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by addressing at once the ‘spreading interconnections and the locatedness of culture’ (2005,

               p. 122).


                       In chapter one, tinned skipjack tuna comes to the fore. I outline my methodological


               and  theoretical  approach  and  put  it  to  practice  by  following  a  sustainable  tin  of  tuna

               historically, geographically, culturally and politically. I present the dilemma of researching

               and theorising complex socio-technical and ecological engagements. In doing so I rationalise


               my methodology of following and assemblic ethnography and begin to theorise sustainability

               as a global assemblage.. This includes a discussion of how to approach the material semiotic


               relationships of the assemblage. Another function of the chapter is to illustrate the historical

               breadth of tinned tuna and to situate the Italian tonnare within this history. This leads us to


               the historical period when a series of tuna sustainability crises and responses emerged, and

               the  visibility  of  fishing  practices  became  an  important  sustainability  tool  and  theme.

               Historically,  details  of  place  and  fishing  method  were  not  listed  on  most  tins.  In  the  new


               sustainability  regime  certain  places,  processes,  people  and  material  things  have  become

               conspicuous through traceability projects. In this chapter I argue that this traceability project


               is  incomplete.  The  case  study  of  sustainable  tinned  tuna  demonstrates  that  the  process  of

               rendering  visible  is  not  neutral  or  ever  complete.  Rather,  work  goes  into  selecting  and


               defining  what  should  be  rendered  visible  and  always  involves  a  simultaneous  rendering

               invisible.  Val  Plumwood’s  notion  of  “shadow  places”  helps  me  to  draw  out  these  issues.


               Shadow  places  are  those  places  that  we  are  not  aware  of  but  ‘whose  degradation  we  as

               commodity consumers are indirectly responsible for’ (Plumwood 2008a, p. 147).


                       Chapter  one  begins  my  own  thesis  project  of  rendering  visible  shadow  places  and

               things. This project continues throughout the thesis by drawing attention to the socio-cultural

               dimensions, diverse locations, materials and technologies embroiled in tuna sustainability. I


               reflect on the relationship between following and wider traceability/visibility schemes within






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