Witnesses to Radioactive Contamination 195
contaminated water while diving for various species to be evaluated for scientific studies. See the article “In Memoriam: Dr. Nora Goreau, April 25, 1921–
December 18, 2016 – Mother of Coral Reef Science,” http://www.globalcoral.org/
memoriam-dr-nora-goreau-april-25-1921-december-18-2016/.
51. See caption “Inside the fish, a ‘hot’ supper,” in Operation Crossroads: The Official Pictorial
Records (New York, NY: W. H. Wise, 1946), 216.
52. Quoted in Robert del Tredici, At Work in the Fields of the Bomb, 187.
53. Schuppli uses “radiological contact print” synonymously with “autoradiograph.”
54. Schuppli, “Radical Contact Prints,” 280.
55. Takeda describes Trace as a “physically direct record of the worst man-made nuclear
accident in history.” See “Trace: An Interview with the Artist Shipei Takeda, Friends
of the Pleistocene.” 2012, https://fopnews.wordpress.com/2012/10/08/trace-aninterview-with-artist-shimpei-takeda/.
56. The resulting nuclear catastrophe released more than twice as much radioactive
material than Chernobyl and continues to contaminate air, soil, water, and food in
the country and the surrounding ocean. Between 100,000 and 150,000 residents
have left the immediate surroundings and hundreds of thousands of abandoned
animals from agricultural businesses have died.
57. Takeda has published the relevant values on his website: http://www.shimpeitakeda
.com/trace/locations/.
58. Photo emulsions are composed of gelatin with embedded halides, silver chloride,
silver bromide, or silver iodide.
59. Friends of The Pleistocene is an online project by smudge studio in collaboration
with Elizabeth Ellsworth and Jamie Kruse. See notes 55 and 60.
60. “Trace.”
61. See note 55.
62. See Radionuklide im Waldökosystem, Monographien 59 (Vienna: Bundeskanzleramt—
Strahlenschutz; Bundesumweltamt Österreich, 2000).
63. See Pat O’Malley, “Shimpei Takeda Makes Art Out of Radioactive Dirt,” Vice,
June 28, 2013, https://www.vice.com/en_us/article/3b5xkj/shimpei-takeda-123.
64. See O’Malley, “Shimpei Takeda Makes Art Out of Radioactive Dirt.”
65. See Rolf H. Kraus, Jenseits von Licht und Schatten: Die Rolle der Photographie bei
bestimmten paranormalen Phänomenen—ein historischer Abriss (Marburg: Jonas, 1992).
66. Interviewer from the Friends of the Pleistocene: “Japanese aesthetics and philosophies
often explore human awareness of the forces of ‘inanimate things.’” See “Trace.”
67. Shimpei Takeda: Trace, exh. cat. (New York, NY: Shika, 2012).
68. Anders, Der Mann auf der Brücke, 148.
69. Barthes, Camera Lucida, 81.
70. Barthes, Camera Lucida, 81.
contaminated water while diving for various species to be evaluated for scientific studies. See the article “In Memoriam: Dr. Nora Goreau, April 25, 1921–
December 18, 2016 – Mother of Coral Reef Science,” http://www.globalcoral.org/
memoriam-dr-nora-goreau-april-25-1921-december-18-2016/.
51. See caption “Inside the fish, a ‘hot’ supper,” in Operation Crossroads: The Official Pictorial
Records (New York, NY: W. H. Wise, 1946), 216.
52. Quoted in Robert del Tredici, At Work in the Fields of the Bomb, 187.
53. Schuppli uses “radiological contact print” synonymously with “autoradiograph.”
54. Schuppli, “Radical Contact Prints,” 280.
55. Takeda describes Trace as a “physically direct record of the worst man-made nuclear
accident in history.” See “Trace: An Interview with the Artist Shipei Takeda, Friends
of the Pleistocene.” 2012, https://fopnews.wordpress.com/2012/10/08/trace-aninterview-with-artist-shimpei-takeda/.
56. The resulting nuclear catastrophe released more than twice as much radioactive
material than Chernobyl and continues to contaminate air, soil, water, and food in
the country and the surrounding ocean. Between 100,000 and 150,000 residents
have left the immediate surroundings and hundreds of thousands of abandoned
animals from agricultural businesses have died.
57. Takeda has published the relevant values on his website: http://www.shimpeitakeda
.com/trace/locations/.
58. Photo emulsions are composed of gelatin with embedded halides, silver chloride,
silver bromide, or silver iodide.
59. Friends of The Pleistocene is an online project by smudge studio in collaboration
with Elizabeth Ellsworth and Jamie Kruse. See notes 55 and 60.
60. “Trace.”
61. See note 55.
62. See Radionuklide im Waldökosystem, Monographien 59 (Vienna: Bundeskanzleramt—
Strahlenschutz; Bundesumweltamt Österreich, 2000).
63. See Pat O’Malley, “Shimpei Takeda Makes Art Out of Radioactive Dirt,” Vice,
June 28, 2013, https://www.vice.com/en_us/article/3b5xkj/shimpei-takeda-123.
64. See O’Malley, “Shimpei Takeda Makes Art Out of Radioactive Dirt.”
65. See Rolf H. Kraus, Jenseits von Licht und Schatten: Die Rolle der Photographie bei
bestimmten paranormalen Phänomenen—ein historischer Abriss (Marburg: Jonas, 1992).
66. Interviewer from the Friends of the Pleistocene: “Japanese aesthetics and philosophies
often explore human awareness of the forces of ‘inanimate things.’” See “Trace.”
67. Shimpei Takeda: Trace, exh. cat. (New York, NY: Shika, 2012).
68. Anders, Der Mann auf der Brücke, 148.
69. Barthes, Camera Lucida, 81.
70. Barthes, Camera Lucida, 81.