Bias exists in all facets of life, but Shoumita Dasgupta has focused the behavior on one particular discipline. In her book “Where Biology Ends and Bias Begins: Lessons on Belonging for Our DNA,” she talks about the need for inclusivity in the field of science.
Dasgupta, a geneticist and professor of medicine and assistant dean of diversity and inclusion at Boston University, will be holding a book talk on Thursday, April 17 at 6:30 p.m. at The Colonial Theatre in North Canaan.
The daughter of Bengali parents who came to the United States in the 1970s so her father could pursue an education in science and seek “the American dream,” Dasgupta remembers her childhood in central Pennsylvania. As the child of immigrants, she was able to fit in with others like herself, but was viewed as an outsider by others. Those experiences sparked her life-long interest in the area of equality and diversity.
Dasgupta went on to embark on an educational path, earning a bachelor’s degree from the Massachusetts Institute of Technology and both a master’s and Ph.D. from the University of California.
In discussing the topic of her book, Dasgupta said in science, like any other type of society, there is some inclusion and some not. That realization has helped her acclimate to being comfortable in her own skin, which in turn, provides her with mentoring tools when dealing with her students. Her hope is to make it easier for others who don’t identify with a major group.
Dasgupta explained that she has been teaching a course about inclusivity with medical and Ph.D. students in which various topics such as sex/gender, biology and disabilities are discussed. She found the curriculum led to meaningful conversations and that what started as an anti-racist genetics project shifted to one of anti-oppression.
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An editor, learning about the class, suggested she put the topics all together in a book. Her vision was to highlight the importance of bringing people together with a historical perspective and while honoring that history, hoping mistakes that were made aren’t repeated.
Talking about history, Dasgupta said science began centuries ago as a hobby for the upper echelons of society who had money to pursue their interests. This hierarchical structure led to almost predetermined outcomes that were often flawed, such as a belief that race was the reason for particular medical issues. She said that’s what oppressive science looks like now.
Dasgupta said science is a social structure and there is a need to check individual biases so as not to promote further harm. Using the term “virus of bias,” she said education is needed to overcome this way of thinking. She also fears the potential misuse of technology and the need to ensure its proper use before it’s released into society.
Dasgupta hopes a takeaway from her book is that people see the commonality among populations. She is also hopeful that all people can learn from one other.
To reserve tickets, visit: www.canaancolonial.com
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Each piece makes a gift, a note or even a Christmas tree seem more personal, more considered, and more connected to humanity. Since then, demand for her personalized, hand-lettered tags, ornaments and cards has only grown, appearing in mailboxes across the region and at shops like the Cornwall Whale and Marton & Davis in Chatham, New York. Her precision is remarkable, and to watch her create these one-of-a-kind pieces is an art all unto itself.
In recent months, we’ve seen a deluge of stories on digital replacement. Data managers, bankers and even therapists are being replaced by computer programs in mass waves of layoffs. But what many still find surprising about the proliferation of nonhuman competitors in the job market is how it’s affecting the arts. Illustrators, animators, photographers, musicians and even on-screen actors are being supplanted by bots touted as “artificial intelligence agents.”
But calligraphy — and handwriting in general — has been in the crosshairs of mechanical progress for centuries. There was a time, if you can believe it, when writing anything required ink, paper and sometimes even a living, breathing human scribe. No typewriters, no word processors, no voice-to-text programs.
Then came Gutenberg’s printing press. Sure, it changed the world for the better, ensuring a greater distribution of ideas, and helping spark some of the most important political movements in history. But it also marked one of the first moments when technology replaced the artistic work of the human hand. Over the centuries, printers, designers and technologists have continued to innovate. Today, with Photoshop or Illustrator, an entire universe of alphabets exists, from ornate and embellished to precise and futuristic — all designed to replace the human hand.
Melissa Gamwell, crafting custom Valentine’s Day cards in her office in Cornwall. Kevin Greenberg
Yet, despite this centuries-long assault from technology, Gamwell has found her own way to thrive. Largely self-taught, she combines her drawing and industrial design background with an old-school New England childhood in Maine that involved “very tangible, hands-on, creative problem-solving using many materials.” Raised by “parents who loved antiquarian books, often filled with hand-written dedications,” hers was the kind of upbringing in which “traditional practices were cherished and flaunted” — a time and place with “hand-painted lettering on churches, street signage, the stones in beautiful churchyard cemeteries, and log books.”
Those early impressions have stayed with her, heightening her appreciation of sometimes overlooked details.
“There’s so much ephemera floating around with traces of beautiful handwriting to see everywhere, even now in Connecticut,” she said.
Even in a digital age, she keeps technology at a distance.
“You will not find ChatGPT on my phone, and you will usually not find my phone on me,” she said. Instead, she opts for a notebook, a scrap of paper or the back of a receipt. Sometimes, she goes even further, gathering black walnuts from trees on her property to make the specialized ink for her practice.
Gamwell’s approach to her craft is also philosophical. “There is no better feeling than working through something with your own brain and your own hands, even if you find it less exemplary than you would hope. And it only uses the water you’re already consuming. Do you need to convey an idea? Draw it, however horrific or childish. Write it, even if you never learned proper grammar — because you’ve always had programs do it,” she said.
“Sometimes I think that everything I like is ‘historic’ but it’s really that I just find more value in the traditional methods, which are still alive and well, and desperately in need of stewards for the future.”
After nearly 400 years of pressure, it’s encouraging to see handwriting — an art form that once seemed destined for obsolescence — still thriving, one careful stroke at a time. And thanks to Gamwell, perhaps there’s a new generation of observers, collectors and future calligraphers ready to carry it forward.
D.H. Callahan is a voice actor, creative director and trail steward. He lives with his wife, artist Lane Arthur, in West Cornwall, Connecticut.
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