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
In the wake of the Trump election in the USA, our favourite book is now available at discount prices – e.g. $1 as an eBook – until the end of this week:
It’s perfect of our purposes and is available until the end of this week – in the wake of the Trump election – for only $1 as an eBook. It comes with a free study guide. There’s a website, too. But books are best!
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.
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.
We’re in our second year of collaboration with Artist and PhD student Paula Crutchlow and whole crew of other people on the Museum of Contemporary Commodities (MoCC) project. In 2015 we had residencies at Furtherfield in London’s Finsbury Park. Watch the video below to see what this led to. Now we’re moving to Exeter, and have a couple of artist commissions to fill. The advert is below. Please consider applying if this is your thing, or pass it to others. Check out our MoCC website for more…
Finsbury Park 2015: MoCC Free Market
Exeter 2016 artist commisions: call for commissions
MoCC is inviting proposals for the commissioning of two dynamic public encounters that explore urgent questions related to the nexus of data-trade-place-values. We are interested in receiving applications for remote interventions as well as Exeter based working processes, and are looking for artists who can demonstrate both a critical engagement with networked processes, and experience of making in a social context. The commissions are co-hosted with Exeter Phoenix, Exeter Library and Devon Fab Lab and have been developed in partnership with Furtherfield. Final art work will be shared as part of the Exeter iteration of MoCC during May 2016, alongside a programme of film screenings, walkshops/workshops and public discussions about potential ethical futures of trade and exchange in late capitalism.
Find out more about the commissions and how to apply HERE
Our latest guest blog is by Joe Thorogood, a former student in the ‘Geographies of material culture’ module at Exeter University who is in the early stages of a ‘follow the things’ PhD in the Department of Geography at University College London. His research is on poppies. In the post below, he outlines what he’s found out so far about the Remembrance Day variety. As usual with following research, you may be surprised by what he finds.
The Remembrance poppy is a symbol of memorial. In the couple of weeks before November 11th – Remembrance Day – these poppies are available in exchange for a charitable donation to the Royal British Legion, a UK charity that provides services for ex-military personnel and their dependents. It is worn in the UK in memory of service personnel who died in the First World War and in wars since then. It’s a symbol for personal grief and reflection, but also of national loss. Many countries have poppies shipped out to expatriates and families who have relatives who fought on behalf of the British Empire and British army in campaigns abroad.
I’m researching Remembrance poppies for my PhD, using a methodology that studies the lives and issues that are connected through their travels and transformations as things.
It wasn’t hard to find out about how and where Remembrance poppies are made. You could do it yourself by simply visiting the Poppy Factory in Richmond, Surrey, where they make about 500,000 of the poppies the public wear. Ex-service personnel and their dependents are crucial to this effort, as they often work in the factory or are supported by factory to find employment after leaving the armed forces. Continue reading