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Among those now working to oppose the long-term release of more than 1.3 million tons of Fukushima’s radioactive wastewater, contemporary activists can draw inspiration and perspective from an earlier transnational movement during the 1970s, when Pacific Islanders were central to stopping a plan by the Japanese government to dump 10,000 drums of nuclear waste into the Mariana Trench (Branch, 1984; Avenell, 2017). The mobilization of Pacific activists significantly contributed toward achieving the suspension and eventual cancellation of the ocean-dumping plan by taking their stories to audiences in Japan while working in collaboration with Japanese activists. In a strategy that proved crucial for influencing changes in Japanese attitudes toward ocean dumping, Pacific activists shared moving accounts of the environmental and historical injustices to which the Pacific Islanders had been subjected. They gave witness to the harm caused by 67 nuclear weapons tests between 1946 and 1979, which had resulted in the loss of homelands as well as higher rates of leukemia, lymphatic cancers, and genetic defects. These powerful testimonies challenged Japanese audiences to oppose the committing of further aggressions against those with whom they could identify as fellow atomic victims. In “Pacific Solidarity and Atomic Aggression” (2017), historian Simon Avenell writes, “This Pacific iteration of environmental injustice opened the eyes of many antinuclear advocates to the ways Pacific activists connected the radioactive waste issue to a longer struggle for independence and the obliteration of nuclear neocolonialism.” That in turn complicated the victim consciousness which had long informed antinuclear protest in postwar Japan. The activists' intervention made plain the moral case for Japanese people to act in solidarity with their counterparts in the Pacific Islands, who had similarly suffered from the lethal toll wrought by the use of nuclear technology in ways that devalued human life and the natural world. Given the breakthrough achieved through transnational activist solidarity, this historical precedent serves as a reminder that the nuclear wastewater issue must not be relegated to the politicized nationalist frameworks that have become common in contemporary media accounts. Notably in 2021, the unilateral decision to release Fukushima's radioactive wastewater alienated not only residents of neighboring countries but also many of Japan's own citizens, resulting in a breach of public trust which needs to be addressed by stopping the release and pursuing a sincere dialogue with stakeholders - not simply a campaign to attempt persuasion - according to nuclear engineer and Nagasaki University professor Tatsujiro Suzuki (2023). To attain public trust and to honor the moral and ethical legacies surrounding questions regarding nuclear waste and the Pacific Ocean, such a dialogue must extend to transnational stakeholders, and Indigenous knowledge must factor highly into the debate over an issue with vital transboundary and transgenerational consequences. 

Image: GRID-Arendal, www.grida.no/resources/7365.

Kim, Nan. 2023. "A Precedent of Success: Pacific Islanders' Transnational Activism Against the Ocean Dumping of Radioactive Waste." 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.