Analyze

Astrophysics is a discipline that has a lot to do with environmental justice, even if it doesn’t look like so. Astrophysics research nowadays involves both large cutting-edge infrastructures and a great number of people and institutions, usually at international level. Most of these projects require to be placed in very specific environments, which are not very common on our planet, to function in the best conditions. The territories chosen to host large facilities for astrophysics, as remote as they can be, are not empty. In most cases, they are inhabited (or regularly frequented) by people who are not always involved in the decision process and may see the construction as an invasion of lands they have owned or occupied for centuries. In this context, we believe that what pulls people away from environmental justice advocacy, especially those who do not live in or near these territories, is the lack of information and awareness about this topic, which may cause strongly polarized opinions and harshful discussions on the topic. To try to fill this gap, as science communicators we decided to develop a game-based activity which fosters the debate about this connection. Among our inspirations is the struggle of the protectors of Mauna a Wākea, on the Big Island of Hawai‘i. The mountaintop is a sacred place for Native Hawaiians, who have been fighting to protect their ancestral land from the construction of the Thirty Meter Telescope (TMT). There are many other examples of large astronomical infrastructures and their impact on territories, including in our own country (Italy), some more virtuous than others, that show how the Astrophysics research world is strongly connected to environmental justice. For this activity, we chose the Creative Commons PlayDecide format, which aims to facilitate simple, respectful and fact-based group discussions. The game consists of a different set of cards containing facts about the topic, issues for different interest groups and personal stories of fictional individuals who are involved or affected by the topic. By telling the stories of different characters involved in this kind of situation, we aim to enlarge the debate, fostering the change of perspective of players. We wish that many people around the world download and use the game, either during public outreach activities with schools and the general public or as a self-awareness exercise within the astronomical community. The game does not refer to a specific facility, but we researched study cases related to astronomical observatories in sites such as Mauna a Wākea (Hawaiʻi), Kitt Peak and Mount Graham (Arizona), the Sardinia Radio Telescope in Italy as well as ongoing projects such as the SKA Observatory in South Africa and Australia. In particular, for the story cards, we strived to provide a balance in terms of gender and affected communities, trying as much as we could to avoid stereotypes, in the awareness that we, as the authors of the activity, are a group of white, female astronomers from a G7 country.

Toniolo, Rachele and Claudia Mignone. 2023. "Some students play the PlayDecide activity at a Science Festival in Italy." In 4S Paraconference X EiJ: Building a Global Record, curated by Misria Shaik Ali, Kim Fortun, Phillip Baum and Prerna Srigyan. Annual Meeting of the Society of Social Studies of Science. Honolulu, Hawai'i, Nov 8-11.

How does visualizing allows us to set the parameters to make the future vision a reality?

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.