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Chemical Transportation Risk and Safety

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In April 2024, Formosa Plastics Corp. USA was among 137 companies to receive the 2023 Pinnacle Award by the Union Pacific Railroad for "safe shipping of hazardous materials". The transport company honors cusotmers that "release prevention protocols, corrective action plans and have zero non-accident releases of regulated hazardous materials shipments". 

Meanwhile, journalists at the Intercept have followed how in the aftermath of the East Palestine train disaster, lobbyists have both weakened rail safety (Thakker 2023) and supported the buildout of toxic polyvinylchloride (PVC) production (Mitchell 2023, 2024). The latter includes Formosa Plastics planned expansions in Louisiana's St. James Parish.

CIEL Report: Formosa Plastics as a Case Study

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CIEL's report is the first I have encountered to attempt to give a comprehensive analysis of Formosa Plastics and its impact on communities. The report breaks down the corporation's story into several sections: its origins and convoluted corporate structure, its primary products and common health risks of production, documented legal violations, and environmental justice threats. Together, the 100-page document covers significant ground, yet is readable in under an hour. It includes key statistics that are understandable without extensive background. I believe this report, as a mode of communication, finds an outstanding balance between accessible language, analysis, brevity, and detail. Activists and researchers alike should strive for the same qualities in their knowledge-sharing strategies.

Fight or Flight: A Story of Survival and Justice in Cancer Alley

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Given the vastness of Formosa Plastics' influence, there are many ways to tell its story to the world. As environmental justice activists and researchers, how do we describe a company and its negative impact when there is so much to say? Limited by time, word count, and the audience's attention span, we must decide what goes unsaid. As a result, we could write countless answers to the same question, "What is Formosa Plastics?"

In this published academic case study, I introduce Formosa Plastics through a local lens--specifically, through the eyes of a grandmother-turned-activist in the small town of Welcome, Louisiana. Her family's history with social justice activism, as well as the area's connection to centuries of slavery, make the environmental racism of Formosa Plastics' Sunshine Project especially salient. Although Formosa Plastics is a global force, telling its story on the microscale is an equally important perspective. After all, in Sharon Lavigne's eyes, her small town is her world. How many of these little worlds have Formosa Plastics destroyed as they wreak havoc across international borders?

Coverage of activism in university newspaper

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I published this news article about a hunger strike against Formosa Plastics that occurred in Texas this fall. Despite the extremity of a 30-day hunger strike, the protesting tactic has not gained attention from national media outlets. At the time I published this article, two small environmental organizations had announced the beginning of the strike, but none continued to cover the event in the unfolding weeks. While activists are driven to take on dangerous protest tactics, little communication of these tactics has carried across mass media.

The article itself introduces Formosa Plastics through its reputation as a "serial offender" of environmental and workplace safety regulations. I list several statistics on legal fines that Formosa Plastics has accumulated overtime, using these quantities to demonstrate the scale of their harm to environmental and human health. An important limitation of this storytelling strategy, however, is that many of Formosa Plastics' actions go undocumented, and even when documented, do not lead to legal consequences. Furthermore, we should still strive to acknowledge the harms committed by Formosa Plastics that are technically within legal limits.

Artist Steve Rowell's use of sound and drones

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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).

Artist Steve Rowell

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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.