Operation Ranch Hand - Scientific Community Reaction

Scientific Community Reaction

This section does not cite any references or sources.

The use of herbicides in the Vietnam War was controversial from the beginning, particularly for crop destruction. The scientific community began to protest the use of herbicides in Vietnam as early as 1964, when the Federation of American Scientists objected to the use of defoliants. The American Association for the Advancement of Science (AAAS) issued a resolution in 1966 calling for a field investigation of the herbicide program in Vietnam. In 1967 seventeen Nobel laureates and 5,000 other scientists signed a petition asking for the immediate end to the use of herbicides in Vietnam. Press coverage of the controversial use of herbicides in Vietnam increased in the late 1960s.

In 1970 AAAS sent a team of scientists to conduct field tests of the ecological impacts of the herbicide program in Vietnam. A 1969 report authored by K. Diane Courtney and others found that 2,4,5-T could cause birth defects and stillbirths in mice. This and follow-up studies led the U.S. government to restrict the use of 2,4,5-T in the U.S. in April 1970. The Department of Defense followed suit by 'temporarily' suspending the use of Agent Orange in Vietnam, though they continued to rely on Agent White for defoliation until supplies ran out and the last defoliation spray run took place on 9 May 1970. Sporadic crop destruction sorties using Agent Blue continued throughout 1970 until the final Ranch Hand run was flown on 7 January 1971.

Read more about this topic:  Operation Ranch Hand

Famous quotes containing the words scientific, community and/or reaction:

    Superstition? Who can define the boundary line between the superstition of yesterday and the scientific fact of tomorrow?
    Garrett Fort (1900–1945)

    It never was in the power of any man or any community to call the arts into being. They come to serve his actual wants, never to please his fancy.
    Ralph Waldo Emerson (1803–1882)

    An actor must communicate his author’s given message—comedy, tragedy, serio- comedy; then comes his unique moment, as he is confronted by the looked-for, yet at times unexpected, reaction of the audience. This split second is his; he is in command of his medium; the effect vanishes into thin air; but that moment has a power all its own and, like power in any form, is stimulating and alluring.
    Eleanor Robson Belmont (1878–1979)