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.
This year we have been working with Dr Carolin Schurr in Switzerland. Her new ‘Follow the Thing: Studying Transcultural Markets’ course at the University of St Gallen ran in parallel to our ‘Geographies of Material Culture’ course at the University of Exeter. To showcase the awesomely critical, creative scholar-activist work that our students produce, this year we’ve published student guest blogs about gun sights, iPhones and paint. This post contains two pieces of work on palm oil by Carolin’s students Gianmarco Zorloni, Harpreet Perhar, Julian Krauth, Leonardo Ehnimb and Milan Kuzmanovic. We start with a short animated information film (expertly put together using Videoscribe software), followed by a script showing how ‘the thing with palm oil’ can enter conversation and affect behaviour, and finishing with the research report upon which this work is based. How can you respond to ‘follow the thing’ research that finds that thing in, more or less, everything?!
The information film
We know from our research that the involvement of celebrities in activist campaigns raises their media profiles and impacts. We have been hoping that our ‘follow the things’ project would one day attract a celebrity to get behind what we’re doing, encourage others to do what we do. Yesterday we found what we were looking for. Emma Watson was exchanging advice for $2 in New York’s Grand Central Station. We’ve skipped to the part in the video when she’s responding to one young man’s question. If you take her advice entirely out of content, she’s giving us an endorsement. Her character Hermione Grainger has inspired activist members of the Harry Potter Alliance. Now she inspires us. The way she says our words is wonderful. Thank you Emma.