Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.
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.
ENVOI
p.232: "In these pages, I have repeatedly emphasized the complicity between subject and object of investigation. My role in this essay, as subject of investigation, has been entirely parasitical, since my only object has been the Subaltern Studies themselves. Yet I am part of their object as well. Situated within the current academic theater of cultural imperialism, with a certain carte d'entree into the elite theoretical ateliers in France, I bring news of power lines within the palace. Nothing can function without us, yet the part is at least historically ironic. What of the poststructuralist suggestion that all work is parasitical, slightly to the side of that which one wishes adequately to cover, that critic (historian) and text (subaltern) are always "beside themselves"? The chain of complicity does not halt at the closure of an essay."
p217: "[Subaltern Studies] can never be continuous with the subaltern's situational and uneven entry into political (not merely disciplinary, as in the case of the collective) hegemony as the content of an afterthe- fact description. This is the always asymmetrical relationship between the interpretation and transformation of the world which Marx marks in the eleventh thesis on Feuerbach. There the contrast is between the words haben interpretiert (present participle—a completed action—of interpretieren— the Romance verb which emphasizes the establishment of a meaning that is commensurate with a phenomenon through the metaphor of the fair exchange of prices) and zu verandern (infinitive—always open to the future—of the German verb which "means" strictly speaking, "to make other"). The latter expression matches haben interpretiert neither in its Latinate philosophical weight nor in its signification of propriety and completion, as transformierien would have done. Although not an unusual word, it is not the most common word for "change" in German—verwandeln. In the open-ended "making-other"—Veranderung—of the properly self-identical—adequately interpretiert—lies an allegory of the theorist's relationship to his subject-matter."
p217: "If it were embraced as a strategy, then the emphasis upon the "sovereignty,... consistency and...logic" of "rebel consciousness" (EAP, 13) could be seen as "affirmative deconstruction": knowing that such an emphasis is theoretically nonviable, the historian then breaks his theory in a scrupulously delineated "political interest."19 If, on the other hand, the restoration of the subaltern's subject-position in history is seen by the historian as the establishment of an inalienable and final truth of things, then any emphasis on sovereignty, consistency, and logic will, as I have suggested above, inevitably objectify the subaltern and be caught in the game of knowledge as power. Even if the discursivity of history is seen as a fortgesetzte Zeichenkette, a restorative genealogy cannot be undertaken without the strategic blindness that will entangle the genealogist in the chain. Seeing this, Foucault in 1971 recommended the "historical sense," much like a newscaster's persistently revised daily bulletin, in the place of the arrogance of a successful genealogy. 20 It is in this spirit that I read Subaltern Studies against its grain and suggest that its own subalternity in claiming a positive subject-position for the subaltern might be reinscribed as a strategy for our times.
What good does such a reinscription do? It acknowledges that the arena of the subaltern's persistent emergence into hegemony must always and by definition remain heterogeneous to the efforts of the disciplinary historian. The historian must persist in his efforts in this awareness that the subaltern is necessarily the absolute limit of the place where history is narrativized into logic. It is a hard lesson to learn, but not to learn it is merely to nominate elegant solutions to be correct theoretical practice."
p. 214: "Reading the work of Subaltern Studies from within but against the grain, I would suggest that elements in their text would warrant a reading of the project to retrieve the subaltern consciousness as the attempt to undo a massive historiographic metalepsis and "situate" the effect of the subject as subaltern. I would read it, then, as a strategic use of positivist essentialism in a scrupulously visible political interest. This would put them in line with the Marx who locates fetishization, the ideological determination of the "concrete," and spins the narrative of the development of the moneyform; with the Nietzsche who offers us genealogy in place of historiography, the Foucault who plots the construction of a "counter-memory," the Barthes of semiotrophy, and the Derrida of "affirmative deconstruction." This would allow them to use the critical force of anti-humanism, in other words, even as they share its constitutive paradox: that the essentializing moment, the object of their criticism, is irreducible.