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Are gender inequality reducing?

by Amy Reilly

 

Women face many battles in day-to-day life which has been well documented throughout history.

 

One of the things that almost every woman has had to deal with is equal pay for the same work. Although this is a legal right in the UK, it does not always come into force. Women earn 11.9% less than men on average. This is often explained by the fact that women are much more likely to be in part time employment. Although this is becoming less common, it often still tends to be the women who are left at home to deal with caring responsibilities for children or elderly family members. This is the leading cause for the gender pay gap. It has also been shown that women are less likely to seek promotions in their 30s and 40s. This has been explained for many reasons, including that they have caring responsibilities or even just that they don’t think they would be able to get it, because they are up against a man. Some employers still have reservations of promoting or even hiring women because they are worried in case they will have to provide maternity leave and cover. This is why women often suffer from the ‘glass ceiling effect’ making them believe that they are unable to progress in their careers. Although society is evolving, women are still more likely to go into lower paying jobs, for example, in the public sector, clerical or hospitality. These are often less reliable, however, they are more open to providing flexibility. Over recent years, many companies have decided to increase the number of women given promotions and there has also been legislations in government to force companies with over 250 employees to be transparent with the amount they pay to both male and female employees, meaning that the gender pay gap is reducing. There still is a gender pay gap and it will not disappear any time soon, however work is being done to improve and slowly but surely, the inequality is reducing. Overall, women are still at a disadvantage in comparison to men, although this is now more of a priority to be resolved than it has ever been.

(REILLY, Amy. Are gender inequality reducing? Disponível em: https://www.voicemag.uk/blog/14128/are-gender-inequa lities-reducing. Acesso em: 20 out. 2024. Adaptado)

The pronouns “they” in: “Some employers still have reservations of promoting or even hiring women because they are worried in case they will have to provide maternity leave and cover” refer to:

 The argument for the existence of life in different places in the universe can lead to endless and aimless (but fascinating) speculation. Why assume that aliens so far advanced technologically are still bound by the chains of aging bodies? As we see our own technology advancing, and our minds becoming ever more entangled with digital devices, we can envision a kind of transhuman future whereby our mind’s essence, what we (loosely) identify with our inner self and memories, becomes immaterial, soullike, tethered to reality through information alone. In his novel 2001: A Space Odyssey, Arthur C. Clarke speculated that aliens would have broken away from carbon-based and robotic machine structures so “that the mind would eventually free itself from matter (…) and if there is anything beyond that, its name could only be God.”

 This is where astrotheology begins, as we envision aliens as the techno-version of godlike creatures, with the obvious subtext that one day we are going to get there too. So, not only is their technology magic to us, but their very existence becomes equivalent to a supernatural presence — omniscient, omnipresent, and undetectable by our feeble human senses and machines. Such aliens are indistinguishable from gods inhabiting the heavenly realm, being as elusive as countless deities have been throughout human history. They exist only in that intangible dimension of faith.

Marcelo Gleiser. The dawn of a mindful universe: a manifesto for humanity’s future. HarperOne, San Francisco (CA) (adapted).

The main objective of text is to

 The argument for the existence of life in different places in the universe can lead to endless and aimless (but fascinating) speculation. Why assume that aliens so far advanced technologically are still bound by the chains of aging bodies? As we see our own technology advancing, and our minds becoming ever more entangled with digital devices, we can envision a kind of transhuman future whereby our mind’s essence, what we (loosely) identify with our inner self and memories, becomes immaterial, soullike, tethered to reality through information alone. In his novel 2001: A Space Odyssey, Arthur C. Clarke speculated that aliens would have broken away from carbon-based and robotic machine structures so “that the mind would eventually free itself from matter (…) and if there is anything beyond that, its name could only be God.”

 This is where astrotheology begins, as we envision aliens as the techno-version of godlike creatures, with the obvious subtext that one day we are going to get there too. So, not only is their technology magic to us, but their very existence becomes equivalent to a supernatural presence — omniscient, omnipresent, and undetectable by our feeble human senses and machines. Such aliens are indistinguishable from gods inhabiting the heavenly realm, being as elusive as countless deities have been throughout human history. They exist only in that intangible dimension of faith.

Marcelo Gleiser. The dawn of a mindful universe: a manifesto for humanity’s future. HarperOne, San Francisco (CA) (adapted).

With the question “Why assume that aliens so far advanced technologically are still bound by the chains of aging bodies?” (second sentence of text), the author is

 The argument for the existence of life in different places in the universe can lead to endless and aimless (but fascinating) speculation. Why assume that aliens so far advanced technologically are still bound by the chains of aging bodies? As we see our own technology advancing, and our minds becoming ever more entangled with digital devices, we can envision a kind of transhuman future whereby our mind’s essence, what we (loosely) identify with our inner self and memories, becomes immaterial, soullike, tethered to reality through information alone. In his novel 2001: A Space Odyssey, Arthur C. Clarke speculated that aliens would have broken away from carbon-based and robotic machine structures so “that the mind would eventually free itself from matter (…) and if there is anything beyond that, its name could only be God.”

 This is where astrotheology begins, as we envision aliens as the techno-version of godlike creatures, with the obvious subtext that one day we are going to get there too. So, not only is their technology magic to us, but their very existence becomes equivalent to a supernatural presence — omniscient, omnipresent, and undetectable by our feeble human senses and machines. Such aliens are indistinguishable from gods inhabiting the heavenly realm, being as elusive as countless deities have been throughout human history. They exist only in that intangible dimension of faith.

Marcelo Gleiser. The dawn of a mindful universe: a manifesto for humanity’s future. HarperOne, San Francisco (CA) (adapted).

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Maintaining the original meaning of text, the fragment “but their very existence becomes equivalent to a supernatural presence” (second sentence of the second paragraph) can be correctly replaced with

 Art and technology have long inspired each other, but recent advancements are driving their fusion like never before. From AI-generated art and immersive experiences to new ownership models, the creative landscape is evolving in ways we could barely imagine a few years ago. This fusion of creativity and innovation isn’t just adding to the world of art. It’s redefining it, making us rethink what art can be and who has the tools to create it. One such innovation is interactive art.

 With interactive art, artists can break down traditional boundaries between the creator and the viewer. Participatory art involves the audience directly, allowing them to influence the outcome of the artwork itself. Artists are using technologies like motion tracking, sensors, and facial recognition to create installations that change based on viewer movement, expression, or even mood.

 This level of interactivity invites viewers to move from passive observation to active participation, making them a part of the artwork’s story. This trend reflects a cultural shift toward collaboration and personalization, where audiences expect to be involved in the creative experience. Participatory art installations are not only transforming gallery experiences but also allowing viewers to experience art as an unfolding story that changes with each interaction.

Petra Ivanigova. The Future of Art and Technology: Key Trends Shaping the Creative Landscape. Internet: (adapted).

In the last sentence of text, the author