We love the work of Dutch artist Christien Meindertsma, and have drawn on her work to explain what the ‘follow the thing’ approach is all about, and how to do it well on our Classroom Resources page. We were reminded of her work today in a seminar in the Exeter Geography series by Ray Chan called “Capitalist pigs: politics of meat production and animal diseases in China.” We’re posting her 2010 TED talk today because it’s awesome. Enjoy!
I think that, in order to take better care of what’s behind our products — so, the livestock, the crops, the plants, the non-renewable materials, but also the people that produce these products — the first step would actually be to know that they are there.Christian Meindertsma 2010 | TED Talk
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)
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.
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’.
Today is an exciting day in the university module that powers our website. It’s our annual Arts and Activism Symposium, funded and hosted by the Department of Geography at the University of Exeter. Here’s the line-up and some background info on the projects our speakers will be talking about. After this, our students develop their own commodity activist work.
1) Orsola de Castro: watch this
The followthethings.com project is slowly moving from a curatorial to an analytical phase. We’re getting our heads around ways in which we can analyse the online commentaries we’ve researched and remixed for over 60 films, art works, activist stunts and pieces of journalism.
All of the work showcased on our website sets out to make tangible to its audiences the relationships between the people who make and consume things.
But who made them, why, with what resources and how were they hoping they would make a difference to their audiences and participants?
How did members of their audiences (consumers, citizens, corporations, governments, etc.) make sense of and react to them?
And what impacts do they seem to have had?
We want to assemble a vocabulary (see Massey 2013) which will enable these intentions, relations, reactions and connections to be named, discussed, critiqued and developed.
We’re actively looking to name what we find in our data.
Æfficacy / Æffect
Effect (v.) “To bring about (an event, a result); to accomplish (an intention, a desire).”
Affect (v.) “To have an effect on the mind or feelings of (a person); to impress or influence emotionally; to move, touch.” (Oxford English Dictionary)
When it comes to bringing about social change, effect and affect are intertwined. Artistic activism aims to bring about demonstrable change through moving people viscerally and emotionally. We might think of this as: Affective Effect. Or, if you prefer: Effective Affect. Or, as we’ve come to call it: Æffect.
At the C4AA we are very, very interested in æffect. Artistic activism might be fun, creative and cutting edge but if it doesn’t deliver the goods in helping to transform the world, then what good is it?
Since we began the C4AA we’ve been asking the questions: Does it work? How do we know? And what does “working” even mean when we combine the arts and activism?
The Streisand Effect
… the phenomenon whereby an attempt to hide, remove, or censor a piece of information has the unintended consequence of publicizing the information more widely, usually facilitated by the Internet. It is an example of psychological reactance, wherein once people are aware something is being kept from them, their motivation to access and spread the information is increased.
It is named after American entertainer Barbra Streisand, whose 2003 attempt to suppress photographs of her residence in Malibu, California, inadvertently drew further public attention to it. Similar attempts have been made, for example, in cease-and-desist letters to suppress numbers, files, and websites. Instead of being suppressed, the information receives extensive publicity and media extensions such as videos and spoof songs, often being widely mirrored across the Internet or distributed on file-sharing networks
We’ll post more when we find them. Watch this space.
We’re involved in running a session at the Royal Geographical Society (Institute of British Geography) annual conference this summer whose aim is to bring academic fashion experts into dialogue with the Fashion Revolution movement. We’re asking how fashion research can contribute to what is becoming a worldwide movement for a more ethical / sustainable fashion industry in the wake of the Rana Plaza factory collapse in April 2013. We’re looking for academic research from any discipline that can contribute to Fashion Revolution’s five year planning. Here’s what we’re doing. Please get in touch with Ian, Lousie and/or Alex to discuss any ideas. The deadline for abstracts is Friday 12th February.
– Call for papers –
Scholar activism and the Fashion Revolution: ‘who made my clothes?’
The collapse of the Rana Plaza factory complex on April 24th 2013, which crushed to death over 1,000 people making clothes for Western brands, was a final straw, a call to arms, for significant change in the fashion industry. Since then, tens of thousands of people have taken to social media, to the streets, to their schools and halls of government to uncover the lives hidden in the clothes we wear. Businesses, consumers, governments, academics, NGOS and others working towards a safer, cleaner and more just future for the fashion industry have been galvanised.