A lamentation of fierce urgency, the latest multimedia production from Cloud Eye Control is an imagistic, visceral work inspired by the nervous fear felt in the wake the 2011 Fukushima Daiichi nuclear disaster. Half Life explores the psychological fallout of global disaster, and how it affects our emotions and imaginations. The Los Angeles-based collaborators— Miwa Matreyek, Anna Oxygen, and Chi-wang Yang —bring their signature mix of projected animation, live performance and music to summon the unseeable forces that govern our collective sense of personal safety and control
Nach dem Erdbeben und dem Tsunami vom 11. März 2011 und der folgenden Havarie im AKW Daiichi in Fukushima berichtete die NZZ aus dem Katastrophengebiet im Nordosten Japans. Zwei Jahre später haben wir die Protagonisten erneut besucht – und sind auf einen Bauern gestossen, der im Sperrgebiet ausharrt.
NO, that is no a beautiful river rolling through the valley. It is this familiar sight in Fukushima: thousands upon thousands of blue bags full of soil contaminated with tritium, cesium, strontium.... and some of them are beginning to degrade. via Fairewinds
In May 2011 the Kunsthalle, Dusseldorf, held an exhibition titled The Group 1965 – We are Boys!. The contemporary Japanese artists included were born in the mid-1960s, making them a generation who had only known the peace and prosperity of postwar Japan. This, however, was ruptured by the Tohoku triple disaster of March 2011, which made seismic impact on Japanese society and culture.
On 1/9/2015, Panasonic announced they are going to reuse Fukushima factory as vegetable plant. The Fukushima factory used to manufacture digital camera. Having the sales of digital camera rapidly drop,
Two years ago, it was announced that in 2020, Tokyo will host the Olympic Games once again. But it seems that in the 56 years since the city’s last Olympics, optimism and ambition has been replaced with pragmatism and fear. The change in tone was palpable in an interview Tokyo’s 65-year-old governor, Yochi Masuzoe, gave to Reuters in February. “There are so many challenges [leading up to 2020], but my highest priority is the possibility of a disaster,” said Masuzoe. “We have already begun so as to have the perfect disaster prevention and mitigation plan.”
“If the wind had just blown towards Tokyo for a couple of days…” says Brown, thinking back to March 11. “If it had happened,” he says, “and Safecast had existed back then, and we told people… I really wonder…” He stops, reflecting on how the city might have reacted to live information about an approaching radioactive cloud. The chaos that might have ensued would have “made it impossible to evacuate Tokyo,” he says. “We were just very lucky that didn’t happen.”
Pablo de Soto's insight:
Un texto muy agudo sobre catástrofe y ciencia ciudadana. Sobre los desafíos del conocimiento abierto y la complejidad de lo que sería una "gestión ciudadana de una crisis radiologica". Es un asunto que parece de ciencia ficción, reactores nucleares explotando, gobierno ni mega-corporación informan de la radiación, ciudadanos publicando mapas de los contaminantes...
En esencia, creo que alumbra la necesidad ya empirica de pensar que sería una "institución del común" que ejerciera como foco fiable de evaluación y analisis en el caso de una catástrofe. O seguir en el modo actual, donde la economía política de la catástrofe es decidida en la oscuridad por la unión corporacióon y gobierno central, sin la ciudadanía ni los gobiernos locales. Como apunta el artículo, la emergencia de Safecast y otros grupos de ciencia ciudadana inauguran un nuevo escenario de cierto empoderamiento bottom up, al menos en el know how del analisis de los riesgos... para el que probablemente precisamos ya de nuevas instituciones.
Robert Junk was born in Berlin in 1913 to Austrian Jewish parents, arrested at age 19 for anti-Nazi activities, after which he was somehow released. After two years studying in Paris, he returned to Germany to start an underground press service, but had to flee again, this time to Czechoslovakia to start yet another press service. When Prague fell, he continued to work in Paris, and when that fell, he worked in Switzerland, where he was arrested, because the Swiss authorities considered literary activity by refugees from Hitlerism to be harmful to neutrality. An American friend gained his release and he became a correspondent for the London Observer and earned his PhD in modern history at Zurich University. He became an American citizen in 1950.
Jungk said: “My most important aim is to work towards the humanization of modern technology.” His writing, whether of complicated science, or of people, it is clear, comprehensible, and fascinating. His skill with and appreciation of modern history is very evident.