There are two weeks to go before our latest pedagogical experiment begins: the free online course called ‘Who made my clothes?’ which we have put together with Fashion Revolution and the University of Exeter. To help to spread the word, CEO Ian will front a small number of ‘Who made my…?’ films which show how we can imagine and find traces of labour in everyday commodities. The first film is about mobile phones and ends with a request. Please try this out and let us know what happens. Then watch the others in this playlist.
Not sure if this is or is not the ‘norm’ but I just received my brand new iPhone here in the UK and once it had been activated on iTunes I found that the home screen (the screen you can personalise with a photo) already had a photo set against it !!!! (Source: markm49uk 2008, np link).
I hope she doesn’t get fired, she looks so bloody happy! I will dedicate my iPhone homescreen to her for the rest of this week (Source: vegasdodger 2008, np link).
markm49uk (2008) iPhone 3G – already with pictures ! (aka “iPhone Girl”). macrumors.com 20 August (https://forums.macrumors.com/threads/iphone-3g-already-with-pictures-aka-iphone-girl.547777/ last accessed 13 June 2017)
Cook, I. (2011) iPhone 3G – already with pictures! (aka ‘iPhone Girl’). followthethings.com (http://followthethings.com/iphonegirl.shtml last accessed 13 June 2017)
Cook, I. (2013) The 14 best examples of shop-dropping… ever. followtheblog.org 23 March (https://followtheblog.org/2013/03/22/paper-activism-in-store-in-things-on-things/ last accessed 13 June 2017)
Woolf, S. (2017) Dear iPhone Girl. followtheblog.org 11 February (https://followtheblog.org/2017/02/11/guest-blog-dear-iphone-girl/ last accessed 13 June 2017)
Good news. On Monday, CEO Ian was awarded the Royal Geographical Society (with the Institute of British Geographers) ‘Taylor and Francis Award for Excellence in the Promotion and Practice of Teaching and Learning of Geography in Higher Education’. He was nominated for the whole ‘follow the thing’ appreciation of the the social relations of trade and its application across school, university and wider public pedagogies. The ‘et al’ in his name signifies his permanent, heartfelt appreciation of everyone involved in the project over the years, and those who may join it in the future. As he explains:
“I am very happy and humbled to be given this award. My research began in the classroom where I miserably failed to encourage students to be interested in what was happening in other parts of the world. I was desperate to find a way to show how their lives were connected to those of the people and places we were studying. Finding out how some of our things are made, in some of those places, was the answer and that’s how the ‘follow the thing’ idea originated in Kentucky in the late 1980s. Since then, I’ve really enjoyed developing ways to help students follow their own things, to think empathetically about their relations and responsibilities to others in the process, and to play, have fun, make mischief, be activist with their findings. I’ve learned as much as I have taught as we have done this together. I’ve been constantly surprised by what I have learned from the students who have taken my modules and worked as interns on the followthethings.com project. Being ourselves is a massively collaborative effort. I truly appreciate everyone’s contributions.”
This work continues -> next we’re working on our ‘follow the things’ Subvertisement project in Finland with Eeva Kempainnen – researching and adding 10 new pages to our website – running our free Fashion Revolution ‘Who Made My Clothes?’ course that starts on 26th July, and opening the Museum of Contemporary Commodities at the RGS(IBG)’s Pavilion Gallery on London’s Exhibition Road from 24th – 27th August. Please join us.
Fashion Revolution week finished yesterday. It’s call to arms is the question ‘Who made my clothes?’ Here’s how you get involved, do this yourself.
On June 26th, there will be another way to find out ‘Who made my clothes?’: that’s when a free 3 week online course led by our CEO Ian begins. Here’s the trailer. You can sign up here.
In January 2007, the container ship MSC Napoli was run aground in rough seas off the Jurassic Coast World Heritage Site in South West England. The unfolding drama of oil spillage, containers washing up on shore and their contents being salvaged near the village of Branscombe was international news. The wreck and its aftermaths was also researched in incredible detail by a well established local history group called the Branscombe Project whose members produced and exhibited original art work in response to it. Much has been written by journalists and academics about the Napoli, and artists (notably Melanie Jackson) have drawn it into their work. But it’s the inside story that emerges from this local research is perhaps the most interesting. At the end of her often-given talk, Barbara Farquharson – formerly an academic archaeologist and anthropologist and member of the Branscombe Project – has said that:
“When you think about it, the creation of World Heritage Sites are part of a global phenomenon involving the creation of iconic places that are both physical and cultural. So in a curious way the beaching of the Napoli hits the cross-wire between global cultural and environmental and economic and political issues” (Farquharson 2009, np).
The Napoli wreck is a brilliant insight into the geographies of material culture, the out of sight geographies of trade, and ways in which art and social science can make sense of its complexities. So the Napoli at Branscombe is worth revisiting for anyone who’s fascinated by these issues. We end with a reading list:
Watch out for this new film coming to UK cinemas in 2017.
Moving through the corridors and bowels of an enormous and disorientating structure, the camera takes the viewer on a descent down to a dehumanized place of physical labor and intense hardship. This gigantic textile factory in Gujarat, India might just as well be the decorum for a 21st century Dante’s Inferno. In his mind-provoking yet intimate portrayal, director Rahul Jain observes the life of the workers, the suffering and the environment they can hardly escape from. With strong visual language, memorable images and carefully selected interviews of the workers themselves, Jain tells a story of inequality, oppression and the huge divide between rich, poor and the perspectives of both (source).
Reviews and interviews
There’s an academic publications page on our blog that gives a taste of, and provides access to, our research papers about the followthethings.com project. A book chapter has just been published in an open access e-book that brings together a series of lectures in Switzerland asking if and how social scientific research can transform society. Our answer is a qualified yes.
Cook et al, I. (2017) followthethings.com: analysing relations between the making, reception and impact of commodity activism in a transmedia world. in Ola Söderström, Laure Kloetzer & Hugues Jeannerat (eds) Innovations Sociales: Comment les Sciences Sociales contribuent à transformer la Société, MAPS: Université de Neuchâtel, 50-61 Full Text
What we are keen to find out are what filmmaking, artistic and activist tactics lead to what kinds of public and corporate responses, and with what kinds of impacts on whom. There is an established argument that, when this work is didactic and tries to enroll its audiences through blame, shame and guilt, it tends to fail. Audiences feel powerless, overwhelmed, apathetic, and angry at those making them feel this way rather that at the injustices exposed (Barnett 2010, Sandlin & Milam 2008, Cook & Woodyer 2012). Even the most cursory examination of our website suggests that the elements of, and relationships set out in, this argument are quite narrowly defined. To illustrate this, we offer below a taste of what’s to come from the analysis of the followthethings.com archive. We provisionally outline one engagement tactic, one kind of consumer response, one kind of corporate response, and one kind of impact.