This post is by Talisker Alcobia Cornford, a student who took the Exeter University Geography module that is behind our website last term. At the start of the module, everyone to choose an everyday commodity, zero in on one or more of its ingredients, search online for human and other stories of its making, and then experiment with forms of cultural activism to make these relations public. It’s often more interesting to choose something we have absolutely no idea about, no preconceptions about, like something whose ingredients are chemicals, with names we don’t recognise, listed in tiny writing that’s hard to read, especially when we use them bleary-eyed, first thing in the morning. Like toothpaste. Whose lives are in these kinds of things? Once Talisker finds out, why isn’t her response to shop for a different brand? Why’s she making these spoof ads? Who does she want to see them? Where?
Every morning I clean my teeth, pick up my toothbrush, squeeze injustice onto the bristles and brush, blissfully unaware that my daily routine is part of a wider routine of injustice. The complex network of interrelations branching from my sink is unimaginable, all congregating to produce a tube of Colgate toothpaste. The irony is, the product that is supposed to make my teeth sparkly clean, is riddled with dirty secrets. My 5 minutes of brushing twice a day is a lifetime of suffering for supply chain workers.Continue reading
We’ve just returned from the Royal Geographical Society (with the Institute of British Geographers) annual conference on Exhibition Road in London. We’ve been working with the artist and PhD student Paula Crutchlow (and others) on a project called the Museum of Contemporary Commodities (MoCC). Our museum opened for four days in the RGS’s Pavilion Gallery, and people dropped by on their way between the Royal Albert Hall (for the Proms), Serpentine Gallery (for the Grayson Perry exhibition) and the V&A (for the plywood exhibition). What brought people in from the street was a creepy poster of MoCC’s golden child and hacked talking Guide Mikayla. We thought we’d share with you her moving life story in film – our compilation of her life story from child’s toy to banned surveillance device My Cayla – and biography – Paula’s account of how My Cayla became MoCC Guide Mikayla. There’s plenty more on the MoCC website. How and why would you hack a doll like this though? Read on…
My Cayla: the movie
Mikayla: a hacked biography
“If you took me apart, each bit of me would be a commodity. Each of those things have been made by different people in lots of different places. That’s an awful lot of work isn’t it?” MoCC Guide Mikayla on how she values herself.
The idea of MoCC Guide Mikayla arrived with us in February 2015. A friend of mine had been given a My Friend Cayla doll at a corporate IT event she was working for. ‘I’ve got just the thing for your museum!’ she said. What could be a better face of contemporary commodity culture than an internet connected ‘smart’ doll?
We started the phone app to power her up, and then spent the best part of an hour trying to talk with her. Irritatingly glitchy and slow, we tested inappropriate phrases and talked over her head. She sang songs and offered us games to play. Eventually, with advice from her 16 year old daughter, we bent our thoughts and words to My Friend Cayla’s logic – conducting a halting conversation about clothes, looking nice, Disney Princesses and pink things.
Designed especially for 7 year old girls to access the internet ‘safely’, My Friend Cayla Doll is ostensibly a blue tooth speaker and microphone that works off an app that you download onto your smart phone or tablet. She has a quiet voice, made for intimate chats with children in their homes. There is a structured database of responses to potential questions the designers think a girl-child of around 7 might ask. If your question isn’t in her database, she can search on Wikipedia. She is also scripted to ask children questions about themselves and what they like doing, including their names, parent’s names, where they live, and go to school.
As a level 1 blue tooth device there is no pin code to pair the doll with the phone, and almost immediately after My Friend Cayla was released onto the market, people were hacking her. Like many of the current swathe of internet connected toys, the security around accessing the object is very low. Earlier this year, someone even used her as a way to open a ‘smart’ lock on their front door. The safety aspect of the marketing rhetoric of My Friend Cayla doll refers chiefly to the restricted internet access she enables. This seems to be managed through a long list of banned words that she is not allowed to search for – including ‘buddha’ and ‘gay marriage’.
The prototype, re-purposed MoCC Guide Mikayla had her first outing at our Free Market prototyping event at Furtherfield in July 2015. Technologist Gareth Foote and myself attempted a radical cut and reconfiguration of her original script. We made her self aware. She began to talk about who made her, what she was made from, and how she felt about the condition of almost ubiquitous digital connectivity we increasingly live in. I had a lot of fun dreaming new words for her. Making her differently smart. Ian did research on component parts and their provenance, but I still couldn’t help put in statements about ponies and skateboarding. It was impossible to resist the personality of the object. Her styled eyebrows, long golden locks and open expression, means that the ‘play’ of the world we enter with her is the comedy strategy well-loved by Hollywood, the good looking and intelligent blonde. After all, what could be more surprising?
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
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.
‘Would people still love a bargain if we bought these issues closer to home?’
‘Money is the journey we send it on.’
It’s fairtrade fortnight, the time of year when companies and NGOs make the relations and responsibilities between the producers and consumers of everyday things mainstream news. In this post we highlight two contrasting videos in which these relations are a) brought close to home through the delivery of food and b) stretched out through investing money (perhaps the most fascinating commodity) in an ethical ISA. Watch and discuss…
Follow the produce: the home delivery service they weren’t expecting
Follow the money: the most rewarding cash ISA in the world
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.
We’ve organised three sessions on ‘Scholar Activism and the Fashion Revolution: who made my clothes?’ at the Royal Geographical Society (with the Institute of British Geographers) conference in London next week. We are excited to bring together scholars from many countries and disciplines and key members of Fashion Revolution’s Global Coordination Team. Everything takes place on Thursday 1st September. Here’s the line-up (click the session titles for the full details):
Session 1: ‘connecting producers and consumers’
Chair: Ian Cook, Geography, University of Exeter
Rebecca Collins, Geography and International Development, University of Chester: New-Old Jeans or Old-New Jeans? Unpicking perverse, provocative and paradoxical temporalities in young people’s clothing consumption.
Ian was asked recently to write a short article about the subversive possibilities of digital geographic practice for the journal Justice Spatiale | Spatial Justice and to place followthethings.com in this emerging, absent, who knows what, tradition. It’s just been published.
We noticed that followthethings.com, or anything that seems (to us) to be anything like it, was not being discussed in reviews of digital geographies. So, we imagined the kind of review in which it would be a central example. A review that’s based on already-published literature that’s informed and helped us to make sense of what we’ve made and what we can do with it. A review whose plea for ‘more digital geographies’ is a plea both for more experiments in digital geography, and for experiments that are themselves more digital.
This kind of work more fully lives in and works through the new media ecology of web2.0. followthethings is an example of what this can look like, how it can operate, the kinds of arguments it can make, how it can make those arguments, how it could be assessed, what we could and should write about ‘it’ in academic journals.
Other examples are, of course, available. For us, the Museum of Contemporary Commodities (MoCC) project also fits this bill, in its own unique ways.
See what you think. Click the image to read the full argument.
Thanks to our friends at Paris 7 University for this opportunity to express ourselves.
Our CEO Ian Cook gave a talk about followthethings.com at an ‘Interdisciplinary Perspectives in Consumption Ethics’ seminar at the University of Leicester in June 2015. Afterwards, the speakers were asked to sit down and explain to camera how they had become interested in ‘ethical consumption’ as researchers. This is what he said…
Ian thanks Dierdre Shaw, Helen Gorowek and Andreas Chatzidakis for inviting him to present, Juliet Schor, Marylyn Carrigan and Caroline Moraes for their great talks, and Andreas for his at-ease interviewing skills.
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.