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Gravesend, 2007

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Electronics

Gravesend, 2007
An art work / short film by Steve McQueen premiered at the Venice Biennale and exhibited at the Renaissance Society in Chicago, USA in 2007 and at the Uneven Geographies exhibition at the Nottingham Contemporary Gallery, UK in 2010.
Gallery photo above. Renaissance Society exhibition photos here. Acquired by the Museum of Modern Art, New York, USA here. Not available to watch online.

After a decade of rare earth metal mining in the Democratic Republic of the Congo for use in the growing consumer electronics sector, and recognising the history of African colonial plunder artist Steve McQueen sets out to make a short film that brings this story into one piece of art work. He travels between the coltan mines of the DRC and a coltan processing facilities in the UK. The miners, sometimes children, dig coltan from muddy trenches. This is brutal and poorly paid work wrecks the environment and funds a civil war in which 4 million people have lost their lives. The specialist metals which emerge from this ravaged place are perfect ingredients for modern consumer electronics, because they can conduct electricity without getting too hot. McQueen visits a pristine, computerised factory facility in the UK where this coltan ore is processed. The film he makes out of these loaded and shockingly different elements is described by critics and viewers as abstract, poetic, animated (sometimes), deafeningly loud (sometimes), beautiful, intense, opaque, meditative, melancholy, that works though ‘phenomenological estrangement’, has no titles or narration and scenes and moods that leap between places and dissolve into one another. The coltan miners appear in it as ‘ghostly absences of light’. For McQueen, this isn’t a documentary film. It doesn’t give supply chain workers a voice. It’s a film about looking. It takes its name from a town in the British county of Kent, which sits on the banks of the River Thames where Joseph Conrad’s Heart of Darkness book begins. You can only watch it in an art gallery when it’s being exhibited. Some commenter are impressed with its intellectual purpose and depth, while others say they need to read the museum brochure to understand what it’s about (e.g. coltan). It seems from what people say that this isn’t an activist film or art work. It’s not setting out to motivate its viewers to understand and to act. But it is, for some, intensely haunting. Maybe you have to be there, watching it in that gallery space, with other people, other art work, the signage, the space, the lighting. This is a space where its viewers to ‘make the necessary connections.’

Page reference: Tom Bollands, Alistair Brouard, Amelia Cozon, James Hornsby, Phoebe Park & Louise Richardson (2024) Gravesend, 2007. followthethings.com/gravesend.shtml (last accessed <insert date here>)

Estimated reading time: 25 minutes.

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Sim*Sweatshop

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Sport & Fitness

Sim*Sweatshop
An online video game by Jonny Norridge (concept and game programming) & Gavin Courtney (back end development) for NOW Nottingham and The Arts Council UK.
Gameplay video by WahWahQueenMew embedded above. Available to play free of charge on the Sim*Sweatshop website here (Adobe Flash needed).

Designer Jonny Norridge creates a game to simulate the experience of the shoe factory work that he’s been reading about. You slide shoe panels into place with your mouse. It ‘pings’ when one’s made. Then you make the next one. The clock ticks. Your energy levels fall. Your pay is terrible. It’s not enough to buy the food that you and your family need. You are interrupted by your boss talking about targets. He doesn’t like it when you want to join a union. It’s a simple, repetitive game that you – as a factory worker – can’t win. The idea is to put gamers in the shoes of the people who make the things that they buy. For them, there’s a familiar task sequence and reward structure. But this is real. It’s kind of fun to play, but also sucks. It’s the kind of game that’s given to school students as a quick and vivid way to explain sweatshop production. If they hate it, the lesson has worked. For those who want to know more, its website suggests further reading. There are other examples of trade justice activism in which consumers go to work in the factories and farms where their things are made (see, for example, the TV series Blood, Sweat & Takeaways on our site here). With these, you’re invited to empathise with someone supposedly like you – the contestants are often pitched ‘as typical’ consumers – trying to do that work. In this game, you’re all doing it yourself. So how effectively can a game-based simulation of factory work can be? What can it convey of the poverty and working conditions of show factory workers? It turn out that the answer is ‘a lot’. Sim*Sweatshop catches on. German and Hungarian versions are created, and it becomes part of other mainstream anti-sweatshop campaigns. But are young consumers the ones responsible for these sweatshop conditions? Should company executives, investors and politicians be playing this game too?

Page reference: Declan Coakley, Jack Johnson, Josh Li, Georgie Mitchell, Jack Saxton & Tom Weake (2024) Pipe Trouble. followthethings.com/sim-sweatshop.shtml (last accessed <insert date here>)

Estimated reading time: 25 minutes.

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iPhone 3G – Already With Pictures! (aka ‘iPhone Girl’)

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Electronics

iPhone 3G – Already With Pictures! (aka ‘iPhone Girl’)
Three photos of an anonymous iPhone factory worker found on a new iPhone and posted on the MacRumors forum by markm49uk.
MacRumors post screengrabbed and shown above. See the original post (and comments) here.

markm49uk has just bought a new iPhone 3G. He’s carefully unboxed and unwrapped it. He turns it on. Checks the photos. And find that it’s come pre-loaded with three images. It’s a young Chinese woman, seeming working on an iPhone production line. She’s smiling, making peace signs with her hands. She looks happy. markm49uk is curious. He posts the photos on MacRumors to see if anyone else has found fun photos like these on their new iPhones. Nobody else seems to have, but his post ignites an international ‘whodunnit?’ that starts in MacRumor comments and spreads far far beyond as forum members re-post the photos and markm49uk’s questions elsewhere. Who is this person? Where does she work? Will she get in trouble for this? Is she working in one of the Apple factories in China where workers have been committing suicide because of the working conditions? Why does she look so happy? Is she an Apple (or Foxconn – their manufacturer) plant? Is she just smiling because she’s having her photo taken? Why is someone taking her photograph with the phone that markm49uk bought? Are they testing its? Are all smartphones tested like this? Why weren’t these photos erased? What did markm49uk do with those photos? Did he keep them on his phone? Other people downloaded one to add to their phone’s home screen. To acknowledge the labour that went into their phone. They said it was partly her phone too because she helped to make it. So she should be visible. We, and so many others who came across these photos, love this example. It’s inspired other Apple activism because of its surprising warmth and humanity. Part of the reason it went viral is that it was a mystery for people to solve. There were so many unanswered questions! Another reason is because so many commenters thought this was an accident. All of the other worker ‘message in a bottle‘ examples on followthethings.com imagine a consumer receiving their message and hopefully doing what they ask them to do. But this example has no explicit message. Nobody seems to know what this young woman – and the person who took her photos – is trying to say. All of the tactics buttons we’ve chosen above are based on an assumption that the work we feature is a) activism and b) deliberate. But what if it’s just a few fun photos that one workmate took of another and forgot to delete? Why would such a simple accident cause such a stir? Why would it cause so many people to talk about trade injustice in Apple’s supply chains? We think it’s simple. Apple’s press at the time was all about worker suicides in its Chinese factories. But this worker seemed to be happy. How could that be possible, even in the few moments it takes to snap a few phone pictures? For many, these photos show something different. The discussions are fascinating.

Page reference: Ian Cook et al (2024) iPhone 3G – Already With Pictures! (aka ‘iPhone Girl’). followthethings.com/iphone-3g-already-with-pictures-aka-iphone-girl.shtml (last accessed <insert date here>)

Estimated reading time: 71 minutes.

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A Global Positioning System

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Electronics | Home & Auto

A Global Positioning System
A art work / animated film created by Melanie Jackson, first exhibited at the Arnolfini Gallery, Bristol, UK.
Two screengrabs from the film are featured above. Watch it in full on the artist’s website here.

If you’re interested in finding out who makes your stuff, it’s important to make a strategic choice about what stuff is best to follow. Artist Melanie Jackson makes an excellent choice – what better to guide your way than the technology that helps to guide your way. An in-car GPS Navigation Assistant. The kind of device you could buy in the 2000s to stick to your dashboard. Type in the destination, and it would help you on your way, showing the route on screen. She gets some funding for a trip to China to visit a factory where they are assembled. But this isn’t anything like enough of the story of this thing. She looks into its in many many ingredients, and finds out where and by whom they are sourced. She reads news stories, collects photographs, and turn to drawing to bring all of these connections together into a 12 minute animated film. There’s something magical about animation. It’s obvious that animation is not an objective account of the life of a thing, but something that’s been imagined and made. Animation allows the complexities of trade to be conveyed in a way that would otherwise be impossible either because the scale of the task would be too enormous, or because permission would not be granted to access the industrial sites that matter. There’s a powerful argument that’s made about ‘follow the thing’ research that things can be – for these reasons – ‘unfollowable (see Hulme 2017). But animation – and other creative approaches to thing-following (click the ‘make the hidden visible’ tactic button) – provide means to work around this. This is a mind-blowing film. Its amazing what you can learn in 12 minutes!

Page reference: Ian Cook et al (2024) A Global Positioning System. followthethings.com/a-global-positioning-system.shtml (last accessed <insert date here>)

Estimated reading time: 20 minutes.

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Crude: The Real Price Of Oil

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Home & Auto

Crude: The Real Price Of Oil
A documentary film directed & produced by Joe Berlinger for First Run Features.
Trailer & pay per view stream embedded above. Search online for other streaming options here. Watch clips on the film’s YouTube channel here. Check its website here.

30,000 people living in Ecuador’s remote Amazon rainforest are taking out a US$27 billion class action suit against oil giant Chevron in the US over the dumping of toxic waste that has (allegedly) ruined their environment, livelihoods and health. Filmmaker Joe Berlinger hears about the case from the plaintiff’s US attorney and visits Ecuador to see what’s happening. He sees a gathering of indigenous people preparing a meal from canned tuna – unable to fish in their own water because its toxicity has killed or diseased any fish they might catch. The US oil giant Texaco had been drilling for oil here since the 1960s, and had allegedly dumped 18 billion gallon of toxic wastewater in the environment. Chevron had bought Texaco many years later so bought this responsibility too. Berlinger can’t imagine what his documentary will look like, or how it will appeal to audiences, until he meets an Ecuadorian oilfield labourer-turned-lawyer called Pablo Farjado who is working on the case. He’s the hero Berlinger needs, and he films without funding for a year (another two follow, after funding is secured). To join the dots in this case, he visits multiple places and talks to people who speak multiple languages. He films the trial, giving equal credence to the prosecution and the defence. He wants the audience to act as the jury, making up their own minds about the case. The film has fascinating twists, like the celebrities who get involved – most notably Trudie Styler and Sting – who help to turn what could have been a local news story into an international ’cause célèbre’. Once the film is released nationwide in the USA – even though the case is not resolved – it’s described as tragic, light, and comedic thriller because of its characters and unexpected twists and turns. One reviewer describes the film as ‘one of the most extraordinary legal dramas of our time’. Chevron’s lawyers and scientists have their say on screens, but audiences don’t warm to them. It’s a PR nightmare for Chevron. So the company attacks the film, filmmaker and prosecution team. Crude is one-sided, propaganda. And Chevron alleges corruption in the prosecution team which they say is shown in the film. A US court agrees that Berlinger should hand over all 600+ hours of footage so that Chevron’s complaint can be investigated, despite his First Amendments rights as a journalist. More celebrities (as well as filmmakers, journalists and professional organisations) come to his defence. But defending such a case is expensive when you’re up against an adversary with bottomless pockets. This is another excellent example of the ‘Streisand Effect’ – can attempts to intimidate trade justice activists (even when they’re trying to be even-handed!) discredit them and their work? Or can it create free publicity that makes it yet another unmissable film that a corporation ‘didn’t want you to see’? And, finally, can this type of manufactured scandal wither way, because less and less emphasis gets placed on the lives and environments of Ecuador’s indigenous people whose lives have been ruined by the oil industry?

Page reference: Jesse Fratkin, Judy Hwang and Shay O’Brien (2011) Crude: The Real Price Of Oil. followthethings.com/crude-the-real-price-of-oil.shtml (last accessed <insert date here>)

Estimated reading time: 47 minutes.

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Kopuchiska’s Mother Is Shopping For Meat

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Grocery

Kopuchiska’s Mother Is Shopping For Meat
A scene from a documentary film called ‘Kino-Eye’, directed by Dziga Vertov.
Film embedded above, scene starts at 7.00 and finishes at 14.08. Search online to stream here and to buy DVD here.

When the genre of documentary film was in its infancy, Russian filmmaker Dziga Vertov used it to show how food shopping involves relations with hidden places, processes and people. In one extended scene from his experimental documentary Kino-Eye – which starts with an intertitle saying ‘Kopuchiska’s Mother Is Shopping For Meat’ – the film follows a cut of meat that she buys in reverse motion, from a cooperative market, via the slaughterhouse where it is put back into the cow, who then stands up, walks backwards into the train, which returns the cow to the fields where it grazed. Vertov’s message to the film’s audience is to buy your meat from a workers’ co-operative supermarket. If Marx had been a filmmaker, he could have made this sequence to show a commoditty’s hidden relations. For us, it’s surprising that one of the earliest and most influential documentary filmmakers made follow thing work, to show audiences where commodities came from, what difference their purchase choices made, because meat’s system of provision mattered. Vertov also used techniques of montage, reverse sequencing, extremes of light and shade, in-shot camera motion, and sped up and slowed down the pace of scenes in order to ‘move’ his audiences kinaesthetically. So, is this some of the most innovative follow the things work you’ll ever see? Or a meaningless jumble? Either way, it’s had a significant influence on the ‘follow the thing’ genre’s academic and activist work.

Page reference: Ian Cook et al (2024) Kopuchiska’s Mother Is Shopping For Meat. followthethings.com/kinoeye.shtml (last accessed <insert date here>)

Estimated reading time: 18 minutes.

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Machines

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Fashion

Machines
A documentary film directed by Rahul Jain with cinematography by Rodrigo Trejo Villanueva for Jann Pictures, Pallas Film & IV Films.
Trailer embedded above. Available on demand on Vimeo here and Dogwoof here. Available on Box of Broadcasts here and Kanopy here (with institutional login). Search online for other streaming options here.

Director Rahul Jain revisits the fabric factories of his youth to document machines and people that print patterns on the rolls of fabric bought by clothing manufacturers to make the shirt, dress or pair of tights that you or I might wear. His film is beautiful, atmospheric, metronomic, disturbing. Watching the machines at work, and the people tending them, is mesmerising. The cinematography is wonderful. It seems like a proper ‘fly on the wall’ documentary for a long time. When the workers later start to talk about their lives and work in this place, it’s depressing, hopeless, boring, toxic, abject, unhappy. This is a powerful film that moves audience members viscerally, but Jain doesn’t want them to do anything to help the workers. Towards the end, workers telling Jain that he’s just like a politician. He visits. He hears problems. He leaves. Nothing changes. So what can a film like this do? What’s the point of making it? How do audience members respond? What difference can it make? Is it about this factory and its workers? Or capitalism as a system? Is this trade justice activism? Or an arthouse film? The answer is open…

Page reference: Annily Skye Jeffries (2017) Machines. followthethings.com/machines.shtml (last accessed <insert date here>)

Page also available in Finnish here (coming soon)

Estimated reading time: 62 minutes.

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