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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."

In their introduction, Vermeylen's argument for a particularist and decolonial approach to justice through a recognition of plural ontologies and epistemologies that decenters Western liberal discourse and its theory of justice. How does bringing the lens of coloniality into environmental justice literature alter our visions of energy futures? Can we make appeals to environmental justice without recourse to liberal theories of individual rights and property ownership? More specifically, I am wondering how our team can study and address this dynamic plurality of ways of understanding and experiencing in/justice in this site, and how can we engage this plurality in productive ways? What axes of difference and inequality should we be looking for/at (race, gender, class, sexual orientation, citizenship, housing status, etc)? If the Anthropocene is coloniality by another name, how can we foreground this in our approach?

Environmental justice narratives in the U.S. often fall into "sacrifice zone" narratives that universalize experiences on the community-level, reproducing specifically bounded narratives about American lives and livelihoods, relationships to nature and capital, and the kinds of knowledge and authority that matter. Vermeylen's article disrupts this idea, rightfully arguing that environmental justice requires a more upfront confrontation with the socio-historical causes of oppression brought about by coloniality, as well as the fact that we need to question the righteousness of EJ discourses that rely on white settler logics.

For the Austin Field Campus, how can we bring attention to Anglo-American settler colonialism in our approaches to EJ and gentrification? And thinking back to the NOLA Field Campus, what Texas histories should we be drawing from to understand energy transitions in the city? 

Byron Good, Ph.D., is a professor of Medical Anthropology at Harvard Medical School. His primary area of research is mental illness and how social perceptions evolves around these issues, in terms of both treatment and social acceptance. Dr. Good has several works on these issues, including several that explore the perspective of bio-medicine in non-western medical knowledge, the cultural meaning of mental illness, and patient narrative during illness. His publications including several papers, books, and edited volumes; he is regarded as a major contributor to the field of psychological anthropology. 

The article primarily asserts that how a patient narrates or describes their medical history is deeply rooted in their native culture. As such, physicians must be aware of how an individual's medical experiences can be altered based on this. In turn, physicians must recognize the importance of story-telling and anecdotes when receiving information directly from patients. Narratives project the patient's experience and events through their perspective, granting professionals a glimpse into their thought processes and action patterns.

The author, Byron J. Good, is a Harvard professor in the department of global health and social medicine. He is the director of the International Mental Health Training Program, and has significant experience with field research that has led to many publications.

The article’s main argument is that the narration of an illness is founded in the emotional connection it has to the sufferers life, the place from which they view the illness which includes individual and cultural aspects. Furthermore any lack of factual accuracy is an indicator of the social and cultural environment in which the illness presents itself and is revealing as to how it will be perceived and treated.

The main argument is supported primarily through interviews with many individuals living in Ankara, through which they describe the first presentation of their seizures and in many cases the steps they tool to attempt a cure. Along with the interviews, statistics of the individuals interviewed and their diagnoses is used to provide a reference point to better understand their stories. Finally the article includes an analysis of narratives in a more general sense that can be applied to the narrative of an illness.

• “… illness narratives - both the corpus of story episodes and the larger life "story" or illness narrative to which they contribute - have elements in common with fiction. They have a plot; succession is ordered as history or event, given configuration.” (164)
• “The diverse accounts of the illness in these narratives represent alternative plots, a telling of the story in different ways, each implying a different source of efficacy and the possibility of an alternative ending to the story. My point is not that persons having access to a plural medical system do not simply choose among alternative forms of healing but instead draw on all of them” (155)
• “Predicament, human striving, and an unfolding in time toward a conclusion are thus central to the syntax of human stories, and all of these, as we will see, are important to stories about illness experience.” (145)

The article provides statistics and excerpts of interviews to support its analysis of the narrative of illness. There are also several quotes from other works that analyze story and narrative to support the claims of the importance of emotion as a method of sharing the plot.