The main point…
Here’s another excellent example of journal writing from the Exeter Geography module behind our website. At the start of the module, we ask the students to add to their phone homescreens this photo of an Apple factory worker which, it seems, was accidentally left on an iPhone bought in 2009. The person who found this and four other photos posted them online and the quest to find out who she was, why photos of her were on that phone, and what would happen to her after they went pubic went viral (as documented on our followthethings.com page). We ask our students to keep her photo on their homescreens until the end of the module, for almost 4 months. What can happen to you when she looks at you every time you look at your phone, wherever you go? Sophie Woolf explains… to the person who became known as ‘iPhone Girl’.
This post is by Ginny Childs, a student who took the Exeter University Geography module that is behind our website last term. It’s a piece of (slightly edited) coursework that she wrote in response to reading behind Sofia Ashraf’s ‘Dow vs. Bhopal: a toxic rap battle’. Ginny wasn’t even born when the Bhopal factory exploded in 1984, but it affected her here and now. Here’s how…
I joined Exeter University Officer Training Corps this year. Last weekend was my first weapons training session; on the SA80 assault rifle. The first lesson I received was a ‘Normal Safety Procedure’ on what to do if I drop it and the sighting system cracks. The system uses tritium (a radioactive hydrogen isotope) in gas form, to create visible light. If it escapes, and I were to inhale it, radioactive damage could occur in my body.
Sat in my weapons training lesson, whilst thinking about tritium, my mind drifted to methyl isocyanate (MIC). The Bhopal disaster was the topic my group were researching for this module. I’d been researching the thousands of deaths and deformities this gas leak caused. Now, here I was being cautioned on tritium. It seemed silly. The rifle contains only a minute amount, and it’s deemed to be one of the least hazardous radionuclides. Yet, I was laboriously taken through a step-by-step routine to memorise the safety procedure: STEP AWAY FROM THE WEAPON… HOLD YOUR BREATH…GET ANY SMOKERS TO PUT OUT CIGARETTES…INFORM ARMOURY OF INCIDENT etc.
We’ve been following this project on social media for a while now. Today we bought the shirt…
Part research method, part art object, The Shirt is a specifically designed consumer item, manufactured in a Chinese factory, which uses bespoke digital technology to make visible all the people and processes behind its production. The Shirt has barcodes on it, and when you put your smartphone over the barcode, using a bespoke app, it will trigger digital content that reveals the very people and processes involved in making the actual shirt in your hands.
Yes, we’re five years old. Our official opening was on 2 October 2011. We visited the humid tropics biome at the Eden Project during Harvest Festival week. We asked passers-by to write postcards to the people who made their things. Below is the original article by CEO Ian about happened next.
‘What would you say to the person who picked the banana in your lunchbox?’
Thanks for your hard work. A lot of things would not be possible without you!
This is just one of the touching personal messages written by Eden Project visitors during 2011’s Harvest Festival week. Three Exeter University students and I set up a stall by the smoothie stand in the Humid Tropics Biome. We talked to passers-by about the plants that they had seen that day. ‘Which ones had produced ingredients for your clothes, shoes, lunch, anything you have with you?’ ‘Imagine a person who had, for example, picked the cotton in your top, tapped the rubber in your shoes or packed the banana in your lunchbox.’ ‘What would you say to her or him, if you had the chance?’
Almost everyone stopped to talk to us. Many said that they hadn’t thought much about this before. We provided postcards and pencils, and people spent time talking with their friends and family about exactly what they should write. We collected the cards. At the end of the day, we had 160 heartfelt, friendly and sometimes humorous messages.
Among them were: Continue reading
How can encouraging students to cut up, rearrange and otherwise mess with adverts’ imagery and messages help them to better appreciate the complex geographies of consumption and international trade? How can the teaching of controversial issues build on students’ senses of injustice, mischief and creativity? We have a suggestion…
Earlier this year, a booklet called Medialukutaitoa vastamainoksista became a booklet called Teaching media literacy and the geographies of consumption. These booklets come from a series of workshops developed by former followthethings.com intern Eeva Kempainnen in a variety of educational settings in Finland. The hands-on and entertaining methods she sets out are suitable for a variety of ages, and the booklets are crammed with ‘how to’ advice and excellent examples of student work. Watch our cheaply produced promo, download the booklets by clicking the links, and find out more about Eeva’s work here.
Thanks to Mary Biddulph and Alan Parkinson for their help in this process.
This is one of the questions that drives our work at followthethings.com. We tend to find our answers – yes, no, maybe, depends, etc… – in the user-generated comments on video-sharing websites like YouTube and in the comments on newspaper reviews. We’re currently wading through thousands of comments on a 2015 ‘follow the fashion’ film called The True Cost, and came across this powerful video response. We’re giving a paper about the True Cost and fashion activism at a conference next month. There’s an argument in the literature that work like this makes prescriptive arguments about responsibility that are so infinitely demanding they can generate a sense of powerlessness in consumer audiences. This doesn’t seem to be the case, at least for this viewer. Watching this film was a powerful experience. For us, this kind of response changes the question that’s asked. Now it’s ‘how do ‘follow the things’ documentaries affect their audiences? What vocabulary can we develop to describe this? That’s what we’re working on.