Analyze

The authors "define disaster media as a heuristic, or approach, that recognizes the ways “natural” and human-made disasters are communicated about, constructed, and variously exacerbated or relieved through media means. This heuristic is not simply a temporary model for problem solving but tries to account for ecological forces and material conditions" (my emphasis).

They close the article with three provocations:

1) All Media on Deck: the current moment of combo disaster (COVID and climate crisis) requires the production of more public and open access materials (of various kinds), but also boosting of media literacy. The auhtors acknowledge the conundrum of producing more media, while being confronted with sustainability issues and the call for "no-carbon" media.

2) Relief and media Production: a critical look at the kinds of assumptions that governments/NGOs/industry bring to COVID-19 relief efforts (videos, websites, maps, algorithms...) -- what counts as relief and for whom? 

3) Focus on Social and Environmental Justice: "In moving forward, it will be crucial to approach disaster media as a domain in which structural reform agendas that interweave social and environmental justice can flourish."

In the article, the authors address visualizations of COVID cases, including related satellite mages of air pollution in Southern California and China (generated by NASA/ESA) as well as of mass graves in Iran.

First, they provide basic framing of how to critically read air pollution satellite imagery. Connections between COVID-19 measures and improvements in air pollution are not identifiable in a straightforward way.

"Figure 1a, for instance, uses bright magenta to indicate greater concentrations of nitrogen dioxide and light blue to signify cleaner air. However, such color choices can be misleading: there is no material correlation between nitrogen dioxide and the color magenta; and reduced traces of this chemical do not turn the sky a paler shade of blue. [...] color-coding selections imply, satellite images are not just scientific; they are cultural as well."

Second, they point out the paradox role of satellite imagery to account for the inequitable impact of COVID-19

"satellite image, from a US satellite operator, locates pandemic “excesses” in an Iranian “elsewhere.” But this is an increasingly deceptive proposition, given that the United States has one of the highest COVID-19 per capita transmission and fatality rates in the world."

Third, they draw comparisons between the "hockey stick" visualization of global Climate Change and the various "curves" used to display COVID-19 developments:

From a disaster media perspective, the film’s global warming graph depicts a dramatic climate shift, projects imminent catastrophe, and issues a world warning. Its circulation in global media culture for the past fifteen years potentially informs the ways people are engaging now with similar-looking charts of coronavirus death and illness. Historically, news media have relied on sensationalistic photos of human suffering to convey a sense of disaster, but in the age of big data and the current pandemic, numbers speak, and graphs and curves tend to dominate the mediascape. In both cases, scientific experts and publics must grapple with how these graphs make meaning, what datasets they rely upon, and how these media come to stand in for highly complex conditions.

Finally, they remark that COVID-19 visualizations are always incomplete - because of lack of testing and withholding of data - but also because stories of e.g. workers are missing. They reference the cover of the New York Times (May 24, 2020) that displayed the names of 100,000 people who had died from COVID.

The article points out the simulation Crimson Contagion that was run by the Department of Health in 2019.

"Despite all of the pressing unknowns of the disease, one cannot call its emergence unpredictable. A simulation by the US Department of Health and Human Services, code-named Crimson Contagion, ran from January through August 2019. The aim was to prepare for the effects of an influenza pandemic. The findings reportedly “drove home just how underfunded, underprepared and uncoordinated the federal government would be for a life or-death battle with a virus for which no treatment existed” (Sanger et al. 2020)"

They also note the rise in Internet usage, pointing to environmental and energy implications:

"[C]oronavirus capitalism is interwoven with digital capitalism (Schiller 1999; Terranova 2004; Fuchs 2019). The pandemic has prompted a massive rush to online spaces of work and leisure activities. It is estimated that the COVID-19 pandemic has increased total internet use by 70 percent (Beech 2020)."

"Yet with this surge in online activities and virtual gatherings, the COVID-19 crisis has both exacerbated and laid bare the internet’s rising energy dependency, its growing carbon footprint, and issues of energy justice. The challenge is to be able to address crises of various kinds while reducing fossil fuel use especially, and developing sustainable and equitably managed energy sources. There is a burgeoning scholarly literature about the ill effects of the nuclear, petroleum, coal, and hydroelectric energy sources that power the grid and about the environmental devastation their industrial incursions wreak. In the meantime, the impacts of extraction and production of the various energy forms that keep the grid and the internet operating are often toxic and inequitable." 

Finally, they point to the connection between media and health, including civic archiving of HIV activists.

[F]ilm and media scholarship on public health [...] not only serves as crucial context for the COVID-19 pandemic but also extends the conceptual contours of disaster media to include disease and illness, outbreaks and pandemics, and the ways government agencies address or fail to address health-related crises. Alexandra Juhasz’s book AIDS TV (1995) explores community educational initiatives and activist videos that became vital means of conveying information about and perspectives on HIV transmission during the 1980s and '90s and continuing public health crises. Addressing media portrayals of other outbreaks, Kirsten Ostherr’s Cinematic Prophylaxis (2005) critically examines Hollywood films “that represent the spread of contagious disease across national borders.” In it Ostherr argues, “Audiovisual materials play a crucial role in the articulation of world health, not only as vehicles of educational and ideological dissemination, but also as metaphors for the spread of disease within the processes of globalization” (2). Her study sheds light on the current COVID-19 crisis by demonstrating how outbreaks become disaster media.

N/A, but when I looked up Telefonica, their homepage is all COVID-19 stuff which is pretty much what everyone is doing but I may look more closely at this particular case and continuity with the current situation

The initiative forecloses a serious discussion about the harms caused by transnational capital and privatization of the telecom industry

And it forecloses more meaningful connections across difference/ more meaningful activism by putting people into a happy shallow self-centered kind of activism

It forecloses a deeper engagement with issues and inequalities that cause child labor and make it harmful for the children and their families

It forecloses more radical conclusions for tech workers hoping to contribute to ‘social good’

The “free press” generated by social media sharing of the gamified achievements of the app users, which were branded with Telefonica

The publicity video for downloading the app was also shared on social media and was posted to the author’s facebook by her presumably nonacademic friend; the video is also on Telefonica’s YouTube channel, perhaps it was an ad on TV or internet as well? The project was also described on the company’s website, although I think that is no longer available.

All users of their prepaid phones being invited to “symbolically vote” against child labor when refilling, by sending a text - 1 million votes was to trigger the “campus party” (hackathon), which then brought together people who came up with the surveillance app

Denuncia-thon which enforced offline connections of the ‘digital activists’ - euphoric

Statements to the academics about moving beyond philanthropy, and about sustainability and leadership, naturalizing their goodness, in contrast to mining companies

Life-changing, according to the tech contractor: "able to make his work count toward a 'social good'" 674 - euphoria described by the otherwise formal corporate overseer of the project, cyber-optimism described by the tech worker - but the beneficiary is abstract to the point of the “activists” not having any idea how the app impacts them (which it doesn't); the distance is emphasized by the author, you see the child worker on the street but you don’t interact with them. The closeness of the online/offline relationship among “geeks with a heart” intensifies the Othering and abstracting of the beneficiary. 

Continuing the development orthodoxy - the ethical is defined in terms of universalized values like “children’s rights” without any deeper understanding of local context than that child street vendors exist. 

Responsibility is twisted around to work with the exit narratives - failed or quickly terminated programs are ok because they are responsible for enabling other actors who are really responsible for the outcomes. They enact the ethical and responsibility by platforming it for others to participate in and carry out - through the interactive apps, the hackathons, and the immediate handoff of all collected data to an overworked government agency

They also redefine the ethical and responsibility to line up with their corporate plans anyway - market expansion becomes the right thing to do because they bring digital access to information

Rather than trying to replace the government, they keep the responsibility with the government, but say they are partnering and enabling/enhancing what the government is doing. 

They are shaping conditions for what counts as democratic order, etc. with their creation of shallow and ineffective “activists” doing a corporate-defined action for a corporate-defined cause

Becoming development orthodoxy at the UN Global Compact, see above - Citing Rajak 2016

Distancing from philanthropy

Distancing from mining industry’s CSR, even the term CSR itself, and distancing from harm mitigation

Naturalizing the “goodness” of their regular product/ market expansion mission

Thematically tying CSR initiatives to their product (digital ed)

Creating the consumer-citizen-activist as an activist in a narrow and shallow sense

Positioning self as enabler, not taking responsibility, not replacing state