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Funding Agency FundRef Organization Name Fundação para a Ciência e a Tecnologia, “Not Found”; Portugal (through CIUHCT, UID/HIS/00286/2019) Université de Genève Université de Genève Received: 26 November 2018 Revised: 20 March 2019 Accepted: 21 March 2019 DOI: 10.1111/1600-0498.12224 1 2 SPECIAL ISSUE ARTICLE 3 4 5 6 Making fun of the atom: Humor and pleasant 7 forms of anti-nuclear resistance in the Iberian 8 9 Peninsula, 1974–1984 10 11 12 1 2 Jaume Valentines-Alvarez | Ana Macaya-Andrés Q1 13 Q2 14 15 1CIUHCT, Universidade Nova de Lisboa, Abstract 16 Lisbon, Portugal 2 17 CEHIC, Universitat Autònoma de Barcelona, In the mid-1970s, the fascist-leaning dictatorships in Barcelona, Spain 18 Spain (1939–1977) and Portugal (1933–1974) fell. Closely 19 Correspondence linked to the 1973 oil crisis, debates over energy and 20 Jaume Valentines-Alvarez, CIUHCT, technology policies became very prominent during the 21 Universidade Nova de Lisboa. Centro Interuniversitário de História das ensuing political redefinition of both countries. Two 22 Ciências e da Tecnologia, Faculdade de decades after the first international agreements between 23 Ciências e Tecnologia, Campus de Caparica, CNT 12224 No. of Pages: 21 ME: Edif. VII, Piso 2, 2829-516 Caparica, Portugal. the Iberian regimes and the United States for the devel- 24 Journal Code Article ID Dispatch: 07-SEP-19 CE: Email: [email protected] 25 opment of nuclear programs, a myriad of movements of 26 Funding information social resistance to nuclear technology emerged in dia- 27 Fundação para a Ciência e a Tecnologia, logue with anti-nuclear organizations in other European Portugal (through CIUHCT, 28 UID/HIS/00286/2019); Université de Genève countries. Fun and playfulness have been used for top– 29 down popularization and banalization of nuclear technolo- 30 gies since the 1950s, but here pleasant forms of resis- 31 32 tance also played a central role in contesting national 33 energy plans, expert discourses, and vested interests. This 34 article explores what we call “anti-nuclear fun,” the use of 35 amusement, play, and humor as political and epistemic 36 tools to familiarize society with the exceptional and daily 37 risks of the “peaceful atom.” 38 39 KEYWORDS 40 anti-nuclear movement, counter-culture, dissident experts, 41 emotions of protest, Portugal, scientific ignorance, Spain 42 43 44 45 46 47 Centaurus. 2019;1–21. wileyonlinelibrary.com/journal/cnt © 2019 John Wiley & Sons Ltd 1 2 VALENTINES-ALVAREZ AND MACAYA-ANDRÉS 1 1 | INTRODUCTION 2 3 In 1958, the traveling exhibition Atoms for Peace landed in Spain. The leaflets of the exhibition welcomed the “most Q3 4 brilliant promise of a happy life such as we could never imagine or enjoy.”1 In Madrid, Bilbao, and Barcelona visitors 5 could have a good time while inspecting a true atomic pile from Oak Ridge National Laboratory, a CP-5 training reac- 6 tor from the Argonne National Laboratory, a portable nuclear reactor “to produce energy in any place in the World,” 7 a prototype of a Cobalt bomb for radiotherapy treatments, Geiger counters, and uranium samples. In addition, there 8 were models of a nuclear-fueled merchant vessel and the Shippingport nuclear power plant and a diorama of a cow 9 with more than 800 colored lightbulbs illustrating the invisible path of radioisotopes from the grass all the way to Q11 10 the milk the cow produces.2 The most impressive attraction, however, were the “Magic Hands,” two mechanical arms 11 used to handle radioactive materials in laboratories and power plants. The public could examine them and be amazed 12 by several demonstrations. During the inauguration of the exhibition on May 19, a woman in a lab coat manipulated 13 these arms to place a lit cigarette between the lips of a woman wearing white trousers and a tight-fitting white shirt 14 in a vaguely futuristic atmosphere.3 This was not the first time the “Magic Hands” were on display. Two years earlier, 15 visitors of The Peaceful Uses of Nuclear Energy exhibition in Hiroshima—many of them survivors of the A-bomb—had 16 been asked to use these same arms “to pick up a brush and write heiwa (peace) and genshi ryoku (nuclear energy).”4 17 This is just one example of how display and play were used to promote and banalize nuclear technologies in the 18 Iberian Peninsula and beyond.5 Following the official launch of the Atoms for Peace program in 1953, such strategies 19 were part of the energy policies of the United States and most European governments, including the long-standing 20 dictatorships leaning towards fascism in Portugal (1933–1974) and Spain (1939–1977). The opposite, however, is 21 also true. Entertaining activities and amusement were used to contest nuclear objects, discourses, and policies, espe- 22 23 cially during the 1970s and 1980s. What role did they play? In which ways did emotions beyond awe and fear partic- 24 ipate in the making or unmaking of nuclear landscapes? How was grassroots humor intertwined with nuclear fear? 25 How were pleasant forms of anti-nuclear resistance produced, circulated, and appropriated? Can they be understood 26 as an epistemological tool? “ ” 27 This article seeks to answer these questions by analyzing what we call anti-nuclear fun : the modes of pleasure, 28 enjoyment, and humor (whether sarcastic, ironic, absurd, naïve, or macabre) used by anti-nuclear groups and individ- 6 29 uals to raise awareness of the dangers of nuclear technologies. Often in direct dialogue with other far more serious 30 means of activist politics, anti-nuclear fun became one way of spreading counter-discourses about scientific matters 31 and sharing lay expertise as a kind of antidote to the banalization and legitimation of civil uses of uranium. Anti- 32 nuclear cartoons, lyrics, or humorous magazines, among many other elements of anti-nuclear fun, played a significant 33 role in epistemological struggles over nuclear energy and scientific authority while familiarizing society with the mul- 34 tiple layers of nuclear risk. In this sense, this article offers a counter-point to the other papers in this special issue 35 that insightfully explore the historical use of displays, entertainment, and fun to render nuclear power banal in 36 1Translations of quotes into English are ours. Unless otherwise noted, the original quotes are in Spanish.

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