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This image gives us an insight into how climate change is approached by a group of people in India. It is a brief glimpse into the conjunction of traditional beliefs and practices, and contemporary challenges. Although toxicity is not a clear theme in the image nor the annotation, we might surmise that toxicities are dealt with in similar ways. We are left wondering, what actions are being taken alongside these practices, which might rise to the challenges of toxicity?

This is a visualization of a protest about classification, land-use and toxic industry within a toxic political economy. Note the critical commentary for this artifact differs from the commentary embedded in the photo essay. I will refer to the more expansive caption from the essay in my comments.

There are so many factors at play in this image which the caption critically unpacks for readers. I am interested in all of them. How do environmentalists engage marginalized publics in their protests? How does industry drive governance in the classification of zoning and land-use?What strikes me about the protest sign is the deployment of the word "Fake." I think this is what Oviya means in her discussion of legality. It also references a representational truth (through mapping) that is outside of politics.  

I am uncertain whether this is a found photo or if it was created by the ethnographer. It is a documentary image and striking on many fronts. First, the image captures the large industrial complex in the background and reveals the strategic shrewdness of the protest organizers. It is a protest that occurs from boats on a river which underscores the protestor's point.  The river is not land. The main subject in this image is a older woman.

The blurred vertical areas on either side of the image lead me to wonder if the image cropped in order to focus attention on this woman. I defer to the ethnographer on this decision. I think this image is incredibly rich in ethnographic import.

I am interested in how collectives are described. A pride of lions, a crash of rhinos, a murder of crows.... This visualization untangles the multiple toxic environments at play some obvious, many hidden and unearthed through Oviya's critical insight. This visualization pushes us forward to think more critically, more imaginatively about how toxic environments inform and shape overlapping concerns in order to work, not for an imagined past, but to work for a complex, liveable future. 

The old woman's sign, her stance and her position at the banks of a river indicate the conflict over waterbodies in India. The conflict is between political-administrative representations and the lived experience of the land/water boundary. The focus on the old woman's role in the protest implies a resilience and emphasis on lived, long-term experience of place. The sentiment is one of anger directed towards hidden political-administrative bodies.

I would like to learn more about the toxicities of the local area and how the ethnographer conceptualises them. For example, I think this image and caption indicates two kinds of toxicity: the chemical shift in the waterbody caused by industrial effluents, and a toxic dynamic between industry/government/local residents, or even between late capitalism/local residents' sense of place.

This image seems to have been created by the ethnographer. Its scale of attention and composition focuses on the old woman's body - in a strong stance of protest. The ethnographer thereby highlights the significance of the human body in political-administrative and industrial processes, or the imposition of such processes on the human body, and the attempt of the human to impose herself back onto these processes.

The image is rich with information and meaning. The caption could give more information about the place of the Ennore Creek - it's industrial history and its significance to the local people (such as the old woman), and about the interplay of different kinds of toxicity.