A Forensic Approach to Seeing Slow Violence in Death Alley

Abstract

This paper takes, as provocation, Robert Nixon’s proposition that the effects of ecological instances of “slow violence”—that is, brutalities that manifest incrementally across time and space—elude visible registers, and, as a corollary, are rendered image-weak in the context of today’s saturated mediascape. Specifically, through drawing on burgeoning scholarship focusing on the representation of slow violence and its resistance, in conjunction with nascent theory on “mediated forensics” and “militant evidence,” this article positions the devastating manifestations of slow violence in relation to other forms of neocolonial brutality which, it is argued, are likewise systematically structured to impact marginalized communities whose perspectives are persistently underrepresented in the mainstream. Proceeding from this conviction, the representational challenges issued by Nixon over a decade ago are taken up afresh: Eyal Weizman’s calls to explore the rhetorical potentials of the forensic are addressed through an examination of how the emergence of new digital technologies of image production and distribution are reshaping the ways in which ecological activism is practiced in contexts of crises that adhere, at least on first sight, to Nixon’s definition of slow violence. Analysis is foregrounded in the case study of “Death Alley” (once known as “Cancer Alley”), an eighty-five-mile stretch of land which, snaking alongside the Mississippi River in Louisiana, is currently populated by the densest constellation of chemical facilities in the Western Hemisphere, leading it to become the subject of Forensic Architecture’s 2021 investigation Environmental Racism in Death Alley, Louisiana.