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Linking messages of community pride with political opposition to intrusion by petrochemical companies has interesting implications for collaborations across communities. Does this message enable partnerships in other regions and nations, and what is its relationship to the not-in-my-backyard/NIMBY mentality? How may it be interpreted in differing cultural and language contexts? 

By Scott G. Knowles: As part of the STL Anthropocene Field Campus the research team visited the Wood Refinery Refinery History Museum on March 9, 2019. This museum is located on the grounds of the Wood River Refinery, a Shell Oil refinery built in 1917 and today owned by Phillips 66. The site is Roxana, Illinois, just upriver from Granite City, and just over two miles from the convergence of the Mississippi and Missouri Rivers. Sitting on the actual grounds of the refinery, the museum is an invitation to think across the micro, meso, and macro scales of the Quotidian Anthropocene, in terms of geography and also in terms of time. This refinery was built at the crux of the WWI, at a time when United States petrochemical production was entering an intensive phase of production, invention, corporate structuring, and global engagement. The museum is an invitation to think across temporal scales, backwards to the start of the refinery--through the individual lives of the workers and engineers whose lives defined the refinery--and forward to indeterminate points of future memory. This photo captures a key moment in an informal interview we did with one of the history guides. He had worked in the museum for decades before retiring. He explained to us that the museum sits in the former research facility of the refinery--and the glass plat he is showing reveals a beautiful artifact, a photograph made of the complex when it was built. Our guide only showed us this collection of slides after our conversation had advanced, perhaps after he was sure we were truly interested in his story, and the deeper history of the refinery. The pride in the place, the community of workers, and the teaching ability of the museum was manifest. The research team felt impressed, but also concerned about the health impacts (and naturally the environmental impacts as well) of the refinery. There was a mismatch in the scales--the memory of the individual tied to emotions of pride and knowledge of hard work done there--and the Anthropocene, global scale of petrochemicals. How do we resolve this mismatch? The glass plate is somehow a clue.

Before our tour at the Weldon Springs Interpretative Center, we were asked not to take any pictures of our tour guide nor of other employees. To be recorded publically, they would have had to obtain an official media clearance. The photo points to these limits, with the metal arch obscuring the group as it listens to the guide. In consequence, there are at least two aspects that should be retained in our written record. First were the upbeat style and delivery of our male guide, that shaped our experience of the exhibition. Our group asked him about his educational background and he briefly explained the process to become a certified interpreter. Second is the fact that we were being accompanied and followed around by a group of about six representatives of the Department of Energy. Our group came to agree that this number and associated costs are significant, pointing towards the attention that our (probably usual?) international group of scholars drew. It might have been curiosity or slight hostility, it's hard to tell, also because we didn't ask them directly. The image certainly captures some lessons and dynamics what it means to visit an educational fieldsite with a larger group in contrast to the 'lone fieldworker.'

The Tribute to the Mallinckrodt Uranium Workers is perhaps the most reflexive display in the Interpretive Center at Weldon Springs. By listing the names of the Mallinckrodt employees and acknowledging their sacrifices, the tribute at least intimates how the toxic process of uranium refinement, including the secrecy and deceit that surrounded it, impacted the lives of the local community. And yet, given the juxtaposition of the exhibit next to the "Timeline of the Nuclear Age" and an encompassing display on "The Process" of refinement, the critical nuance of this quotidian, human level is muddled by both the macro events of history and the micro details of scientific practice. It is also worth noting that in the online tour of the exhibit, the purpose and the meaning of the tribute bears no mention all. An image of the arch is provided, but not a single bit of context as to what it signifies. Instead, what we are given access to is only the timeline, the process description, and a romanticized version of the Mallinckrodt story taken from a tour guide that was written in 1959.