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Censorship of Vietnamese social media

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As lawyers in Taiwan have reported, the Vietnamese government has a record of censoring communication about the 2016 Formosa marine disaster. The blocking of certain keywords (Formosa, dead fish, Vu Ang) is a form of media injustice that local and diaspora activists have to work around.

Engaged scholars as knowledge curators

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In her article, Scharenberg (2023) provides methodological reflections on politically engaged or militant social science research. In one section, she discusses the challenge that social movements act as knowledge producers in their own right, often working independent from or outside of academic institutions (2023, 15). This raises questions about what social scientiss add to the mix. I've had similar questions working with and alongside activists in the global anti-plastics movement. Building on Casa-Cortes, Osterweil, and Powell (2013), Scharenberg points out that one response for scholars is to act as "editors" or "curators" of collective knowledge. This argument resonates with the way that I and other collaborators have thought about the engaged ethnographic archive projects:

Activist ethnographers thus become editors of collective knowledges rather than the sole producers of scientific theory. Like a literary editor, the ethnographer works from a position, which does not create knowledges from scratch, but collects the perspectives of others and assembles them with reference to the given context. In this view, objectivity might be achieved, to borrow an expression from Haraway, by assembling “partial views and halting voices” into what she calls a “collective subject position” (1988: 590). Alternatively, we might think of the editor-ethnographer as Berger’s “clerk of the records” (Scheper-Hughes, 1995: 419) who compiles the history of a group of people. Scheper-Hughes understands this position as a kind of witness. (Scharenberg 2023, 16). 

Kauri burl-as-tumor

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Upon entering the Formosa Plastics Group Museum in Taoyuan, Taiwan, the first thing that visitors see is a large piece of wood, kept under a dome of glass. The label at the bottom reads:

This magnificent piece of New Zealand Kauri burl had been buried in the ground for more than fifty thousand years before being unearthed. The timber is a rare hard resin-filled solid wood. This beautifully-shaped burl weighs 8.5 tons, well over the the 6 ton piece held by the British Museum in London, making it unique in the world. In 2002, Chairman Wang Yung-ching came across the Kauri burl in Kaohsiung and was drawn to its strength so much that he decided to make this Kauri burl the centerpiece of his collection. This remarkable piece of wood on display here at the entrance to the museum symbolizes the vitality of the Formosa Plastics Group capable of immeasurable possibilities. and longevity.

I later learned that a burl is considered a tree's natural response to "some form of stress such as an injury or a viral or fungal infection" (Wikipedia). I also looked up the Mandarin translation for burl, which is 瘤 (liú). This term can mean hump, knurl, lump, nubble, or tumor. The latter invokes environmental and health impacts, such as high cancer rates in petrochemical fenceline communities. However, these issues are not addressed in the museum. Instead, the piece of wood is paired with an all-plastic recreation of a New Zealand rainforest in the museum's B1 gift shop. This recreation includes chirping bird sound effects, leaving visitors with a greenwashed first and last impression.

However, one way to capture the ambivalent meaning of the object at the center of the museum is through Kim Fortun's (2019) reflection on "toxic vitalism," a term that describes "the way systems can take on a life of their own, often beyond what experts planned or expected.

Formosa Monitor Alliance

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The Formosa Monitor Alliance (MFA) is run by a coalition of Taiwanese NGOs, including Covenants Watch, Taiwan Association for Human Rights, Environmental Rights Foundation, and Environmental Jurists Association. The MFA has posted news articles, short interviews with local priests and legal analyses, with introductions to relevant laws such as the UN Guiding Principles on Business & Human Rights (UNGPs). 

Self-description of the group on social media:「監督台塑越鋼聯盟」由長期聲援台塑越鋼受害者的團體們組成，旨在為台塑越鋼汙染案的受害者爭取賠償、倡議環境正義，並監督政府及企業履行其人權義務。

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

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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."