“Fazerin Sininen -suklaan Suklaakoulu-kampanja“ Fazer-yhtiön hyväntekeväisyyskeräyskampanja. Yllä oleva vaalikampanjamainos Helsingin Sanomissa.
Suomen suosituin suklaavalmistaja Fazer julkaisee koko etusivun ilmoituksen johtavassa päivälehdessä. Yritys lupaa lahjoittaa 5 senttiä jokaisesta myydystä Fazer Blue -suklaalevystä koulurakennushankkeeseen Norsunluurannikolla. Juuri siellä yrityksen kaakaopavut viljellään lapsiorjien voimin. Tarvitsevatko nämä lapset koulun vai jotain muuta Fazerilta?
Sivun viite: Eeva Kemppainen (2026) Fazerin Sininen -suklaan Suklaakoulu-kampanja. followthethings.com/fazer-blue-chocolate-cocoa-school-campaign.shtml (last accessed <insert date here>)
“Jaffa, The Orange’s Clockwork“ A documentary film dirercted by Eyal Sivan for Trabelsi Productions. Trailer embedded above, search online for streaming options here.
Imagine visiting your local supermarket and popping a bag of Jaffa branded oranges in your basket. Then imagine browsing your favourite news site on your phone in the checkout queue and reading the latest story about deaths in Gaza, war in the Middle East. Maybe you’ve read a lot about this conflict, or have some first hand experience. But news stories don’t tend to explain its background, how and why it began. That bag of oranges – and this documentary film – can help to do this. Jaffa is an ancient Palestinian city. It’s also where Jaffa-branded oranges have been grown by Arab and Jewish people since the 1800s. Once picked, they would wrap each individual fruit in tissue paper, pack them into wooden boxes, load them onto boats and ship them wordwide. A year after the birth of ‘practical photography’ in 1839, Palestinian photographer Khalil Khaed visited Jaffa to document everyday life and work, including in its orange groves. Photographers, filmmakers, artists and advertisiers have documented the connection between Jaffa and oranges ever since. But, as the Israeli state began to take shape in the 20th Century, this film argues that there was a concerted attempt to remove Palestine from Jaffa oranges and to rebrand them as emblems of Israeli civilisation. It’s settler Colonialism 101. To piece this history together, Israeli filmmaker Eyal Sivan spent five years sifting through numerous archives for Jaffa-orange photos, films, advertising and resistance. He showed what he found to Israeli and Palestinian people- academics, poets, retired orange workers, advertising executives, others – and filmed their reactions. What he created from this footage is – many have said – a profoundly insightful and moving documentary. It has generated considerable critical and public acclaim from audiences around the world. First screened in 2009, it is still a go-to documentary to spark debate about the Palestine-Israel conflict today. And Sivan continues to attend screenings to answer questions about the film and the futures that might be possible in the region. Sivan’s politics, and films, are anti-Zionist. He has struggled to raise funding and to gain screening opportunities in Israel. He and his films have generated criticisms of anti-semitism. But the main argument in ‘Jaffa, The Orange’s Clockwork’ is that, if Arab and Jewish people were able to work together harmoniously in the past – like they did in Jaffa’s orange groves – they can do so in the future. You have to see this to believe this. Why not watch the film? Read the comments below. See what you think. We’ve tried to captire all of the discusion we’ve found online.
Page reference: Lucian Harford (2025) Jaffa, The Orange’s Clockwork. followthethings.com/jaffa-the-oranges-clockwork.shtml (last accessed <insert date here>)
Type: Short film (Portuguese with subtitles) Duration: 13 minutes, 9 seconds First shown: 15 June 1989 Director, Writer & Producer: Jorge Furtado Production company: Casa de Cinema de Porto Allegre, Brazil
Make the familiar strange Follow the thing Join the dots Lie to tell the truth Embody exploitation Make it incomplete Make it funny
RESPONSES
Wow 💥 WTF? Capitalism is sh*t They aren’t experts! I gotta do something
IMPACTS
Now we’re talking Now I know!
Image credit
Fresh Tomatoes, Loose – Tomato isolated (https://www.freepik.com/free-photo/tomato-isolated_7481096.htm#fromView=search&page=1&position=26&uuid=9e0c895b-6975-47d6-a7cc-9e1dc7cb06d1) by timolina (Freepik)
Ilha das Flores
IN BRIEF
Filmmaker Jorge Furtado follows a tomato from Mr Suzuki’s field to a garbage dump on the ‘Island of Flowers’ in Porto Allegre, Brazil. Here, a rotten one binned in Mrs Anete’s kitchen is fed to pigs. What’s left is then scavenged by local people. This eccentric 13 minute ‘masterpiece’ was made for Martians visiting Planet Earth. It explains what a human being is, what the function of money in capitalism is, why pigs are valued more than some people. It’s a parable of poverty.
More about this page
We are slowly piecing together a ‘followthethings.com handbook for trade justice activism’ and are publishing the pages here as we write them. This is an ‘example’ page. The wide column paraphrases and condenses this example’s followthethings.com page, section by section. The narrow column contains some details about the commodity, some key facts about the activism that took place around it, and a list of its ‘ingredients’: its intentions, tactics, responses and impacts. These have been identified during the writing of this example page and, as more handbook pages are added, you will be able to click each one to read about it, and there will be links to other examples where we have found that ingredient, and a list of linked ingredients. This hypertext format, we believe, will help readers to understand how trade justice activism can work, and what it can do.
Original
Description
This is not a fictional film’. ‘There is a place called the Island of Flowers’. ‘There is no God’. Mr. Suzuki is Japanese. He grows tomatoes to sell for money. Mrs Anete sells perfume and uses her wages to buy things. Like tomatoes to make a sauce for her family’s pork dinner. One tomato is rotten. Diseased. She throws it in the trash. It ends up on the Ilha das Flores (the Island of Flowers) being fed – with others’ discarded veg – to pigs. What they won’t eat, poor and hungry locals queue to scavenge. The narrator explains that that the ‘organisms’ on this planet with ‘highly developed brains’ and ‘opposable thumbs are called humans. He explains the economic system they have created with the help of this tomato. Despite their intelligence and admirable ideals, that system is terrible. ‘Freedom’, he quotes Cecilia Meirelles, ‘is a word the human dream feeds on, that no one can explain or fail to understand’.
Inspiration / process / methodology
Jorge Furtado described his film as a ‘letter to a Martian who knows nothing of the earth and its social systems’. It’s a collage of juxtaposed elements. Monty Python-style animation. Hitchhiker’s Guide narration. Archive and stock footage. Religious and historical iconography. Advertising cliches. Parodied quiz show and educational film formats. Original film footage. And precise, repeated definitions of concepts like ‘Human’, ‘Tomato’, ‘Pig’, ‘Money,’ ‘Freedom.’ Human and nonhuman are equally interesting. Humans’ highly developed brains have allowed them to improve their planet (cut to a nuclear mushroom cloud). ‘Money was created in the seventh-century before Christ, Christ was a Jew, and Jews are human beings’ (cut to World War Two images of Jewish people as Nazi death camp trash). Humour is a trap. The tomato’s on a quest. Disparate dots are connected. Cognitive estrangement can dismantle neoliberal disourse, and bring social and environmental injustices into view. This film was cheap to make. It showed at festivals. Teachers brought VHS copies to class. It’s online now. Freely available.
Discussions / responses
It’s beautifully disheartening. Painfully hilarious. Head-battering. Stomach-punching. Entertaining and humorous. A brilliant depiction of capitalism, poverty, the human condition and consumption’s toxic connections. Marx could have written it. I stopped watching after ‘There is no God’. God exists. Amen! Why attack people’s faith? Seriously?!? Is your brain highly developed? Have you heard of satire? If God exists, he forgot about the people on Ilha das Flores. Brazilian bishops gave the film an award! ‘God is dead’ is a quote from Nietzsche’s ‘Thus spoke Zarathustra’. It means it’s up to us to change the situation. The pig scene was staged. But this isn’t a documentary. You can stage things that are true. I saw it in school when I was 9. Our geography teacher rolled out the TV, turned down the lights, and didn’t say a word. Our conservative teacher wouldn’t show it. My mind exploded. For my generation, this was a collective trauma. A landmark in Brazilian cinema. How can a 1989 film say so much about society’s ignorance and lack of compassion today? I saw it in 2024 in my admin class. In psychology. Portuguese. Philosophy. Sociology. Nutrition in public health. Human beings are still free to go hungry. I still talk about humans’ opposable thumbs. Imagine a feature length version. Unbearable
Impacts / outcomes
It’s one of the most influential short films ever. IMDB’s best Brazilian short and documentary film ever. The Gramado Film Festival audience gave it an hysterical standing ovation. Documentary film would never be the same again. It still gets students talking.
“Chocolate: Last Week Tonight with John Oliver (HBO)“ A monologue by John Oliver on his Last Week Tonight show broadcast in the USA on HBO. Full monologue posted on YouTube embedded above.
Satirist John Oliver is delivering his weekly monologue on late night American TV. It’s the day before halloween, where millions of chocolate sweets will be given to children knocking on doors in scary costumes [see our ‘Gifts & seasonal’ department for other Halloween examples]. But what’s scarier is the fact that the cocoa in that chocolate was probably picked by children in the Ivory Coast and Ghana in West Africa. Despite longstanding critiques of child labour in chocolate’s supply chains; despite legislation being passed to remove it; despite the major brands’ own schemes to eliminate it, child labour – and the modern slavery that often supplies it – persists in an industry that continues to make multi-$£billion profits. Oliver’s monologue is about consumers’ love of chocolate and the corporate evils that feed it. He combines acerbic takes on the chocolate corporations’ social responsibility rhetoric and advertising practices (including the distractions of a ‘f*@kable’ green M&M) with footage of filmmakers meeting children who pick cocoa, their families and communities. One clip of a Dutch journalist’s ‘gotcha’ moment with a Nestlé executive is particularly powerful. Admitting that coca farming communities suffered poverty and that’s why children had to work, the man from Nestlé abruptly ends the call when asked why he doesn’t just pay them more. That journalist went on to start his own ‘slave free’ chocolate company – Tony’s Chocolonely – which Oliver holds up as an exemplar. The chocolate business can work differently, because it is working differently. What’s needed to help this along – Oliver says – is regulatory change. With each episode of his show published on YouTube; with his use of humour to make depressing topics palatable to viewers; and with his championing of Tony’s – this was a provocative show. Commenters shared how much they loved Tony’s Chocolonely too, or that they were going to try some as a result of watching the show. Others criticised the writers for parroting Tony’s marketing materials, and pointed out that its journalist founder had left because Tony’s couldn’t make slave-free chocolate. Others said that other, more ethical, chocolate brands were available if you knew where to look. But, people chipped in, shopping differently isn’t the only way to tackle trade injustice. Trade justice can be achieved only via multiple forms of pressure, from multiple angles, constantly. And Oliver’s monologue didn’t help. Chocolate researchers criticised it for being full of the usual stereotypes. Cocoa farmers have never eaten chocolate? Nope. They may just pretend not to have eaten it for gullible Western filmmakers. And the writers bypassed – like most coverage does – those in producer countries who are trying to make a positive difference. For Oliver, it’s the Western brands and consumers who can save the day by acting more ethically. Yes, that’s very important. But it’s not enough. Can there be ethical consumption under capitalism? That’s the bigger question. It’s what everyone’s talking about here.
Page reference: Ian Cook et al (2025) Chocolate: Last Week Tonight with John Oliver (HBO). followthethings.com/chocolate-last-week-tonight-with-john-oliver-hbo.shtml (last accessed <insert date here>)
“How Sushi Went Global“ A popular academic research article by Theordore Bestor published in the Foreign Policy journal. Image of paper journal printout embedded above. Click image to access the .pdf version here. Click here to read the online version (which includes only the article’s text).
If you want the best bluefin tuna for your sushi, it has to be graded in the Tsukiji fish market in Tokyo. But the fish are farmed and caught in the Mediterranean, the Atlantic and elsewhere. And the restaurants where you can eat it are all over the world. So whose lives are connected through this intricate global trade? How did it develop? And what can sushi tell us about globalisation? That’s what an American anthropologist Ted Bestor wants to find out. He travels to different places in this tuna supply chain – a fish dock in Maine, USA; a Mediterranean fishing town in Spain; and Tokyo’s Tsukiji fish market. He sees tuna caught and off the US and Spanish coasts being graded in Tokyo to sell in the fanciest sushi restaurants around the world. They travel, iced, in containers called ‘tuna coffins’ in the bellies of Boeing 747 jets. Years ago, except in Japan, these fish were only suitable for sports fishers or cat food manufacturers. But what’s developed as sushi has gone global is a sophisticated international trade feeding the popularisation of Japanese cuisine. These fish cross cultures and following their movements helps Bestor to vividly explain the concept of globalisation. Commenters say his article provides a view of globalisation that’s embedded in and between social relations in specific places. It’s a well old story, a gem of a ‘follow the thing’ study that’s widely used in classrooms around the world.
Page reference: Olivia Hoffman and Erin Teich (2012) How Sushi Went Global. followthethings.com/how-sushi-went-global.shtml (last accessed <insert date here>)
“Blood, Sweat & Takeaways“ A four-episode reality TV series produced directed & produced by James Christie-Miller for Ricochet Films for television broadcast on BBC3. Sample scene embedded above. Full series available on Box of Broadcasts (with institutional login) here.
Lauren, 21, and loves luxury food. Jess, 19, is a fussy eater. Manos, 20, loves fast food. Josh, 20, loves to cook. Stacey, 20, is an ethical shopper. Olu, 25, is a fitness fanatic. But this group of multicultural Brits who don’t seem to care where their food comes from. Until they are approached by a TV company which challenges them to travel to Indonesia and Thailand and to step into the shoes of the farm, factory and trawler workers who source and process it for export. Over four episodes – on Tuna, Prawns, Rice and Chicken – they’re filmed working alongside supply chain workers, earning and spending the same 40p an hour wages, and living in the same places. They relentlessly gut, behead and loin tuna fish in a factory. They work in waist-deep mud farming prawns and up to their ankles in water in a rice paddy field. It’s hot. All they have to eat each day is a banana and a slice of bread. This is a shock to their systems. This is car crash reality TV. They crack under the pressure, retch, cry, faint, fall out, fight, refuse to work, slow down the production line, get sick, feel guilty, insult and patronise their co-workers and escape to a comfortable hotel, eat at McDonalds and get first class medical care. Olu is sent home after a fight with Manos. He’s replaced by James, a young farmer. At least he knows where food comes from. But, as they get over the shock, episode by episode, they are humbled by the experience and become more appreciative consumers. This is the second ‘Blood, sweat and…’ series broadcast by the BBC. And it’s equally successful, attracting big audiences, winning awards and being shown around the world. Its aim is to encourage young people to think about who makes their stuff, and to find their own solutions like the cast members do. Because this is reality TV, much of the discussion focuses on the cast and how ‘spoilt’ they seem to be, how terrible they are as British ‘ambassadors’ in Thailand and Indonesia, how distastasteful it is for them to ogle at squalour, and how easy it is for them – unlike the people they’re working alongside – to leave. Critics say that its reality TV format encourages an enjoyment of the casts’ meltdowns more than their thoughtful reflections. Others quibble the facts and argue that the series’ narrative arc is a work of fiction. Others say that it places too much emphasis on consumer awareness, without provinding any ideas about what viewers should do next. And there’s nothing in this series about other responsible actors in these supply chains (for a comparison, see our page on the BBC’s ‘Mangetout’ documentary here) and nothing about the need for structural change (e.g. living wage legislation). But the BBC sets up a web forum for people to discuss these issues and one cast member ends up on a late night BBC news show challenging some glib trade arguments made by a represenative of the British Retail Consortium. So, what does this TV series do for its British cast? Its Thai and Indonesian participants? The production company? The last one is easy. The success of this second ‘Blood sweat and…’ series is followed by the making of the next series. ‘Blood, sweat & luxuries’. Then, years later, TV production executives in Holland and the Czech Republic reported that it has inspired new reality TV series. The whole series was uploaded to YouTube in full in 2022, where a whole new generation of viewers – around the world – could engage with the series, its characters and its message.
Page reference: Harriet Clarke, Ben Thomson, Victoria Bartley, Katie Ibbetson-Price, Emma Christie-Miller & Harry Schofield (2025) Blood, Sweat & Takeaways. followthethings.com/blood-sweat-takeaways.shtml (last accessed <insert date here>)
“The Connectivitea Of Britain And Sri Lanka“ A dissertation by Sarah Wrathmell, submitted as part of their BA Geography degree at the University of Birmingham, UK. Sample pages from its findings chapters are embedded in the slideshow above. Click them to read the dissertation.
Undergraduate Geography student Sarah Wrathmell has an ambitious idea for her dissertation research. She wants to travel to Sri Lanka to find the people who grow her morning cup of tea on a plantation in Kandy, Sri Lanka. She plans to ‘follow the thing’ and to undertake some multisited ethnographic fieldwork along the supply chain of ‘Tillings’ (a pseudonym) loose breakfast tea. She ends up writing about six places: the tea garden where the tea is grown, its collection spaces, its production factory (all in Sri Lanka), its blending factory, a specialist tea shop, and a tea garden where she shares a pot of tea with a group of friends (all in the UK). She talks to pickers, packers and drivers; visits factories and talks to people tasting, processing and packaging it to exacting standards; and finally drinks that tea with those drinkers. This is embodied, sensory work that she has to – somehow – get on the page. What she wants to understand is what, and who, are the ingredients in her tea? And how are the lives of the people involved in making and drinking it interrelated? As a reader, your job is to follow her on her travels as she tries to make sense of this. Its assessors say it’s a fantastic piece of work. So, it’s submitted for a national dissertation prize. It wins this unanimously. We have a grainy .pdf copy that you can download and read. It’s important to show that not only are there high profile films, publications, and other forms of trade justice research and activism to pay attention to. Students have been doing this work too, for much smaller audiences, for years. What can this work look like?
Dissertation reference: Sarah Wrathmell (2003) The Connectivitea of Britain & Sri Lanka. BA Geography Dissertation: University of Birmingham, UK (followthethings.com/the-connectivitea-of-Britain-and-sri-lanka.shtml last accessed <insert date here>)
Page reference: Sarah Wrathmell (2024) The Connectivitea of Britain & Sri Lanka. followthethings.com/the-connectivitea-of-Britain-and-sri-lanka.shtml (last accessed <insert date here>)
“Sweetness & Power: The Place Of Sugar In Modern History“ A popular academic book written by Sidney Mintz and originally published by Viking. ‘Look inside’ preview embedded above. Search online to purchase a copy here.
After living and working with sugar cane workers in Puerto Rico, anthropologist Sidney Mintz began to wonder about how sugar cane had become such an important crop, and how its cultures of production in the Caribbean and cultures of consumption in the UK and North America had developed together over time. As he studied these relations, he realised that the international sugar trade – as the iconic crop of plantation slavery and as an inexpensive source of energy (sweetening a cup of tea) for the industrial working class in Britain – were intimately connected. Writing a book about a thing – sugar – was innovative in the 1980s, and this book is said to have kickstarted a publishing genre of books-about-commodities. He wanted to publish one that could be enjoyed by academic and popular readers. Its arguments about sugar brought together perspectives from both academic anthropology and history. So the reviews were mixed. The story was bitty. It was either too academic or too simplistic. What’s certain, however, is that it has become a classic in the ‘follow the thing’ genre. Mintz was a, or the, ‘early adopter.’ Today, perhaps, what’s most important is the historical perspective that it provides, rooting contemporary capitalism in colonialism and empire, in harsh proto-industrial plantation labour and in a consumer appetite for sweetness. This page was originally written in 2012. There is so much more that we could now add.
Page reference: Anita Badejo, Josephine Korijn & Asya Rahlin (2012) Sweetness & Power: The Place Of Sugar In Modern History. followthethings.com/sweetness-power-the-place-of-sugar-in-modern-history.shtml (last accessed <insert date here>)
“Tangled Routes: Women, Work And Globalization On The Tomato Trail“ An academic book written by Deborah Barndt published by Rowman & Littlefield 2007 second edition Google Books preview embedded above. Search online to buy a copy here.
In 1994, preparing to do some undergraduate teaching, Environmental Studies professor Deborah Barndt finds a popular educational tool called A whirlwind tour of economic integration with your guide, Tomasita the tomato. She thinks this fictional tomato is the perfect etrée for her students’ understanding of cross-border trade – in this case from Mexico to Canada – and the often confusing complexities of globalisation – including messy relations between corporate power, genetically modified seeds, pesticides, stolen indigenous land, exploited peasant labour and environmental racism. What follows is a 5 year feminist participatory research project – called the Tomasita Project – which connects the lives of tomato growers, truckers, checkout workers and other supply chain workers living and working in Mexico and Canada. What she discovers and tries to convey is the clash between a ‘globalisation from above’ – the uniform, genetically-engineered, neoliberal, NAFTA-friendly tomato trade – and ‘globalisation from below’ – grass roots social justice projects working across borders and producing alternative foods. As Tomasita explained when Barndt first saw her story, the tomato is an iconic crop in the Americas. A brilliant one to follow, loading with meanings. It was native to South America, was first domesticated in Mexico, is central to the diets in Mexico, the USA and Canada, can be grown (at least seasonally) in all three countries, and was ‘one of the winners for Mexico in the NAFTA reshuffle’ (Barndt 2002a, p.82). What readers value the most is her book’s ‘feminist act’ that makes visible women workers in the global food system, and the way that it brings feminist theories into understandings of international trade. We researched this book early in its life (in 2011) and are keen to return to it to flesh out this page one day. This is an early, innovative, important and inspiring example of ‘follow the thing’ scholar-activism.
Page reference: Robert Conor Burke (2024) Tangled Routes: Women, Work And Globalization On The Tomato Trail. followthethings.com/tangled-routes-women-work-and-globalization-on-the-tomato-trail.shtml (last accessed <insert date here>)
“The Luckiest Nut In The World“ An animated film written, produced & Directed by Emily James for Fulcrum TV, broadcast in the UK on Channel 4’s Alt-TV series. Film embedded in full above. Search online for shorter versions and versions with subtitles here.
Who better to explain the rules of international trade than a commodity that has seen it all? An American peanut who wears a stetson hat, plays the guitar, and sings songs about the rules of world trade that work in his favour. Along the way he enlists help from experts and from public information films. Yes, he’s the ‘luckiest nut in the world’ and, as he learns about other less lucky nuts around the world (groundnuts in Senegal, cashew nuts in Mozambique, and brazil nuts in Bolivia), he finds out that it doesn’t have to be this way. All of the world’s nuts – and the people and economies that could benefit from growing and selling them – could be just as lucky is the rules governing world trade weren’t stacked against them. Filmmaker Emily James uses animation to do the impossible: to make these rules, and the inequalities they help to create, not only understandable but entertaining. The film becomes a hit with school teachers. Some of their students say they’re bored with its content, but others say they can’t help humming the songs, mouthing their WTO lyrics. It’s a catchy way to learn some pretty boring but important information about hope the world works (and years before Horrible Histories began). This is an early example of animated film doing what and academic cook or a documentary films cannot. In this case, making abstract content accessible, making the hidden visible, and explaining trade injustice to wider publics in an engaging – funny, weird, you name it – way. ‘What would commodities tell us about their lives if they could talk?’ is an intriguing question that’s answered in some of the earliest follow the thing ‘it-narrative’ writing [see our page on a 1760 travel novel written by a coin here]. ‘What would a commodity sing about its life if it could … um … sing?’ is a question answered, in our experience, only by this film. Thank you Emily.
Page reference: Ian Cook et al (2011) The Luckiest Nut In The World. followthethings.com/the-luckiest-nut-in-the-world.shtml (last accessed <insert date here>)
Contains information about the traffic source or campaign that directed user to the website. The cookie is set when the GA.js javascript is loaded and updated when data is sent to the Google Anaytics server
6 months after last activity
__utmv
Contains custom information set by the web developer via the _setCustomVar method in Google Analytics. This cookie is updated every time new data is sent to the Google Analytics server.
2 years after last activity
__utmx
Used to determine whether a user is included in an A / B or Multivariate test.
18 months
_ga
ID used to identify users
2 years
_gali
Used by Google Analytics to determine which links on a page are being clicked
30 seconds
_ga_
ID used to identify users
2 years
_gid
ID used to identify users for 24 hours after last activity
24 hours
_gat
Used to monitor number of Google Analytics server requests when using Google Tag Manager
1 minute
_gac_
Contains information related to marketing campaigns of the user. These are shared with Google AdWords / Google Ads when the Google Ads and Google Analytics accounts are linked together.
90 days
__utma
ID used to identify users and sessions
2 years after last activity
__utmt
Used to monitor number of Google Analytics server requests
10 minutes
__utmb
Used to distinguish new sessions and visits. This cookie is set when the GA.js javascript library is loaded and there is no existing __utmb cookie. The cookie is updated every time data is sent to the Google Analytics server.
30 minutes after last activity
__utmc
Used only with old Urchin versions of Google Analytics and not with GA.js. Was used to distinguish between new sessions and visits at the end of a session.
End of session (browser)
Vimeo is a video hosting platform for high-quality content, ideal for creators and businesses to showcase their work.
Registers a unique ID on mobile devices to enable tracking based on geographical GPS location.
1 day
VISITOR_INFO1_LIVE
Tries to estimate the users' bandwidth on pages with integrated YouTube videos. Also used for marketing
179 days
PREF
This cookie stores your preferences and other information, in particular preferred language, how many search results you wish to be shown on your page, and whether or not you wish to have Google’s SafeSearch filter turned on.
10 years from set/ update
YSC
Registers a unique ID to keep statistics of what videos from YouTube the user has seen.
Session
DEVICE_INFO
Used to detect if the visitor has accepted the marketing category in the cookie banner. This cookie is necessary for GDPR-compliance of the website.
179 days
LOGIN_INFO
This cookie is used to play YouTube videos embedded on the website.
