Analyze

Permitted Facilities: Through the CalEPA Regulated Site Portal we can easily identify regulated facilities from five state databases and two federal databases. Data collected from agencies such as: U.S. EPA, State Water Boards, CalEPA, and Department of Toxic Substances Control. These sites are regulated due to their potential hazard to local communities. Health impact depends on the facility. 1,957 regulated facilities in Santa Ana according to databases listed above.

RMP Facilities: RMP (Risk Management Plan) facilities are managed by the CalARP program. These sites contain large amounts of extremely hazardous state regulated chemicals. These chemicals are regulated by the state due to their potential risk to the public. Gallade’s three sites in Santa Ana have high quantities of regulated chemicals. 2 RMPs in Santa Ana, Gallade Chemical Inc. is an RMP half a mile from Madison Park. Has not been inspected in three years. The BEHR Standard facility is the second RMP facility.

Metal Plating Facilities: Metal plating facilities use hexavalent chromium through the electroplating process and stainless steel production. Hexavalent Chromium can be released as an aerosol through chrome plating processes. “…hexavalent chromium should be considered a human carcinogen for which there is no safe threshold exposure level.”(California Air resources Board. 2022). There 112 metal plating facilities in Santa Ana that are regulated by the state. Majority of these regulated facilities are located in South East Santa Ana.

 Hexavalent Chromium Info links:

• Hexavalent Chromium - Overview | Occupational Safety and Health Administration (osha.gov)

• Hexavalent Chromium Factsheet (nih.gov)

Homeless shelter and support center: https://www.ocregister.com/2022/07/22/motorcycle-club-brings-hope-and-harleys-to-homeless-shelter. 

Is this center considered an asset by residents, or -- as in many places -- did they contest its presence in Santa Ana given so many other stresses there? 

From my notes taken during the MPNA-GREEN and UCI EcoGov Lab event on June 4, 2022

• Downtown Santa Ana (DTSA) Art Walk: "community-based arts showcase across downtown Santa Ana from 6pm-10pm on the First Saturday of each month." The showcase exhibits artists from the Santa Ana and wider OC community 
• Comunidad Unida Aire Limpio (Comité CUAL): One of the first of its kind in Southern California, this community monitoring air network in Santa Ana established as a grant by the California Air Resources Board has a network of over twenty Dylos air monitors which offer air quality data to residents for environmental justice characterization. 
• Community Resource Fairs & Walkathons: MPNA has hosted community resource fairs and walkathons, such as the 15th Annual Madison Park Neighborhood Association Walk-A-Thon in 2017. According to the resident who shared picture of a community resource fair, these events offer opportunities for entire families to exercise, bike, and walk, and overall having a festive time. 
• The Frida Cinema: Orange County's only non-profit arthouse and independent theater. The Cinema has a long history of partnering with social and environmental justice organizing for community mobilization. 
• Santa Ana Movies in the Park: "The Santa Ana Movies in the Park series will take place every Wednesday, beginning June 8 through August 31, 2022 at various City parks throughout Santa Ana. Pre-movie festivities will begin at 5:30 p.m. and will include exhibitors, jumpers, and arts and crafts for kids. Movie screenings will begin promptly at dusk. Free popcorn will be provided to the first 500 guests each night, while supplies last. Food vendors will also be offering affordable and delicious dinner and dessert options. The series is free to attend."
• ALMA Science Academy: "Aspire, Learn, Mentor & Achieve (ALMA) Science Academy is a STEM education and mentorship program for under-resourced Santa Ana youth grades 4-6". 
• Santa Ana College: Opened in 1915 for students from Santa Ana High School, this fourth oldest community college in California serves over 18,000 undergraduate students. 

Linked below is a data analysis on the CalEPA Regulated Facilities Portal, click on my annotation to view full analysis.

CalEPA Regulated Facilities Portal: Data Analysis | Disaster STS Network (disaster-sts-network.org)

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.

American Red Cross is an organization aim to provide help and care to those in need. For example, supporting for disaster, blood donation and so on. There are sever main areas within, the Disaster relief, America’s Military Families supporting, lifesaving blood, health and safety services and International services.

America Red Cross is funded by donation and government will offer support. People can donate online such as monthly donation and dedicate as gift to someone. As well as donate by Mail, by calling and text.

The American Red Cross has about 900 branches, and each club has duly authorized by national council. The chairman of the clubs have authority of deciding the most important programs and services. The annual budget will be allocated by National Associations to each club. There are lots of volunteers, doctors and nurse work for this organization.