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Lozi people living on the vast Zambezi (Barotse/Bulozi) floodplain in Western Province, Zambia, are experienced agriculturalists long adapted to seasonal patterns of flooding and drought. Compounded histories of colonialism, administrative disenfranchisement and neglect, extractive activities, and the concomitant reduction of territory and authority have impoverished the regional ecology and people. Increased climatic variability and other ecological challenges threaten Lozi ways of life, crops, and biodiversity more generally. Fish stock depletion is a major challenge reportedly partially caused by chemical contamination from insecticide treated mosquito nets used for fishing, other poison-based fishing methods, and from a Canadian mining company’s activities there. A Chinese construction company that built the bridge spanning the floodplain reportedly cultivated shrimp and snail species that threaten native fish populations. While seasonal fish bans are in place, their timing does not always correspond with traditional bans, and increased hunger (along with the impossibility of enforcement) renders such bans ineffective. In addition, some fish species have disappeared altogether. Biodiversity losses, which include water serpents deemed to be responsible for maintaining the structural integrity of the river, impact biopolitical life, cultural heritage and TEK. Appeals to UNESCO for Heritage status and WWF projects are underway and may confer some protection, however local suspicion remains due to prior agreement violations (with other bodies).

Liu, Jennifer. 2023. "Mapping otherwise?: weaving waterscape knowledges" 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.

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.