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Artist Steve Rowell's use of sound and drones

tschuetz

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

tschuetz

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

Taiwanese environmental film festival: shifting from nuclear to climate fossil fuels

tschuetz

From Naomi Goddard (News Lens, March 10, 2023)

"Originally launched in 2013 under the name Nuclear Film Festival (核電影), the biannual event was created to draw attention to the organizers, Green Citizens’ Action Alliance (GCAA)’s concerns about nuclear energy. In the aftermath of the Fukushima disaster, the festival showcased films advocating for a nuclear-free world and addressing energy-related issues.

However, over the years the festival has expanded its focus to include films about climate change and the fossil fuel industry. As the urgency of the climate crisis has become increasingly pressing, the festival has evolved alongside it. This year, the festival has been renamed to Climate Tipping Point Film Festival to reflect its broader focus on global heating and the need for systemic change to mitigate its effects."

Historical and Spatial Analytics for widening the "scope" of hazards

danapowell
In response to

The Sampson County landfill can be smelled before seen. This olfactory indicator points toward the sensory scale of these pungent emissions but also toward the geographic scope: this landfill receives waste from as far away as Orange County (the state's most expensive property/tax base), among dozens of other distant counties, making this "hazardous site" a lesson in realizing impact beyond the immediate locale. So when we answer the question, "What is this hazard?" we must think not only about the landfill as a thing in itself but as a set of economic and political relations of capital and the transit of other peoples' trash, into this lower-income, rural, predominantly African-American neighborhood. In this way, 'thinking with a landfill' (like this one in Sampson County) enables us to analyze wider sets of relationships, NIMBY-ist policymaking, consumerism, waste management, and the racialized spatial politics that enable Sampson County to be the recipient of trash from all over the state. At the same time we think spatially and in transit, we can think historically to (a) inquire about the DEQ policies that enable this kind of waste management system; and (b) the emergent "solutions" in the green energy sector that propose to capture the landfill's methane in order to render the stench productive for the future -- that is, to enable more consumption, by turning garbage into gas. As such, the idea of "hazard" can expand beyond the site itself - impactful and affective as that site might be - to examine the uneven relations of exchange and capitalist-driven values of productivity that further entrench infrastructures such as these. [This offers a conceptual corrollary to thinking, as well, about the entrenchment of CAFOs for "green" biogas development, as we address elsewhere in the platform].

Landfill mixed media

GraceKatona

Danielle Koonce in an Opinion piece in the Fayetteville Observer, states...

"And it’s not just household garbage coming in — chemical waste and coal ash has also been disposed of in the Sampson County landfill."

"We listened to community members share how they can no longer garden or enjoy the outdoors due to the thick odor and fumes from the landfill."

"We learned that the landfill receives trash from around the state, from as far away as New York City, and even trash that comes in on ship-barges through Wilmington."

While Bryan Wuester, manager for the Sampson County Landfill states in the Sampson Independent...

"The Sampson landfill accepts waste from North Carolina only, about 5,450 tons from 16 different counties a day."

"The landfill accepts three kinds of waste: construction and demolition materials, solid waste and special waste, which are byproducts of industry. No coal ash comes into the Sampson facility..."

These are two different stories of the landfill coming from two different stakeholders, one in which needs the landfill to be in operation for a job and the other a concerned citizen worried about the disproportional impacts her community faces. While Danielle Koonce listens to the realities of the community members located around the landfill who express concern and worry, the landfill manager denies these realities and insists they are not true. This is not only invaliding to the community members who are fighting to get their voices heard but further embeds environmental injustice into the community.