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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.

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).

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. 

This image is relevant for my research because it shows the disaster caused before a Formosa Plastics plant is built