The pages on the followthethings.com begin as coursework set for groups of students taking a Geographies of Material Culture module at the University of Exeter. They also their own experiments of cultural activism, and write personal reflective journals on what they learn. Kate Brockie’s group were tasked to find a way to draw public attention to the work of mineral justice NGO Global Witness through cultural activism. They chose a talc mining report to work with. Sarah Ditty, the policy director for the Fashion Revolution movement, had kicked off that part of the talk. How could the work of Global Witness and Fashion revolution be connected? Kate scoured the internet, took out her sewing machine, and made her case.
Global Witness’s investigations into the ways in which talc mining finances insurgency in Afghanistan shocked me. How could products as harmlessly trivial as eye shadow be fuelling terrorism, disrupting the lives of thousands of civilians (Global Witness 2018)? The Global Witness campaign gave me an unsettling feeling of being entangled in global webs of exploitation, wondering whether everything else I use throughout my day contributes to some kind of injustice. Continue reading
Every year, Exeter Geography graduate and ex-followthethings.com intern Jemma Sherman gives her Dad a snow globe for Christmas. After taking our Geographies of Material Culture module the term before Christmas 2017, she made a new one. Here it is. And here’s what she wrote to him in his Christmas card… [actually it’s Jemma’s coursework. We really liked it].
Merry Christmas! I’m looking forward to getting home from Uni to see everyone again. For your present this year I’ve done something different – I hope you don’t mind! You see, I’ve been having these lectures which focus on the hidden lives within my commodities; the people who produce the components, assemble them and transport them. Our most recent task was to create an art-activist project on advent calendars. Art activism includes a “broad range of artists’ practices” (Grindon and Flood, 2014:10), highlighting social, political … and cultural struggles” (Darts, 2004:315). Flanagan (2009:3-4) says an artist is anyone who “creat[es] outside commercial establishments”, “making for making’s sake”. We discovered terrible things about the lives of those making these calendars, with children as young as twelve being exploited (Andrei, 2017). And this got me thinking about what else I get around Christmas time, which led me to our tradition. Well, your tradition really. I love it. Most years you get me a snow globe (if you can find one with a cute enough scene). I know that Carrier (2004:68) says “gifts within the core family are given without the expectation of equivalent in return”, but this year I wanted to give you one. You can open your present now – sorry, I’ve kind of ruined the surprise. There’re just a few instructions you need to follow (read first): Continue reading
Last week CEO Ian was a panelist at the last ESRC-funded seminar series on Ethics in Consumption: Interdisciplinary Perspectives at Birkbeck, University of London. The main speakers were Jonathan Porritt and Danny Miller, and the panel included Kate Soper, Jo Littler, Frank Trentmann and Terry Newholm. Drawing on Louise Ashcroft’s artist in residence (self invited) work at London’s Westfield Shopping Mall, Ian’s contribution to the panel involved reading out one of the cards from Louise’s Mallopoly game. His point – that debates about research-inspired change need to involve more-than-rational argumentation. And that Louise’s work should be required reading. Starting with this interview about her residency’s retail poisoning in We Make Money Not Art. Enjoy!
In January 2017, artist Louise Ashcroft invited herself to be an artist in residency at Westfield Shopping Centre. That’s the mega mall in Stratford, East London. Its retail area is as big as 30 football pitches (says wikipedia), it has famous chains of fast fashion & fast food, screens budget-bloated blockbusters, rents kiddy cars and boasts some seriously boring ‘public’ artworks. Because there’s nothing remotely boring, mass manufactured nor glittery about her work (and also because she is quietly plotting the demise of capitalism), Ashcroft spent her time there undercover, pretending she was only looking for a bit of shopping fun.
The artist will present the result of her stealth research this week at arebyte in Hackney Wick, a five-minute walk from Westfield. Some of the works she developed at the shopping mall include a transposition of words from slogan fashion T-shirts on traditional narrow boat signs, offers to exchange ‘happy’ meals toys with more ‘soulful’ artist-designed toys, seditious retail therapy sessions, bookable tours of Westfield where she will guide participants through playful (pseudo)psychoanalytical activities, ‘mallopoly’ cards that invite shoppers to use the mall and its contents as a material, etc. Oh! and, since the Westfield area is the home of grime she also compiled words from Argos shopping catalogues into a cut-up text and grime artist Maxsta recorded it as a track.
This is not Ashcroft’s first incursion into the magical world of retail poisoning. She regularly smuggles unfamiliar-looking African vegetables into supermarkets and then throws the store in disarray when she attempts to buy them (Vegetable, 2003-17.) …
Regine (2014) Retail poisoning: a disruption of materialism. We Make Money Not Art, 19 November
PS Louise’s website is here.
Our CEO Ian went on a countryside walk earlier this year with colleagues in Exeter’s Geography Department. Their aim was to follow the flow of electricity by walking the route of a power line. Their social media posts about this journey prompted discussions about electricity and difficult-to-follow commodities. One was Peter Forman – from the Institute of Political Science, Eberhard Karls University of Tübingen – who had just finished his PhD on natural gas. We asked him to share his experience of following a commodity whose materiality is especially challenging.
Natural gas can be thought of as natural in two senses of the word. First, it forms deep beneath the ground, independently of human action (as opposed to the manufactured gas that was used in the UK before 1970 – this gas was the product of hard labour, workers feeding iron retorts with coal), and second, it is naturalised. Whilst gas plays a crucial role in many people’s daily lives – we heat our homes with it, cook with it, and use it to warm water for bathing comfortably – most of us never give it much consideration. We come home from work, twist the tap on the hob, give it a press, then click! A spark. An eruption of yellow-blue flame. It is there, ready and waiting. It provides heat in an instant and is worthy of no further thought.
Yet in other ways, ‘natural gas’ is far from natural. Its presence beneath the earth is made knowable through a multitude of technologically complex devices, and it is only through the deployment of established knowledges, bodies and technological instruments that it is securely extracted, processed, pressurised, transported, and consumed. This is what Bridge (2004; 396) refers to when he describes how “a whole industry has emerged … dedicated to corralling the waywardness and variability of gas and rendering it a commodity compliant with the workings of the market”. Indeed, it is as a consequence of this dense assemblage that we can understand gas to not simply be there, ready and waiting. Far from it! For without the practices of these diverse actors, it would remain deep beneath our feet, trapped between layers of rock. As it travels (the direction and nature of which is likewise defined by said actors), it could also come to realise a series of what Dillon and Reid (2001) call ‘dimensions of dangerousness’. From it realising its flammability and explosiveness, to it causing significant societal disruption through the interruption of its supply, or it having severe ecological impacts of different kinds (for example, affecting global climate or contributing to marine crises such as in Puchuncavi, Chile – see Tironi et al. forthcoming), across its travels, natural gas can come to present a series of dangers that generate myriad attempts to perform security around it. Continue reading
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.
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
Here’s yet another strange and wonderful piece of work from the Exeter Geography module behind our website. It’s Rebecca Jones’ cartoon strip in which she tries to humanise paint and its commodity relations, health, safety and ethics. It starts like a talk by a young woman, but other speakers soon appear….
Click the image to download the rest.
This week, for the module behind our website, we held an arts and activism symposium at the University of Exeter. One of our speakers was artist Louise Ashcroft, who worked with us on our sister project the Museum of Contemporary Commodities earlier this year (what she made is here). Never have we heard students laugh so hard and be so inspired in an academic classroom. Watch Louise’s TED talk and you’ll see what we mean.
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.