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Coral reefs of the Pacific Ocean, Marshall Island and Hawai'i

Misria

Roughly a third of the above-ground nuclear blasts in Earth’s history have taken place on the coral reefs of the Pacific Ocean. In my paper for this conference, I argue that the US approach to weapons testing at Bikini and Enewetak atolls in the Marshall Islands drew on a long tradition of scientific visitors treating such coral formations as though they were indistinguishable from one another. I also show how this logic was subverted when the displaced islanders of Enewetak atoll mounted a successful legal challenge in the early 1970s to a US Air Force plan to continue using the reef as a site for “cratering” experiments with conventional explosives. This act of local resistance forced scientists to abandon the older conceit that atolls were interchangeable, and instead to argue that the weapons testing had transformed Enewetak from a literal “control atoll” (during the initial US blasts at Bikini) into a unique artefact of forty-three nuclear detonations. It is apt to recall this episode here in Honolulu, not only because this archipelago has also been a site of resistance to weapons testing by the U.S. military but moreover because the specific coral-cratering experiments that were blocked at Enewetak ended up being pursued on the reef of Hawai‘i Island instead.

Sponsel, Alistar. 2023. "Coral reefs of the Pacific Ocean, Marshall Island (Bikini and Enewetak Atoll) and Hawai'i." 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.

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.