Analyze

Emerging technologies are increasingly being sought as interventions to intractable environmental and public health issues that promise to intensify on our warming planet. Genetically engineered mosquitoes could curb the impacts of mosquito-borne diseases like malaria and dengue. Solar geoengineering could use cloud thinning or aerosol scattering to reflect sunlight back into space and cool the planet. Adequate regulatory and governance mechanisms do not yet exist for these technologies, the impacts of which span international boundaries, and have the power to irreversibly alter environments. There is wide recognition from national and international bodies that decision-making processes surrounding these technologies must engage local and Indigenous communities whose lands and resources would be impacted by their trial and deployment. In response, public, community, and stakeholder “engagement” has taken center stage in the discourse on emerging environmental technology governance. Scientists and technologists are now compelled to engage publics and communities, as they recognize that some form of engagement or authorization will be requisite to the application of their technologies outside the laboratory. The language of participatory engagement abounds in scientific and governance literature on environmental technologies. These texts espouse the importance of co-design, relationship-building, shared decision-making, and mutual learning, and recognize the uneven power relations in which environmental decisions have historically been made. Yet, emergent practices of engagement leave much to be desired in terms of realizing their stated aspirations. Deficit model approaches frame publics and communities primarily as “lay people” needing to be educated before weighing in on decisions. In my fieldwork on one Pacific island where genetically modified mosquitoes are being considered for endangered bird conservation, I observed a focus group in a market research firm in which local and Indigenous residents were tested on their knowledge of invasive species biology and asked to rank radio advertisements and slogans about the modified mosquitoes. The conflation of engagement with marketing strategies and public relations campaigns prioritize the management of public perception over genuine dialogue or mutual learning. In theory, all the interest in engagement promises to open up meaningful possibilities for local and Indigenous communities to realize their rights to self-determination. In practice, strategic and instrumental approaches instead subdue opposition and manufacture consent. Legal mechanisms are needed to codify Indigenous rights in decision-making processes. Alternative approaches are needed that widen the focus beyond a single technofix to let communities define environmental challenges and collectively imagine solutions. Opposition should be read not as a barrier but as a generative site for inquiry, as often it is not the technology itself being refused but the exclusionary processes that surround its use. The most just solutions are likely to emerge from those very refusals. 

Taitingfong, Riley. 2023. "It’s all talk: how community engagement is failing in environmental technology governance." 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.

how do artifacts such as songs, grocery stores, fishing tools, etc help Naluwan people claim their identities (cultural, professional, social, personal?)

There are manu artifacts mentioned in your fieldnote--songs, stories, fishing tools, grocery stores, etc. How do you analyze these artifacts--why and how were they constructed, used? What are the social, economic, cultural meanings/functions of these artifacts? And how have these artifacts helped construct the sense of place and identity of the Naluwan people?

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.”