The Social Mobility Commission (SEC) has launched a new sector-specific toolkit to encourage socio-economic diversity and inclusion in the creative sector workforce.
It aims to widen access to the creative industries for people from working class backgrounds in an attempt to tackle a “class crisis” in the sector.
The socio-economic diversity and inclusion: toolkit for the creative industries, developed by the Social Mobility Commission in partnership with creative industries businesses, offers practical support and guidance to creative employers on how to identify and remove invisible barriers that arise at every stage of the employee journey.
According to new research, just 27% of the creative industries workforce comes from a working class background, compared with 39% of the wider UK workforce. For the advertising and marketing and music and performing arts sub-sectors, the percentage of the workforce from a working class background falls to just 23%.
The SEC said that “the unique structures of the creative industries workforce are driving this imbalance, with factors including the high numbers of ‘professional’ jobs within the sector, an entrenched reliance on freelance workers as well as an abundance of unpaid internships creating additional barriers to entry for those from low socio-economic backgrounds.
“Disproportionate numbers of those in senior roles who attended private school or Oxbridge may also have served to perpetuate understandings of cultural ‘fit’ and accepted behavioural codes within the creative industries, presenting an additional barrier to those from low socio-economic backgrounds.”
Those who have contributed or endorsed the toolkit include the BBC, BFI, UK Screen Alliance, Youth Music British Fashion Council, Museums Association, British Institute of Interior Design and the Publishers Association.
Culture secretary Nadine Dorries said:
“A working class background should never be a barrier to a successful career in the creative Industries. We want to increase access to opportunities across the board as part of our plan to level up. This new toolkit will help support creative firms become more inclusive and give people the chance to forge a successful career in these exciting sectors.”
Caroline Norbury, CEO at Creative Industries Federation, said:
“If creativity is to shape a better future for all, then it has to reflect the diversity and breadth of experience found across the country. Ensuring opportunities exist for creative individuals to thrive, no matter their background, is an important step towards achieving this. The Social Mobility Commission’s toolkit is a critical resource for addressing the unacceptable imbalance of socio-economic backgrounds found in the UK’s creative industries.”
Farrah Storr, social mobility commissioner and editor-in-chief at Elle UK, said:
“It’s been great to see so many within the industry collaborate on the development of this toolkit. For the whole creative sector to remain vibrant, it is vital that we tap into the full potential of the whole population, not just a privileged few.
“The creative industries create the culture of the nation, which in turn necessitates full participation from the entire nation. As organisations adopt the actions set out within this toolkit to make socio-economic inclusion a reality, we will become an industry that is both rich in diverse viewpoints, experiences and stories as well as an industry that is built to last.”
Heather Carey from the Creative Industries Policy and Evidence Centre and Work Advance said:
“As we rebuild following the Covid-19 pandemic, it is vital that we widen access to opportunities created in high-growth, high-skill parts of the UK economy, like the Creative Industries. Our research provides definitive evidence on the causes of class imbalances and sets out an ambitious and wide-ranging programme of change to enhance social mobility into the Creative Economy. Government and Industry must seize this moment, as we emerge from an unprecedented crisis, to address the long-standing inequalities in the Creative sector and to grasp the potential offered by diverse talent in the UK to cement our creative excellence and competitive advantage, globally.”
The Social Mobility Commission is hosting a public launch event on Monday 11 October, chaired by Farrah Storr, SMC commissioner and editor-in-chief of Elle, and featuring a discussion with industry insiders: Jamie Gill, CEO of ROKSANDA and executive board, British Fashion Council; Della Hill, creative lead at Literature Wales and Emily Jones, senior producer at Sage Gateshead. Register for the event at SocialMobilityWorks.org
Heather Carey will present the findings of PEC’s new research report: Social mobility in the creative economy: Rebuilding and levelling up?
Bristol Technology Festival (BTF) has unveiled a packed schedule for its tech showcase event, taking place during the week of October 11-15.
Now into its third edition, BTF is an annual celebration designed to bring together events, people and communities to share, learn and explore technology developments in the southwest region. Events will encompass a range of sectors from green and sustainable technology to legal and finance.
This year’s schedule includes a number of highly anticipated events, of which there are more than 50 spread across five packed days.
The theme which wraps around many of the events through the week is ‘changing the face of tech’, with the emphasis on taking tangible action beyond simply talking about a lack of diversity and inclusion. As well as demonstrating the best of what the area’s tech space has to offer, BTF 2021 aims to bring together like-minded organisations ready to inspire wide-reaching change.
It is not too late to get involved. For individuals and organisations interested in attending or hosting an event, there is still time to book tickets and submit proposals.
Softcat headlines busy BTF 2021
BTF 2021 would like to thank Headline Partner Softcat for its indispensable support of BTF 2021.
Looking ahead to the event, Rob Parkinson, CIO at Softcat, commented: “We are delighted to be involved in the 2021 Bristol Technology Festival. Bringing together local technology communities and shining a light on all the innovation the region has to showcase is an important way to drive collaboration and industry growth.
“The last 18 months have been tough for many industries, but technology has come through as an enabler and has made many re-think how they interact and do business. As the impact of technology continues to grow, forums like the Bristol Technology Festival have never been more important and we are pleased to be supporting it.”
Event organisers are also grateful to Deloitte for sponsoring the Bristol Technology Festival Launch Event, on Thursday October 7 which will be held at Engine Shed.
Here, the exclusive launch evening will be a chance for senior leaders and technology influencers from across the region to network, share ideas and see each other in person, with speaker contributions coming from the likes of Moneyhub, Deloitte and Softcat.
Changing the face of tech
Among the many highlights of this year’s festival is a fireside keynote chat with Antonia Forster.
Antonia is a Unity/C# games and software developer, specialising in immersive experiences such as AR, VR and XR. In 2017, her record-breaking TEDxBristol talk was delivered to a live audience of 2,000 people and has since gained over 92,000 views online.
A year later, Antonia was nominated and shortlisted for Nature’s John Maddox Prize, in recognition of her work as an LGBTQ+ speaker and activist. She has also been named one of Bristol’s Top Nine “Women to Watch” in STEM, and has appeared in numerous magazine, radio and television features.
The talk with Antonia is scheduled for Monday October 11th, 12:00-14:00, at Engine Shed.
It is expected to be one of many events held throughout the week that inspire both more women to pursue careers in the tech sector, and organisations to provide greater opportunities and promote diversity.
What else to expect at BTF 2021
Diversity is the name of the game when it comes to the group of volunteers helping to coordinate the festival.
Among them are representatives from Hargreaves Lansdown, Newicon, TechSPARK, and Engine Shed, with events throughout BTF being crowdsourced from organisations across the city of Bristol.
These include tech companies, public bodies, schools, community interest groups and charities, with events open to a huge variety of guests – from tech professionals and businesses to individuals wanting to know more about the area’s digital industries.
Between them, a huge variety of discussions and other activities will be open to attendees:
This year’s Bristol Technology Festival will also witness the launch of the Festival Community Partner initiative. Here, businesses have the opportunity to become one of 50 community partners, with all funds invested helping to secure the long-term future of the festival.
For more information and to view the schedule for BTF 2021, visit www.bristoltechfest.org
To submit an event proposal, complete the form here.
Workforces in the creative industries are at risk of becoming more unequal unless efforts are made to improve diversity and inclusion.
That’s the warning by the All-Party Parliamentary Group for Creative Diversity following an 18-month research project with King’s College London and the University of Edinburgh.
The resulting report, Creative Majority, publishes a framework of five guiding principles which it says will lead to immediate and long-lasting change. It also makes a series of recommendations to the government and businesses.
The UK’s creative industries remain unrepresentative of the population as a whole, the report says.
Straight, able-bodied, white men living in London are only 3.5% of the UK population, it highlights, but “this small minority still dominates the creative sector, and in particular occupy a vast number of the most senior creative roles”.
Chi Onwurah MP, co-chair of the APPG for Creative Diversity, said the coronavirus pandemic has deepened this issue with fewer creative organisations and job opportunities for diverse talent.
Disabled people, younger workers, those not engaged in higher education and mothers are among the employees hardest hit by the pandemic. Individuals from a minoritised racial group have also been hit hard. Employment in the arts and entertainment sectors for women in those groups has fallen by 44%, more than any other group in any industry.
“Without action, we risk exacerbating inequalities further in the creative industries and an entire generation of talent – the future of the sector – could be lost,” Onwurah warned.
As part of the research, roundtables were conducted to gather evidence about diversity and inclusion in the creative industries. Among those participating were Sam Friedman, associate professor of sociology at London School of Economics and commissioner at the Social Mobility Commission, who said:
“In most of these industries there’s a kind of historical legacy of who’s done this kind of work in the past and how they’ve been able to embed, even institutionalise, their own ways of being that still, in the present, are able to shape taken-for-granted ideas about who is appropriate to promote and progress, and that’s basically the legacy of white, privileged men in this country in almost every elite industry.
“What’s being valued is a misrecognition of merit that tilts in favour of behavioural codes and forms of self-presentation that dominant groups and yes, people from privileged backgrounds but also this is hugely racialised and gendered, around acceptable ways of being in the workplace.”
Robert Adediran, EDI consultant and former executive director at London Music Masters, said:
“There’s a strong sense that everyone who is at the top is there because they are the best people for the role and that’s very damaging because it prevents us from looking for talent elsewhere.
“In music, particularly classical, there’s a sense that the art form has reached a pinnacle, that it could not possibly get any better than it already is. Again, that is very dangerous because it robs one of the key drivers for diversity and inclusion, which is to make the art form better. There isn’t the drive to bring new people in to change things and to push a more creative output or a better creative output.”
Miranda Wayland, BBC head of creative diversity, said:
“We can’t really be effective until we tackle the question of what ‘good’ really looks like. I can sit here and come up with different metrics about how diversity of thought and diversity of inclusion in our recruitment practices are really at the heart of it, but if those people who are making decisions aren’t really thinking about what good looks like, no initiative, no scheme, no target that we’ve all been imbedded in supporting over the last 10, 15, 30 years, is going to make a difference.
“We need to break the illusion that ‘good’ only comes in a certain package, from a certain background, with a certain title and a certain destination.”
The report said the creative industries have many lessons to learn from how society has adapted to big changes in the way people work.
Working from home, collaborating remotely and new safety measures show that “change, on a massive scale, is possible in a short time frame”, the report said. “The same momentum now needs to be applied to equity, diversity and inclusion (EDI).”
The report publishes five principles as a framework for good and effective practice that it says should act as benchmarks for anyone wanting to see results in EDI.
The five principles are:
Read more detail about the framework in the full report.
The report also makes a series of recommendations to policymakers and creative organisations.
It says: “This report represents a challenge and represents a demand. It offers a chance for policymakers, along with organisations and businesses, to step up and to lead.
“We need bold and visionary leadership to support diversity in the creative economy. As our report shows, the challenges are great. Yet, bold and visionary leadership will reap the rewards of a diverse workforce and audience. It is a challenge to which we need policymakers to rise.”
The recommendations to government include:
The recommendations to creative industry businesses and organisations include:
This event is a practical series of five virtual sessions to set you on the right track with your diversity & inclusion (D&I) efforts. It will help you make sense of what D&I means for your business, why it matters, and how to turn the conversation into action. You’ll get insights, tools and techniques to help you overcome any fears and obstacles, before starting to develop a plan.
The first session has already taken place but book the remaining four sessions by 9.30am on 6 October and you’ll be sent a recording of the first session along with the presentation slides.
Sign up here. Bristol Creative Industries members get £75 off the ticket price.
What is inclusive marketing?
Inclusive marketing happens when companies represent the diverse communities they’re serving. It’s simple, really. When you speak to all your target audience, you aren’t just “doing your bit,” you’re boosting your business. Extending your reach and more customers will buy. And your ROI? You better believe that’s going right up.
Not convinced?
Here are just a few stats that show why inclusive marketing deserves your attention:
Remember that all-important Millennial market? 77 per cent of them favour brands that are inclusive
The LGBTQIA market spends £6 billion a year and are willing to switch to more inclusive brands
Consumers from ethnically diverse communities in the UK have £300 billion a year to spend and rising.
Find out more about inclusive marketing on our blog
Atomic Smash is pleased to announce the sponsorship of a desk space at Spike Island Workspace – the same co-working space where Piers Tincknell and David Darke, co-founders of Atomic Smash, first set up shop as WordPress and WooCommerce specialists over a decade ago.
Atomic Smash will cover the full desk space costs for 12 months so that the recipients can concentrate on developing their business, with the option – but no obligation – to continue as users in Spike Island Workspace after the sponsorship ends.
Spike Island Workspace is the perfect location for emerging or micro-businesses who are ready to develop and establish themselves further. Working from the space expands your connections and opportunities for growth, as you join a dynamic and diverse community of artists and creative businesses.
This sponsorship is aimed at:
The sponsorship is open to all creatives who would benefit from the opportunity and we welcome and encourage applications from people of all backgrounds.
Through your application, you will be able to tell us how this opportunity could make a significant difference to your future. Please also describe any access requirements you may have within your application.
Recently refurbished, Spike Island Workspace is located close to Bristol harbourside and in a busy building offering art exhibitions, artists’ studios, offices, production facilities and a café. Find out more about the space.
Monday 18th October 2021: Application closing date
Monday 25th and Tuesday 26th October 2021: Interview dates
Friday 29th October 2021: Spike Island Workspace visit
Monday 8th November 2021: Sponsorship start date
Friday 4th November 2022: Sponsorship end date
Would you benefit from this opportunity? Apply here!
I’m really chuffed to announce the launch of “The Kiltered Guide to Effective D&I”, a practical series of five bite-sized virtual sessions to set you on the right track with your diversity & inclusion efforts, starting on 22nd September. I’ve teamed up with barrister Morag Ofili, who launched Kiltered in 2020 as a forward-thinking diversity and inclusion consultancy with a mission to take the fear out of building more inclusive workspaces. Using data analytics and organisational psychology, Kiltered helps businesses develop cohesive and achievable strategies for change and empowers businesses to put plans into action in a meaningful way.
In this 5-part series, we’ll help you make sense of what Diversity & Inclusion means for your business, why it matters, and how to turn the conversation into action. We’ll share insights, tools and techniques to help you overcome any D&I fears and obstacles, before starting to develop a plan. Our goal is to help you create a more inclusive workplace that will lead to increased diversity, improved team motivation and better business performance.
Who is it for?
Anyone looking to embed D&I into their business in a way that’s about more than talking and quotas. You might already be doing something D&I related, you might not. You might have taken the first step but are not sure what to focus on next. Or you might be finding it difficult to get buy-in or investment for your efforts. We’re here to help you take that next step, whatever it might be, and turn conversations into meaningful and positive action for your business.
Find out more and book your place here.
The Kiltered Guide to Effective D&I is a practical series of five bite-sized virtual sessions to set you on the right track with your diversity & inclusion efforts. We’ll help you make sense of what Diversity & Inclusion means for your business, why it matters, and how to turn the conversation into action. We’ll share insights, tools and techniques to help you overcome any D&I fears and obstacles, before starting to develop a plan. Our goal is to help you create a more inclusive workplace that will lead to increased diversity, improved team motivation and better business performance.
Anyone looking to embed D&I into their business in a way that’s about more than talking and quotas. You might already be doing something D&I related, you might not. You might have taken the first step but are not sure what to focus on next. Or you might be finding it difficult to get buy-in or investment for your efforts. We’re here to help you take that next step, whatever it might be, and turn conversations into meaningful action for your business.
This series of 5 workshops will run fortnightly on a Wednesday morning starting on Wednesday 22nd September.
** NB the first session had already taken place but if you’d like to book on the remaining 4 sessions, we will send you a recording of the first session along with slides so that you can catch up.
Part 1 – 22nd September, 9-10.30am
Setting the Scene – The business case for Diversity & Inclusion
Part 2 – 6th October, 9.30-10.30am
Making Space for Inclusion – Where do I start?
Part 3 – 20th October, 9.30-10.30am
Embedding Inclusion into your Culture through your Vision, Mission, Values and Strategy
Part 4 – 3rd November, 9.30-10.30am
The Perception Gap – Using data and analytics to increase your chances of success
Part 5 – 17th November, 9.30-10.30am
Writing your plan and putting it into action
Barrister Morag Ofili started Kiltered in 2020, a forward-thinking diversity and inclusion consultancy with a mission to take the fear out of building more inclusive workspaces. Using data analytics and organisational psychology, Kiltered helps businesses develop cohesive and achievable strategies for change and empowers businesses to put plans into action in a meaningful way. Where needed, Morag can tap into her network of lawyers, HR specialists and trainers to offer additional support. Kiltered is a resource for companies and leaders who are ready to do things differently. Morag is also a director at Broadminded, a community for curious and ambitious women, running events to inspire, educate & support women across all industries.
With a career spanning 20+ years in the creative and tech industry, Mette Davis has co-founded start-ups, and held leadership positions for global networks, boutique creative agencies and a digital transformation consultancy. Her former clients include British Airways, Mars and McLaren Automotive to name a few. Mette set up her own business in 2016, partnering with businesses and individuals to help them navigate through change and unleash their full potential. She works closely with companies to develop robust business strategies that stand the test of time, helping them activate their plans across multiple areas with a suite of practical tools and techniques, including workshop design and facilitation. Mette has also previously delivered several hugely popular training workshops for Bristol Creative Industries.
Diversity & Inclusion is a topic that’s rarely out of the news. But it’s also a topic that makes us feel uncomfortable, unsure of how to approach it and where to start. And once we have started, what we should be focusing on and prioritising in our strategic plans.
This first virtual session will help to set you on the right track with your diversity & inclusion efforts, make sense of what it means for businesses and the creative industries specifically, why it matters, and where to start. We’ll share a balanced perspective on some of the latest research and benefits of writing a business case, and explore different approaches to D&I, including metrics you can use to drive your efforts, all with the goal of creating a more inclusive workplace that will lead to increased diversity, improved team motivation and better business performance.
Whilst many understand the importance of inclusive workspaces and have heard the stats that diversity and inclusion is good for business, a large number of businesses have no idea how to get from where they are now to where they ought to be.
There are many reasons not to change – you lack the expertise, it takes up too much time, you don’t have the money or perhaps you simply do not want to compromise the positive elements of the existing culture? This session will tackle all of these common concerns and equip you with the tools to embark on your inclusion journey with a positive mindset.
Over the course of the session, we will explore why change is hard and what we can do to embrace it to create a better workplace environment for everyone.
The 3rd session in the Kiltered Guide to Effective D&I focuses on embedding inclusion into your culture through your vision, mission, values and ultimately your strategy.
We’ll talk about inclusive leadership, what it means and why it’s important for companies who want to achieve genuine inclusion, starting with the definition of your vision, mission and values. And once created, how it weaves into every element of your strategy and creates value for your business.
We’ll talk about different approaches companies take, with real life examples who have achieved varying levels of success through their efforts, including a deeper dive into the London 2012 Olympics and what we can learn from their approach to D&I.
We’ll also provide some practical guidance to help you on your way.
So you have examined your culture and examined your values but do you actually know how your employees feel about working in your organisation?
Are you surprised that anyone would ever want to leave?
The perception gap is the distance between how you want to come across and how you are ultimately perceived.
In this session, we will look at how data helps businesses close the gap and develop solutions that are responsive to the needs of their people.
As part of the Kiltered Guide to Effective D&I series, this final virtual session focuses on putting your plan into action. We’ll provide some practical steps you can take depending on where you are on your journey, as well as a couple of useful tools that will help you on your way to developing an inclusive culture that creates value for the business and motivates your team.
We’ll also help you understand what to expect, things to look out for, and how to approach some of the trickier situations that might arise. We’ll also share examples to bring it all to life.
The Kiltered Guide to D&I is sold as a block of 5 workshops as the learning builds throughout the series. Places are £225+VAT for BCI members and £295+VAT for non-members.
Book your place(s) here.
What’s the one thing Siri, Alexa, Cortana, and Google Assistant have in common?
In short, they’re all female.
At first, this may seem a harmless coincidence, but if we scratch the surface, the domination of the female voice in AI is far more problematic than it may appear.
Today, almost 3 billion people are currently using voice automated software to assist with daily tasks such as setting alarms, checking the weather, or even texting a friend. And the number of people opting to use voice assistants is not expected to decrease.
Yes, we all know this form of AI is beneficial for our ever-evolving digital world, but are these voice assistants causing more harm than we realise?
A greater number of consumers are starting to question the gender bias in voice automation, as they are starting to understand that opting for a female voice can reaffirm the social ideals that women are obedient, should do as they’re told, and most importantly, are here to serve the needs of others.
And because of these observations, many AI creators are now facing criticism for opting for female voices.
With all this in mind, we were intrigued as to why so many companies opt for female voices. Throughout this article, we uncover why there is such a strong gender bias in AI and map out the key steps we can take toward changing this bias.
The lack of male data is the most common reason most programmers opt for female voice when creating voice automated AI, and this is a problem that has been building for some time.
To create voice automation, you need to have a rich set of voice recordings within your text-to-speech system, and most text-to-speech systems have been trained using female recordings. Therefore, it’s much easier and cheaper to create female voice assistants.
So, why do we have so many recordings of female voices available to use?
Up until 1878 telephone operators used to be a solely male-dominated workforce, but they were often heavily criticised for being rude, abrupt, and unhelpful. In response to this Alexander Graham Bell suggested hiring a woman to see if her voice was better received.
Emma Nutt made history and became the first woman to be a telephone operator. Customers responded so well to her voice that she sparked an industry-wide overhaul, and by the end of the 1880s telephone operators were exclusively female.
It’s because of this industry-changing decision we now have hundreds of years of tried-and-tested female audio recordings available to us to create new forms of voice automated AI.
And this leads us on nicely to our next point…
This is probably the most contentious reason why AI programmers opt for female voices – we prefer the sound of female voices.
Many studies have suggested that our preference for the female voice begins when we are in the womb, as these sounds would soothe us even as a fetus.
Another reason why some researchers argue this preference exists is that women tend to articulate vowel sounds more clearly, making female voices easier to hear and understand than male voices.
An example of this can be seen as far back as World War II. Female voice recordings were used in aeroplane cockpits as they were easier to hear over the male pilots.
Up until now, this idea that female voices offer more clarity than a male voices remained unchallenged. Today, many researchers heavily dispute this claim and have found that the many studies that claim female voices are easier to hear when using small speakers or over background noise are simply not true.
There’s even more evidence to show that many people criticise women for their vocal ticks. For example, if you type into Google search “women’s voices are” the top suggested search will finish this sentence with the word “annoying” …
Clearly, AI programmers currently face a difficult challenge when asked to create male voice automation, and Google is a prime example.
Google Assistant was first launched in 2016, and many people were wondering why this AI product was not assigned a gendered name. The reason behind this choice was because Google wanted to launch its new voice assistant with both a male and female voice.
Unfortunately, Google’s text-to-speech system is what ended Google’s desire to launch a virtual assistant with a male and female voice.
Google’s initial text-to-speech system worked by joining segments of audio together from recordings, by using a speech recognition algorithm. It would add markers in different places in sentences to teach the system where certain sounds would begin and end.
As the text-to-speech system was trained using female data, Google Assistant performed better with female voices.
The global engineering manager for text-to-speech at Google, Brant Ward, explained why it was so hard to create a male voice for Google Assistant.
He said that the markers used in their text-to-speech system were not placed accurately for male voice recordings, this meant that it was more challenging to create a male voice assistant of the same quality as the female counterpart.
As it would have taken over a year to create a male voice for Google Assistant, the team at Google decided to run its Google Assistant with only a female voice.
As you can now see, the gender bias in voice automation has become an unshakeable paradigm because of a lack of data and societal acceptance over the preference of the female voice.
When a whole industry is stuck in its ways, even the notion of creating male voice automation can feel like an uphill battle.
It’s time we changed our approach to male voice automation, and there are some simple things we can do as an industry to eliminate the gender bias in voice automation and throughout the AI industry.
1. Inclusivity Is Key
Perhaps it’s obvious to say, but this is an issue that needs to be highlighted. Full stop.
Currently, “women make up an estimated 26% of workers in data and AI roles globally, which drops to only 22% in the UK”. And this percentage drops even further when you look at the number of people in AI who are transgender or non-binary…
It’s disappointing stats like these that show we need to do much more to encourage people of all genders to pursue a career in AI. We want our AI development teams to be more diverse, and this won’t happen if we don’t act.
Once we have a more diverse workforce, we will be able to pinpoint and resolve complex gender issues before and during the production stages of new AI products. Now, in order to attract more diversity, we need to start looking at ways to encourage all genders to follow a career path in AI in higher education.
This can be easily achieved by creating a strong educational foundation, with multiple learning channels available to all students, no matter their gender orientation.
We also need to encourage people of all genders to take an active role in the development of AI course materials. When students see they are being represented in courses they are studying, they are more likely to continue in further education.
2. Develop New Machine Learning Technology
Machine learning technology has come on leaps and bounds in the past few years, and there are now new text-to-speech systems available that create naturalistic male and female voices for AI.
After Google struggled to create a male voice for its virtual assistant, the tech giant joined forces with AI specialists DeepMind to develop a more advanced text-to-speech algorithm that significantly reduced the volume of recordings needed to simulate human voices.
Now known as WaveNet, this algorithm allowed Google to create a more naturalistic voice for all genders, which were then added to Google Assistant in 2017.
Today, America’s version of Google Assistant comes programmed with 11 different voices, and new users are assigned one of two basic voices – one male and one female – at random.
3. Industry-Wide AI Standards Need to Be Made
The domination of AI is not expected to slow down any time soon. In fact, the global market value of AI is expected to reach $267 billion by 2027!
When you think about how AI is becoming an integral part of our society in one way or another, it is shocking to think that there are still no standards in place concerning the humanization of AI.
To this day, most tech companies develop virtual automated systems with a female voice, and this can still enforce the stereotype that women are “assistants”. In order to combat this, we need to have AI standards in place to ensure our products are far more inclusive.
To create these industry-wide standards we must include people of different genders, sexual orientations, races, and ethnicities in the decision-making stages.
With a more diverse group of individuals, we can work together to define what “female,” “male,” “gender-neutral” and “non-binary” human voices sound like and when it’s appropriate to use such voices.
These industry standards should also include a basic set of protocols. Companies would then need to adhere to these rules when creating text-to-speech algorithms to ensure AI products are unbiased and sensitive to potentially harmful gender stereotypes.
It looks like voice assistants will be a part of our lives for the foreseeable future, and because of this, we need to address the gender bias surrounding this type of AI technology now.
Just by opening a discussion about gender representation in voice automation, we can actively begin to create a future of AI that’s more inclusive for all.
We all know how important it is to encourage equality through our culture in the workplace. But it’s no secret that women are underrepresented in senior leadership positions.
It’s everyone’s shared responsibility to become not only advocates, but champions of women from diverse backgrounds within their organisations – and in their lives at large. And in the creative sector, if we want to truly do our part to help women stake their claim, it means businesses taking ownership of their own equality scores in a number of ways – not least, by appointing women to the senior leadership positions we need them to be in.
At Proctor + Stevenson, we’re one of the UK’s longest-established independent marketing agencies. Despite this, we’ve never been conformists, and we’re a good step ahead of your traditional London-based agency in more ways than one.
Our Founder and Chairman, Roger Proctor, has always been an outspoken industry figure. He’s championed diverse young creative talent from the South West of England and Wales – an often neglected region for the arts – throughout his career.
Back in 1979, he laid in our bold and independent foundations in Bristol. And the rest is history. We’ve been challenging inequities and hiring diverse talent ever since – such as through hosting the South West Design + Digital Student Awards (which saw a particularly high volume of entries from young female designers this year).
In short, the talent is there. So what changes are being made?
At the start of 2021, Roger and the senior team restructured Proctor + Stevenson by splitting the larger brand into three companies: P+S Creative, P+S Technology and P+S Strategy, all overseen by the P+S Group (you can read more about these changes here). And this change marked a new milestone for the P+S team.
Our restructuring was the perfect opportunity to progress our own equality targets across the team at Proctors. It was at this point in our journey that we ensured the P+S Group met a target of 50/50 male-to-female directorship.
So, without further ado, meet our board…
· Joy Locke is our Company Secretary. She applies her 20+ years’ experience with us to take lead of everything operations, finance, accounts, and administration. She ensures that we were keeping on track with budgets.
· Ailsa Billington is one of our Directors. She leads our client services operations and takes charge of directing major global campaigns for our multinational portfolio of clients. She directs over all teams in the P+S Group to make sure that we deliver the best campaigns to transform our clients’ businesses for the better.
· Nikki Hunt is our Financial Director. CIMA-qualified, Nikki brings a wealth of experience in management accountancy, HR, payroll, and health and safety to our business, keeping us running efficiently and safely.
· Roger Proctor is our Chairman. He founded P+S in 1979 and has continued to lead its transformation ever since. Under his leadership, the business has grown from 2 people to more than 70, plus a network of freelance talent, and has won a global portfolio of clients such as Panasonic, National Grid, Saudi Arabian Airlines, and much more. He is passionate about the power of creativity to make positive change and is also heavily involved in strengthening the links between the creative industries and education.
· Mark Jamieson is another of our Directors. He helped establish our presence in the Middle East and is an expert in developing, building, and maintaining positive client relationships in across all sectors.
· Steve King is the final member of our current team of Directors. He leads our large-scale digital projects on everything concept creation, development, and project delivery. He’s worked on many innovative and world-first technology projects.
At Proctors, we’ve always taken equality and diversity extremely seriously. Because when we celebrate and empower women in business, it benefits everyone.
We strive to nurture careers amongst our female talent, building them up into more senior roles within our business. And we want to continue to progress further. We’re currently building a broader, transparent picture of our teams, our diversity, and our biases to discover how we can do better.
There’s lots more to be done to help narrow the gap between women in leadership across the UK. It’s a fact that only 5.6% of women in the UK run their own business and women only account for 33.8% of positions as directors on business boards in the UK, with only 16% of creative directors reported to be female.
We’ve just launched the first instalment of our Women in Business interview series. In it, our own Marketing Manager, Becca Peppiatt, sits down with Peaches Golding OBE CsJT, Her Majesty’s Lord-Lieutenant of the County and City of Bristol. This interview, like the rest of the series, delivers insight into the female perspective of working in business, so aspiring young women can see themselves represented in leadership roles. Stay tuned for more instalments of the series, coming soon.
We can all do our part to progress the important conversations which need to be had about an industry that is in many ways stuck in the past, ignoring some of its blatant inconsistencies. There’s lots more to be done and we intend to continue to work hard to narrow some of the gaps that exist. We need to think intersectionally about how we hire, and how we can create healthy, fair environments for women to succeed in.
For more information about Proctor + Stevenson, or to discuss our services or teams in more detail, please email us.
During a recent panel discussion, TMW CEO Chris Mellish made this statement on gender balance in leadership: “We shouldn’t just be talking about this on International Women’s Day, it needs regular dialogue.”
Yep, I went there – I opened with a quote from a man. But it may well take male support, particularly from those in leadership, to help push the agenda for women – and get all genders on board with it. According to leading scholar and anti-sexism educator Jackson Katz, the mere mention of the phrase ‘gender issues’ can lead men to switch off as they often see gender-related conversations as ‘women’s issues’, rather than anything to do with men. But genders don’t operate in isolation.
“We shouldn’t just be talking about this on International Women’s Day, it needs regular dialogue.”
– Chris Mellish
Put simply, because it makes businesses more effective. In 2019, Credit Suisse researched 3,000 companies across 56 countries to find that shares of companies with more women managers delivered higher returns, while a greater number of women executives also correlated with stronger revenue growth and higher profit margins. This was echoed by a report from consultancy The Pipeline:
“Companies on the FTSE 350 index would generate 195 billion pounds ($250 billion) of additional pre-tax profit if their margins matched that of the firms with greater female representation.”
But aren’t women hardwired to be the primary caregiver in the home? Cognitive neuroscientist Gina Rippon analysed the data on ‘differences by sex’ in the brain – and found there to be none. If gender alone has no impact on brain functionality, Rippon concluded that what we deem as typical male or female traits are, as she describes, the result of a “gendered world” – so nurture, rather than nature.
And yet LinkedIn research suggests a staggering 60% of female marketers have left or considered leaving the profession because of Covid-19. That’s more than any other industry. In heterosexual partnerships, women have taken on more duties in terms of caring and homeschooling, in addition to their careers, and are left feeling overwhelmed.
“60% of female marketers have left or considered leaving the profession because of Covid-19.”
There are signs of change with studies worldwide reflecting a shift in the balance of housework and caregiving from pre-pandemic times. But mothers still spend about twice as much time on caregiving and household labour, even as they’ve rapidly increased the number of hours they work outside the home – and even when they’re the primary breadwinner.
For International Women’s Day, Unlimited ran a panel discussion with women in leadership roles from across our group, joined by our male representative, CEO Chris Mellish. The panellists shared personal experiences of difficulties faced in getting to their position. Yet on the point of children, the panel questioned their own choices on who in their family took the role of primary caregiver. Some voiced concerns of being left behind during maternity, and recounted being judged as “not ambitious enough” for wanting children – or being seen as “too ambitious” for not having them at all, as if the two options were mutually exclusive.
“The panel shared . . . the general expectation that women must be better, sparkier, more articulate – and work harder than their male colleagues.”
But motherhood is not all that impacts a woman’s capacity to succeed in the workplace. The panel shared experiences of their confidence being damaged in all-male environments, having to use humour to ‘handle’ comments on their appearance, being asked to consider how men would feel if women were promoted over them, and the general expectation that women must be better, sparkier, more articulate – and work harder than their male colleagues.
These experiences are not new, and many echoed a 2019 report from the Government and Equalities Office. The report cited barriers to gender balance as lack of transparency in pay and promotion supporting biases that disadvantage women. Hostile or isolating organisational cultures, and a conflict between external responsibilities and current models of working – compacted by unpredictable work demands and alternative ways of working do not always offering parity of opportunity. Many women reading this post will be able to relate to each one of these.
The Unlimited panel covered a range of ways we can start to shift the dial and work towards gender balance in leadership. There are practical considerations around flexible working, recruitment processes, and transparency on pay and promotions, allowing more unbiased access to a seat at the table. Mentorship, coaching and workshops can serve to build confidence and address what holds women back.
“There are practical considerations around flexible working, recruitment processes, and transparency on pay and promotions, allowing more unbiased access to a seat at the table.”
But a theme that came out strongly from the panel is, as Chris said himself, to keep talking. That is the ambition we must work towards as an agency – for all genders to play their part. We want to create space for getting into the awkward stuff we don’t like to talk about. The often-cited reaction to the Me Too movement from men is fear, being nervous of saying the “wrong thing”, but this doesn’t serve any of us. I’m often struck by how even my most supportive male friends are simply unaware of the challenges of walking in my shoes as a woman. One positive that may come out of the tragic events surrounding Sarah Everard’s death, is the heightened awareness of the daily challenges women face. We can’t afford to maintain inertia. We deserve better for ourselves and future generations of women in the workplace and beyond it. And this is the challenge we have set ourselves – to continue the conversation, and back it up with action.
– Martin Luther King, Jr.
Yes, another man – but what a man.
Written by: Emma Woodrow, Group Account Director
Illustrations by: Paloma Kaluzinska, Junior Designer