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Youth's brilliance and their fascination with the wickedness of plastic pollution are forming shoals of abundant possibility and collective futurity amid the rising tides of environmental destruction hitting Bahía de los Ángeles, México. Working in an entangled community with professional scientists, government conservationists, traditional outdoor educators, store owners, school principals, chefs, artists, and family this group of youth (ages 7-17) labor and dream as scientists and cartographers of the future. They voice unpopular questions and concerns, embody lives they mourn leaving behind but understand can't persist, demand more from adults and tourists, labor for imperfect data that they hope will hold community accountability, and (re)map community infrastructure, tracts of refuse, flows of water, chains of fossil fuel transport, food systems, and fishing practices. Despite these undeniable contributions, often adult partners in this work are still slow to take youth thinking and resistance seriously---it is easier to mediate on shortcomings or flaws in youths' epistemologies. Ignoring these sophisticated shoals is a flagrant dismissal of the pluralist thought and perspective required to attend, nonetheless halt, environmental injustices. As adults labor on/for youths' futures there should be a constant disruption of who holds expertise and why and rigorous attention given to youth voice.

Fowler, Kelsie. 2023. "Youth and Community Knowledges Create Thick Shoals of Abundance Amid the Plastiocene." 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.

the floor of the valley has dropped in recent decades with increased groundwater pumping by farms, meaning more land might be subject to inundation,

Flood protection in California is largely a local affair, with water agencies, special districts and private companies building and maintaining the infrastructure. Smaller towns, like those in the San Joaquin Valley, often don’t have the money to develop their own levee systems, and while the state and federal government help out, winning investment from them isn’t easy.

The Tulare Lake basin also doesn’t have major Army Corps of Engineers flood projects to buffer large amounts of water as do some areas such as the Sacramento region.

The current crisis is the opposite of the usual one--instead of fighting over who gets access to water, groups are fighting over how to get rid of it.

Farmers, residents, municipal work crews, and hired contractors are reinforcing levees, pumping out excess water, and evacuating livestock, equipment, and homes.

One group was hired to protect a supply warehouse 3 miles south of Corcoran.

J.G. Boswell Company, which mainly produces cotton, owns most of the lowlands that are the Tulare Lake bed. They have allowed some fields to flood in efforts to protect other areas (the most productive farmland). The County Board of Supervisors forced them to cut another levee and flood more land because they weren't doing enough to protect populated areas.

"Flood protection in California is largely a local affair, with water agencies, special districts and private companies building and maintaining the infrastructure. Smaller towns, like those in the San Joaquin Valley, often don’t have the money to develop their own levee systems, and while the state and federal government help out, winning investment from them isn’t easy. The Tulare Lake basin also doesn’t have major Army Corps of Engineers flood projects to buffer large amounts of water as do some areas such as the Sacramento region."

Tulare lake used to be the largest body of water east of the Mississipppi. It had ports, steamships, elk and antelope. 40 different Yokut groups lived on its shores.

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.”