Analyze

In this poster, we share preliminary reflections on the ways in which hermeneutic injustice emerges and operates within educational settings and interactions. Hermeneutic injustice is a type of epistemic injustice that occurs when someone’s experiences are not well understood by themselves or by others, either due to unavailability of known concepts or due to systemic barriers that produce non-knowing (Fricker 2007). In 2021, we entered into a collaborative project to design a high school curriculum on environmental injustice and climate change for California’s K-12 students. Although the project convenors aspired to support the diversity of California’s K-12 student population through representational inclusivity across the program participant, they reproduced essentialized notions of what it means to be an “included subject”. In our first inperson meetings, activities intended to invite difference in the curriculum writing and design community were encountered by participants as an opportunity to point to the margins of that community. Who was in the room and who was not? Initial counts excluded some writers whose identity was not readily apparent by race, ethnicity, or age. Some individuals who, to their consternation, were assumed to be white, revealed themselves as people of color. The project chose the “storyline model” of curriculum design to bring coherence across the teams. The model was developed by science educators to promote student agency and active learning. Lessons start with an anchoring phenomenon, which should hook students and produce enough questions to sustain inquiry cycles that culminate in consensus making. As a result, each grade-level unit of our curriculum was intended to focus on a single environmental phenomenon, like wildfire. However, informed by Gregory Bateson’s theory of learning, we sought to foreground complexity by recursively analyzing environmental injustice through case study analysis of many hazards, injustices, and places. It took multiple meetings over several months to arrive at an articulation of environmental injustice as our central phenomenon that recognizes the compounding impacts of both climate change and toxic pollution. It also required restructuring the working relationships between the project's administrative arm, the curriculum consultants, and the writing team. The image we include is a photograph of an exercise done together with another HS team as we were tasked to clarify the aims and goals of our imagined lessons. As is evidenced in the photograph, each writing team found it difficult to articulate learning outcomes as a series of checklists, or goals, separate from skill-development that represented the dynamic need for curriculum capable of examining climate change and the environmental justice needs for California’s students.

Tebbe, Margaret, Tanio, Nadine, and Srigyan, Prerna. 2023.  "Reflections on Hermeneutical Injustice in K-12 Curriculum Development." 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, Hawaii, Nov 8-11.

“The large question this study addresses is the following: How do people make sense of (and cope with) toxic danger? The Martinezes’ story anticipates the complexity of the answer(s): physical and psychological suffering is compounded by doubts, disagreements, suspicions, fears, and endless waiting.” (4)

‘Flammable is a story of people’s confusion, mistakes and/or blindness regarding the toxicity that surrounds them. Flammable is also a story of silent habituation to contamination and of almost complete absence of mass protest against toxic onslaught’ (4)

“Schoolteachers, journalists, and lawyers are also part and parcel of daily life in Flammable. Together, all these actors contribute to what Flammable residents know about their place. They also influence what they ignore, what they want to know, and what they misrecognize. Government officials, company personnel, physicians, teachers, journalists, and lawyers jointly (but hardly cooperatively, given that their opinions don’t count equally) shape locals’ experiences of contamination and risk. This book examines how and why this production of shared knowledge (or lack thereof ) occurs.” (5)

“All in all, confusions, bewilderments, divisions, rumors, frustrations, and hopes are making Flammable residents wait—they wait for more testing, for further and better knowledge, for relocation, and for the “huge” settlement with one of the “powerful companies” that will, in the words of a neighbor, “allow us to move out.” This waiting is, as we will show, one of the ways in which Flammable residents experience submission.” (6) 

“We did our best to learn how to listen, look, and touch with respect and care, knowing with Nancy Scheper-Hughes (1992:28) that “seeing, listening, touching, recording, can be, if done with care and sensitivity, acts of fraternity and sisterhood, acts of solidarity. Above all, they are the work of recognition. Not to look, not to touch, not to record, can be the hostile act, the act of indifference and of turning away.” (14)

‘… the culture of toxic uncertainty is a complex web of meanings and shared understandings’ (108)

Labor of confusion: “During the long period of slowly germinating contamination, the actions of government authorities toward pollution in the neighborhood were less consistent and more contradictory than either the denial or underestimation that has been documented in the existing literature. Those multiple incongruous actions gave shape to what we term, extending the insights of students of ideology and symbolic power (Thompson 1984; Eagleton 1991; Bourdieu 1991), a labor of confusion that has a decisive effect on shared (mis)understandings.” (10)

 Ulrich Beck, social invisibility, lack of “social thinking” about environmental issues (Beck 1992)

Bourdieu, symbolic violence - misrecognition of power structures on part of the oppressed enables domination

Toxic uncertainty: “a way of experiencing toxic suffering that is shaped by what we call, borrowing from Charles Tilly (1996), the interacting “invisible elbows” of external power forces and of everyday routine survival struggles” (6)

Flammable is an account of how people in a particular place make sense of slow, invisible environmental pollution. The people of Flammable live in an Argentinean shantytown located next to petrochemical companies and storage facilities. They have been deeply affected by the rise in unemployment in the 1990s, with most residents subsisting on part-time manual jobs at one of the companies, retirement pensions, state welfare programmes and what else they can find. The area in which these residents live is known and recognized by government experts to be contaminated and unsafe for human habitation–and yet widespread confusion and uncertainty amongst residents and a lack of government actions means that the shantytown continues to exist. Auyero and Swistun explore the multitude of influences that ‘‘shape what people see, what they don’t see, what they know, what they don’t know, and what they would like to know, what they do and what they don’t do’’ (145). They show how residents gradually naturalize their situations, which, combined with the mystification of dominant discourses, contributes to their quiescence in the face of contamination. 

Ernesto Yerena Montejano, currently a Boyle Heights resident and originally from Imperial County, and his team of fellow artists Arlene Mejorado and Ayerim Leon — complete with friends and families" painted the mura.

It belongs to the Imperial Valley, but was one of 14 California commissions art projects as part of a collaboration between the Governor's Office, CA Dept of Public Health and The Center at Sierra Health Foundation. The commissioning program aimed to raise awareness about Covid19 within the State's hardest hit areas. Each an governmental agency stakeholder in the project along with curators who selected the artist for this mural.

The building's owner, which appears to be a someone poised to sell it soon is also a stakeholder and most importantly, local resident are active stakeholders as they began adding names of family members who died because of Covid on the western corner of the mural unprompted and without explicit instruction or permission.

The mural is located at 739 N. Imperial Avenue in El Centro. It is precariously positioned because although the current owner of the building has promised to protect it for the next 6 months (per Jun 10, 2021), the next owner of the building may cover over the mural. The mural was completed over 1 week by 5+ painters under the direction of  the artist Ernesto Yerena Montejano on May 30, 2021.

It brings together community members to commorate the toll Covid 19 has taken on the community. It provides a public service message to continue masking and thereby taking care of the community. And it adds an element of beauty and artfulness to what was a run-down building exterior

The mural covers the entire side of one building. The background is painted in purples, blue and yellow. One side of the wall is painted "Protege A Nuestra Comunidad!"|"Protect our Community!"

The centerpiece of the mural both figuratively and literally is a beautiful woman (anywhere beteween 20-40yo) in traditional dress with two long strands of brown braided hair holding a bouquet of colorful flowers tied together with a yellow sash. She is wear a face mask to back up the Covid-19 theme.

The flowers she holds is both a reference to the business--"Cynthia's Flower Connection" which has since moved as well as a tribute to the community and their deceased members who died of Covid. One indication is that community members began adding names to the side of the mural as a tribute to lost family members.

This mural is a public-works project commissioned by the State and agencies. It was created by an artist who has ties to the area. It is also meant to be a public health message, another way to reach local residents who have been "locked in"

“Right away we saw how powerful the mural was in bringing people together, especially after this year where we've been locked in and it's been hard to communicate with our community,” he said. Per David Varela, “People are slowly making their way to the mural and are able to mourn a little bit too,” Varela said. “It's really healthy to mourn and I think people are getting a chance to do that through the mural. I knew we'd not only get a beautiful mural, but a powerful message.”