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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).

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. 

As explained in this press release, environmental activists in Calhoun County have signed paperwork to begin clean up of local waterways:

"The Phase I cleanup requires the excavation of soils and removal of plants that are littered with plastic nurdles. The soils removed will fill 1,824 20-yard dump trucks – approximately 32,840 tons of soil and debris. A nurdle is a hard, small, spherical pellet, about the size of a baby aspirin and is produced from petrochemicals. Nurdles are used in the manufacture of plastics."

Drawing on a long career as a Black critical health equity researcher, Bowleg quotes Black feminist Audre Lorde in arguing that the “master’s tools”—in order words, conventional theories and methods—"will never dismantle the master’s house”—intersectional structures of oppression from which health inequities are produced. Bowleg elaborates by explaining that conventional theories and methods “valorize almost exclusively individualistic and social cognitive approaches (Cochran & Mays, 1993; Weber & Parra-Medina, 2003); ignore the foundational roots of structural and intersectional inequality (Bowleg, 2012, 2020); center White, Western, cisgender male, middle-class, and heterosexual people and their experiences as normative (Henrich et al., 2010); prioritize amelioration, not transformation (Fox et al., 2009a); and view Black people primarily through the lens of deficit or pathology” (237).

Thus Bowleg offers 10 critical lessons for Black and other health equity researchers of color that she links with system and structural-level strategies. Bowleg also cautions that these lessons are risky and could damage one’s academic career—but that it is exactly this kind of risk that is necessary for change. Among these include: embrace critical perspectives, embrace a critical qualitative stance, learn research paradigms (e.g. positivist paradigm = a master’s tool, must learn to counter), foster community-based partnerships and collaborations, and highlight black communities’ strengths, assets, and acts of resistance. Bowledge also encourages researchers to “tell it like it is”: “Epistemological ignorance is one of the master’s most formidable tools. Epistemologies of ignorance refer to the examination of different types of ignorance and their production, maintenance, and functions (Sullivan & Tuana, 2007)” (239). Here, Bowleg emphasizes the importance of language by discussing how it can alternatively reveal or obscure structures of oppression as well as it shapes the nature of research.