in this global vocabulary that we’re building.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You have your marching orders.\u003c/p>\n\u003cfigure id=\"attachment_13807138\" class=\"wp-caption aligncenter\" style=\"max-width: 601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13807138 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BalletFlat.png\" alt=\"If the ballet flat wins final approval from the Unicode Consortium, it will show up in blue.\" width=\"601\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat.png 601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-240x149.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-375x233.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-520x323.png 520w\" sizes=\"(max-width: 601px) 100vw, 601px\">\u003cfigcaption class=\"wp-caption-text\">If the ballet flat wins final approval from the Unicode Consortium, it will show up in blue. \u003ccite>(Photo: Courtesy of Aphee Messer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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