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
2) Louise Ashcroft: try one of these
Click this image for more options from Louise’s Remaking the Internet website. Louise’s website is here.
3) Paula Crutchlow: watch this and do that
Please browse the museum collection here, look in more detail at exhibits that interest you, and value them with the slider bars at the bottom of the page. You can also browse the questions asked by their curators and maybe answer one or two if you know something useful. If you’re super keen, you can add something of your own to the museum here.
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.
If you have been looking for a go-to explanation of the ‘follow the thing’ approach to material culture studies, this is your lucky post. Here artist and designer Christien Meindertsma – author of PIG05049 – explains it beautifully.
En el International School Peniscola (www.colegiosisp.com) hemos querido unirnos a la celebración del Fashion Revolution desde el ámbito educativo con nuestros alumnos. Ellos son el futuro y, hoy más que nunca, necesitamos personas que estén concienciadas y que entiendan el mundo desde una perspectiva global en la que cada acto cuenta y tiene una consecuencia directa en otro lugar del planeta.
It was Fashion Revolution Day last Friday, the second anniversary of the collapse of the Rana Plaza factory complex in Dhaka, Bangladesh in which 1,129 people died making clothes for High Street brands. This year, we helped to create education packs for the global campaign, hoping to finds ways in which teachers and students of all ages could interrogate (un)ethical and (un)sustainable fashion by asking ‘who made my clothes?’ We have written about Fashion Revolution Day’s approach to teaching controversial issues here. Below, however, we showcase a blog post by Professor Becky Earley on the ‘Who made my uniform?’ project she worked on at her childrens’ primary school in London. We think this is fantastic. Here’s an extract.
“… My son loves trainers. He’s a football fan and player, and the influence of the Arsenal team and their colorful attire – and what is donned by his group of friends at school and on his team at the local sports centre – is significant to him. He got the trainers he wanted for Christmas – bright orange. They looked amazing with his lime green away kit. Yet within days he starting asking for another pair, in a different colour. I took the opportunity to explain to him again about why ‘stuff’ is special. The materials, dyes, labour, shipping… all comes at a cost, and not just to the bank of mum and dad. At 8, he knows all this already. We talk about ‘stuff’ all the time. But he just can’t make the leap to applying this knowledge to his insatiable desire to be part of the team – to look the part. At his school the lost property area is a mess of unlabelled and unloved green, white and navy cotton and polyester. I decided to start here with my research, and look at the way in which primary school children relate to their uniform – their everyday clothes. The deputy head at St Mary’s Catholic Primary School in Chiswick and I hatched a plan to run a ‘Who Made My Uniform’ project, in response to the FRD provocation ‘Who Made My Clothes?’ Beginning with a carefully prepared school assembly on the actual day, the project consisted of a week-long residency by myself with the help of another mum, and a series of class projects run by the teachers. The photo story below documents the project. Over the summer term we asked:
- Where was my uniform made?
- Who made my uniform?
- What is it made from?
- How can I make my own clothes?
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