In their substantive introduction, the editors first revisit two classical sites of controversy which have offered frameworks for theorizing the interplay between materiality and sociality: reification and fetishism. Obviously, these critical vocabularies emerge as crucial sites of perplexity as soon as the ontological boundary between subjects and objects is rendered equally problematic and fluid as the epistemological boundary between the imaginary and the real. A thumbnail sketch of the history of the two discursive traditions provides an elaborate systematic framework for (...) introducing the individual articles. The first axis of debate is generated by conceptual residues of the traditional tug-of-war between idealism and materialism which continues to infiltrate recent redescriptions of the web of sociality/materiality. The concern here is how much autonomy and agency can be granted to material objects in view of their social inscription and symbolic construction, and how far conceptual experiments with the ontological symmetry between humans and nonhumans may take us and/or should be permitted to go. The second axis of debate concerns the fate of critical theory and of ethico-political sensibility in the face of heightened uncertainties about the distinction between what is real, what is constructed, and what is imaginary, and between what may count as a person and what as a thing. (shrink)

This book introduces contemporary writing about difference through the idea of the labour of division.

This article looks at a quite different form of mediation, a tactile book on the Parthenon Frieze for the visually impaired that has recently been produced by the British Museum. As a material expression of the current concern with equal opportunities and access within the museum sector, this book attempts to provide a form of access through an artefact to another set of artefacts for a group of people on the margins of the museum's visual space. Conscious of the conservational (...) problems of allowing objects to be touched directly, the book provides an optical prosthesis that allows the hand to extend into an otherwise visual space. But as a form of mediation the book reproduces the representational codes of Enlightenment scopics, in which the view point is reduced to the optics of the subject. In contrast, Hetherington argues that the body of the visually impaired person, notably the hand, offers another and quite different form of mediation in which the body, through its haptic capacities, comes to challenge this correspondence between the optic and the scopic. Associating instead the haptic with the scopic opens up the possibility with a new form of connection with the sign's materiality and performativity. (shrink)

Through analysis of a critical engagement between Blanchot and Malraux on the museé imaginaire, it becomes apparent that both were seeking to understand the relationship between the museum and experience within modernity. This short article seeks to develop these ideas and to understand the museum as a key institutional space of modernity implicated in addressing the changing character of experience in the present. Following Benjamin's distinction between experience as Erfahrung and Erlebnis, the essay argues that the museum has always sought (...) to offer a fabricated sense of Erfahrung through its narrative and display techniques and that this facilitates a distracted mode of reception that is now prominent within contemporary cultural life. Through this we can see that the idea of the museé imaginaire is still a prescient one, but it has moved from the virtual space of the photographic art book to the simulated culture of the museumified city in general. (shrink)