Towards the end, Velu and Surya pile the catch together and store it in an ice box. Depending on the size of their catch, fishers choose to sell the shrimp and prawns at the smaller local market or the central fish market that attracts consumers that buy in larger quantities. However, both Velu and Surya insisted that the size of their catch had significantly reduced since the construction of the power plants. This coupled with an increasingly silted river that suffered from numeorus infrastructures that impeded its tidal rhythym only aggrevated their concerns for their landscape. But when a study suggested that the industrial discharge that was let in to the river had accumulated in to the life of their catch, the headman of the fishing village insisted that the reports were false. "We eat what comes out of the river and nothing happens to us", he said proudly, and assured that the same would be true for me. While toxicity makes itself visible to the fishers in this landscape, it is selectively rendered invisible as well. The boundaries of visible and invisble toxicity, though porous, suggests a complex politics of measure that traverse the daily lives of human and non-human actors in a toxic place. I intend for this image to be read in that light. Can we look at it and ask ourselves where the entangled boundaries of toxicity end?
Rishabh Raghavan, "The Catch", contributed by Rishabh Raghavan, Center for Ethnography, Platform for Experimental Collaborative Ethnography, last modified 2 March 2020, accessed 18 January 2022.