This article explores how languages of dilution and trace, surrounding the release of treated wastewater from Fukushima Daiichi into the Pacific, conceal eco-cultural violence. It focuses on analogue photographs developed with seaweed gathered from contaminated currents; as seaweed absorbs radiation, the film becomes a material witness of diluted tritium. I’m drawn to how analogue photography visualises trace radiation beyond human perception.

This paper discusses the role of ritual in art and science, concerning the transmission of memory in nuclear heritage practices, and focusing on a proposal to build a radioactive waste repository in Sardinia. Ritual is analyzed in artistic research and through a collaborative artwork as a way to challenge existing power structures. Ritual is similarly explored in nuclear politics, highlighting “scientific rituals” as a social, religious-like attitude that may emerge when facing the unknown.

Producing electricity from nuclear fission was a new concept in the 1950s. To engage the public, the industry publicised the construction and opening of each new power station in the 1950s–60s. This article examines the industry narrative and argues that aspects were emphasized or hidden to suit the industry needs. Emphasis on scientific innovation and protection of the natural environment is evident, while elements of risk are omitted to promote an ideal method of electricity generation.

Germany’s Site Selection Act mandates long-term safety (1 million years) for high-level radioactive waste repositories. This requires assessing volcanic hazards over geological timescales. Regions with such risks must be excluded from site selection. The Quaternary volcanic fields of the Eifel and Vogtland are examples of subrecent activity relevant to evaluating future volcanic potential in Germany.