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.

In the interview with Emily Roehl, artist Steve Rowell describes his style in contrast to the more "didactic" approach of land use and documentary photography. Instead, he has come to combine his visual works with sound installations that are meant to unsettle. These sounds are often generated based on air pollution data that he has collected (Roehl and Rowell, 2022, p. 137). Rowell further describes how changes in the development of aerial video and photography technology have shaped his work. In the past, Rowell would rent expensive camera equipment and attach them to a helicopter to generate fly-over images (Roehl and Rowell, 2022, p. 140). Though commercial drones have become available, Rowell says that he soon got dissatisfied with the "slick" images they produce. When using drones, Rowell relies on an angle that faces down or is close-up, creating feelings of uncanniness. These unusual perspectives are combined with split imagery and mirroring to achieve a specific effect: “There’s a value in giving the viewer/listener a chance to distrust the work in the same way there’s value in giving them room to question the work. The landscapes I feature are all altered. What landscape isn’t now? That’s the point.” (Roehl and Rowell, 2022, p. 140).

Steve Rowell is an educator and research artist, currently working on “long-term projects that use image, sound, and archival practice to interrogate the relationship between humans, industry, and the environment” (Roehl and Rowell, 2022, p. 136). Rowell has worked extensively with the Center for Land Use Interpretation (CLUI) in Los Angeles, including a comissioned project for which he photographed every petrochemical plant in Texas (ibid, p. 137). In subsequent projects, he has focused on tracing pipelines going from the Alberta Tar Sands to petrochemical communities in Long Beach, California and Port Arthur, Texas. Another recent project focuses on the industrial ecology of Houston's Buffalo Bayou. 

This report is about an initiative taken by the government to rectify a century's worth of pollution dumped into the Passaic River and the means used to do it.