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Harmful PM2.5 emissions in Dhaka, Bangledesh prompting researchers to study emissions during winter and monsoon season.

helena.dav

Assessing the PM2.5 impact of biomass combustion in megacity Dhaka, Bangladesh - PubMed (nih.gov)

This article is about crop burning in Dhaka, Bangladesh and attempts to figure out if there is more or less harmful PM2.5 particulate air pollution caused by either fossil fuels or biomass, and during which season is one or the other higher in the air pollution it produces. During monsoon season, fossil fuels lead in the most PM2.5 releases at 44.3%. When it is not monsoon season and is the winter season, the percentages are way higher for PM2.5 air particulate releases at 41.4% for the remainder of the year. Across the globe, there are now people stepping up to uncover the true and real environmental and health impacts this harmful particulate byproduct causes in different parts of the world and with differring weather conditions than what we see in North Carolina. 

Emissions from Biomass Burning in South/Southeast Asia; correcting the miscalculation about the PM2.5 emissions from burning.

helena.dav

https://www.researchgate.net/publication/351209404_PM25_Emissions_from_…;

This study is set in South/Southeast Asia and uncovering that, when trying to count the percentages of PM2.5 put off during biomass, the true amount of emissions were being gravely undercalculated. Specifically rice straw burning becuase the amount burned varied so much because of different harvest and burning practices that it just wasn't taken into consideration. What this study does is go bottom up using these strategies: "subnational spatial database of rice-harvested area, region-specific fuel-loading factors, region, and burning-practice-specific emission and combustion factors, including literature-derived estimates of straw and stubble burned"(Lasko et al. 2021, 1). 

Fieldnotes: Who are the stakeholders?

josiepatch

In this essay the authors have highlighted some of the stakeholders in the fight against industrial biomass operations as members of the surrounding community who live with these operations as close as their own backyards, and experience the environmental pollution directly everyday. They highlighted Belinda Joyner, a resident of Northhampton County, and an environmental activist who rose to defend her community and their lands and livelihoods due to expanding hazardous infrastructures such as the Atlantic Coast Pipeline and the Enviva power plant. Other stakeholders besides activists and organziers such as Belinda include the people of Northampton County who attend hearings with government officials and take a stance agaisnt pollution, as well as organizations such as the Dogwood Alliance. The county is predominantly Black and working class, one of several in North Carolina that bear the brunt of exploittion and pollution by powerful biomass manufacturers such as Drax and Enviva.

This timeline essay provides more examples from recent years of community responses and collective action for environmental justice.

Activism Against Atlantic Coast Pipeline and CAFOs

jleath12

The development of both pipelines and CAFOs (confined animal feeding operations) in eastern NC have prompted action from justice organizations such as the North Carolina Environmnetal Justice Network (NCEJN). To address the ongoing problem of CAFOs, NCEJN has provided a number of resources on their site, as well as ways to take action by signing a petition to stop the use of hog waste as fertilizer. Prior to the Atlantic Coast Pipeline (ACP) being canceled in 2020, NCEJN played a role in organizing protests and taking legal actions- in conjunction with many other community member and activist groups- against Dominion and Duke Energy, the companies responsible for the ACP's construction. 

Disaster Media Heuristic

tschuetz

The authors "define disaster media as a heuristic, or approach, that recognizes the ways “natural” and human-made disasters are communicated aboutconstructed, 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."

Covid Visualizations

tschuetz

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.

COVID-19 and/as Disaster Media

tschuetz

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.