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La 4e de couverture indique : "Le 11 mars 2011. au large du Japon, un séisme effroyable accouche d'un tsunami, qui vient frapper de plein fouet l'une des plus grandes centrales au monde Fukushima Daiichi. D'une violence inouïe, la catastrophe naturelle entraîne alors une catastrophe technologique. Dès le départ, un angoissant compte à rebours s'est enclenché... et les cinq premiers jours vont s'avérer décisifs. Dans un univers complètement dévasté, alors que les bâtiments sont plongés dans l'obscurité, le personnel de la centrale nucléaire se retrouve confronté aux explosions et aux radiations toxiques. Guidés par Masao Yoshida, le directeur du site, les employés feront preuve de beaucoup de courage, d'ingéniosité et d'un incroyable sens du sacrifice pour tenter d'éviter l'apocalypse. Quelques mois plus tard, une commission d'enquête auditionne Yoshida pour comprendre l'ampleur du désastre auquel ils ont dû faire face. Voici son récit."

Fukushima Nuclear Disaster, Japan, 2011.

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The Nuclear Culture Source Book' serves as an excellent resource and introduction to nuclear culture as one of the most prominent themes within contemporary art and society, exploring the diverse ways in which post-Fukushima society has influenced artistic and cultural production. The book brings together a wide-ranging collection of material from artists and writers working within the scope of nuclear culture internationally, including works by renowned practitioners such as Lise Autogena, Thomson & Craighead, Crowe & Rawlinson, David Mabb, Katsuhiro Miyamoto, Kota Takeuchi and Chim-Pom. Building on four years of research into nuclear culture by the book s editor, Ele Carpenter, "The Nuclear Culture Source Book" features contributions by over 60 artists including spectacular imagery of nuclear sites taken on artist field trips, from underground research laboratories in Japan to the Faslane Trident base. 00Contextualising this is a series of essays by international arts and humanities scholars and writers including: Timothy Morton writing on radiation as a hyperobject; Peter C van Wyck on the nuclear anthropocene; Noi Sawaragi on Fukushima; and Susan Schuppli on nuclear materiality. 00Published in partnership with Bildmuseet, Sweden and Arts Catalyst, London.

Fukushima Nuclear Disaster (Japan : 2011) --- Art, Modern --- Fukushima Nuclear Disaster, Japan, 2011 --- Disasters in art

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Le Bronx, 1945. Par une moite après-midi d'août, un gamin dont la famille a fui le nazisme écoute la radio. Surgit la voix du président Truman : une seule bombe, « atomique », a rasé Hiroshima. « Le plus grand succès de la science organisée de toute l'histoire. » De cet événement, le petit garçon retiendra notamment la photo d'une absence?: un homme retiré de son ombre par la déflagration. Adulte, le gamin deviendra physicien : ancien directeur de laboratoire au CNRS, Harry Bernas est aujourd'hui un scientifique reconnu dans le domaine des nanosciences, et son histoire n'a cessé de croiser celle de la science nucléaire. Jusqu'à Fukushima. Fruit d'un programme nucléaire ayant occulté les risques d'un tsunami pourtant documentés, le drame de 2011 a agi comme un révélateur de la cécité volontaire des hommes sur les conséquences de leurs choix techniques et sociaux. Dans ce captivant récit qui entremêle souvenirs personnels et réflexions scientifiques, Harry Bernas tente de comprendre d'où vient cet aveuglement délibéré. Lucidement, mais sans aucun fatalisme, il met au jour comment, du projet Manhattan aux réacteurs GEN-IV en passant par la politique « Atomes pour la paix » d'Eisenhower, on en est venu à modifier insensiblement la finalité même de la science, dont l'objet ne consiste plus à connaître le monde, mais à la rendre perméable au pouvoir. Ou comment Newton et Einstein ont été supplantés par Jeff Bezos et Elon Musk. Nous pensions vivre paisiblement sur l'île au Bonheur. En japonais, « île au Bonheur » se dit Fukushima...

Nuclear energy --- Fukushima Nuclear Disaster, Japan, 2011 --- Nuclear weapons

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Fukushima Nuclear Disaster, Japan, 2011. --- Nuclear power plants --- Accidents

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"In RADIATION AND REVOLUTION, political critic and activist Sabu Kohso positions the 2011 Fukushima nuclear disaster as an impetus for a renewed planetary politics. For Kohso, the "Event" offers an insight into the tension of, one the one hand, the World, as defined by capitalist nation-states, and on the other hand, the Earth, which is driven by interconnected planetary flows and entanglements. Focusing particularly on the effect of the Fukushima disaster on revolutionary politics, Kohso outlines three conceptual and eschatological ways to think about the Event: Disaster, Catastrophe, and Apocalypse. In this schema, Disaster signifies the real experience of people in the world: the immediate devastation brought on by nuclear disaster and the consequential tsunami, and the ongoing havoc radionuclides wreak on the planet. Catastrophe points to the failure of political and social institutions, and the rearrangement of power in the wake of nuclear disaster. Lastly, Apocalypse speaks to the affective and agential aspects of the disaster, and how people experience the aftermath of Fukushima. While Kohso readily admits that eschatological views can be harnessed by capitalist nation-states as a means to reproduce under the guise of patriotism and redevelopment, he also crucially argues that eschatology has been used historically by revolutionary people as a means to think about a rebirth of the world. In the latter reading, which Kohso suggests we follow, eschatological views of disaster provide a space for people to imagine other types of planetary cohabitation that is not limited to capitalist nation-states. The book comprises four chapters and an epilogue. Chapter 1 focuses on the Disaster of the Event, and offers an account of the nuclear disaster drawn from the author's own observations, stories from friends, and published reports in Japan. Chapter 2 illuminates the context for the event, providing a geo-history of the Japanese nation-state as an insular territory constituted in response to catastrophes, both natural (atmospheric and tectonic) and man-made (Western colonialism). In this chapter, Kohso frames Japan as a prosperous society bookended by two nuclear disasters: Hiroshima/Nagasaki and Fukushima. Chapter 3 tackles the mechanism whereby nuclear production continues to proliferate despite the calamities it has caused. Here the sense of Apocalypse is the predetermined future of a radioactive planet, rather than the immediate end of the world-a course charted by 'nuclearized capitalism' or capitalism that ensures its endless reproduction by assimilating itself to the nuclear industry. Chapter 4 compares the revolutionary struggles of 1968 to those of the post-Fukushima world. In the epilogue, Kohso poses questions about the "End": What does the end of Japan look like? What does the end of the human world mean?"--

Fukushima Nuclear Disaster, Japan, 2011. --- Nuclear energy --- Social aspects --- Political aspects --- Fukushima Daiichi Nuclear Power Plant. --- Fukushima Nuclear Disaster, Japan, 2011