THE SYNTAX OF OBJECTS AND THE REPRESENTATION OF HISTORY: SPEAKING OF SLAVERY IN NEW YORK

The representation of history continues to evolve in the domain of museum exhibitions. This evolution is informed in part by the creation of new display methods—many of which depart from the traditional conventions used to achieve the "museum effect"—in part by an increased attention to the museum-visitor relationship. In this context the ethical force of bearing witness, at times a crucial aspect of the museum experience, has emerged as a particularly compelling issue. In seeking to represent and address atrocity, injustice, and the abrogation of human rights, museums have the potential to become "sites of conscience" and to encourage "historical consciousness." Through a series of three exhibitions devoted to slavery, the New-York Historical Society demonstrated how such sites can be constructed and how objects can be deployed to represent extreme or "limit cases." In this review/essay I investigate and interrogate these exhibitions, looking closely at the use of objects as a source of "indirect testimony" (Marc Bloch) and at the "dialogical situation" (Paul Ricoeur) that might arise in an encounter among objects, exhibit narratives, and visitors. Thinking in terms of point of view, I look at the variety of rhetorical platforms from which objects speak in these exhibitions; thinking in terms of syntax, I look at the effects of ordering and of the radical juxtaposition of objects; thinking in terms of irony, I look at the provocations of double-voiced narratives and at how objects are used to support those historical sentences.     

A Principle of Hope: Recorded Music, Listening Practices and the Immanence of Utopia

In this paper I draw a set of partial connections between ways of using recorded music and utopia. The first half of the paper draws upon the process philosophy of Ernst Bloch to argue that utopia is not located else–where or else–when in a transcendent realm separate from the present but is paradoxically immanent to 'everyday life'. This argument revolves around the novel 'open' experimental ontology that Bloch elaborates through the operator the 'not–yet'. Bloch's work enables the beginnings of an immanent utopianism that is able to discern, rather than critique, the dimly vibrating figures of hope that exist within rather than outside 'everyday life'. The second half of the paper sets this thought in motion by connecting two of Bloch's concepts, the 'trace' and 'novum', to the logic of one particularly common way of using recorded music: the use of music to 'feel better'. Drawing on in–depth case study research with seventeen lower–middle–class households I describe how this practice enables people to momentarily enact two forms of hope that are both based around the geographies of affect and affection: how something better might feel and an ability to forget. I conclude by speculatively describing the practice of a Blochian 'immanent utopianism' that itself embodies 'a principle of hope'.     

In defence of utopian urbanism: imagining cities after the 'end of utopia'

What is the role of utopian visions of the city today? What is their use at a time when, for many people, the very concept of utopia has come to an end? Taking a wide perspective on contemporary debates, this paper addresses the general retreat from utopian urbanism in recent years. It connects it with the so–called crisis of modernist urbanism in the capitalist West as well as forms of 'utopic degeneration', and assesses some of its implications. Arguing against the abandonment of utopian perspectives, it advocates a rethinking of utopianism through considering its potential function in developing critical approaches to urban questions. The authoritarianism of much utopian urbanism certainly needs acknowledging and criticising, but this need not entail a retreat from imagining alternatives and dreaming of better worlds. Instead, it is necessary to reconceptualise utopia, and to open up the field of utopian urbanism that for too long has been understood in an overly narrow way. The paper suggests the potential value of developing, in particular, modes of critical and transformative utopianism that are open, dynamic and that, far from being compensatory, aim to estrange the taken–for–granted, to interrupt space and time, and to open up perspectives on what might be.     

A Principle of Hope: Recorded Music, Listening Practices and the Immanence of Utopia

In this paper I draw a set of partial connections between ways of using recorded music and utopia. The first half of the paper draws upon the process philosophy of Ernst Bloch to argue that utopia is not located else–where or else–when in a transcendent realm separate from the present but is paradoxically immanent to 'everyday life'. This argument revolves around the novel 'open' experimental ontology that Bloch elaborates through the operator the 'not–yet'. Bloch's work enables the beginnings of an immanent utopianism that is able to discern, rather than critique, the dimly vibrating figures of hope that exist within rather than outside 'everyday life'. The second half of the paper sets this thought in motion by connecting two of Bloch's concepts, the 'trace' and 'novum', to the logic of one particularly common way of using recorded music: the use of music to 'feel better'. Drawing on in–depth case study research with seventeen lower–middle–class households I describe how this practice enables people to momentarily enact two forms of hope that are both based around the geographies of affect and affection: how something better might feel and an ability to forget. I conclude by speculatively describing the practice of a Blochian 'immanent utopianism' that itself embodies 'a principle of hope'.     

In defence of utopian urbanism: imagining cities after the 'end of utopia'

What is the role of utopian visions of the city today? What is their use at a time when, for many people, the very concept of utopia has come to an end? Taking a wide perspective on contemporary debates, this paper addresses the general retreat from utopian urbanism in recent years. It connects it with the so–called crisis of modernist urbanism in the capitalist West as well as forms of 'utopic degeneration', and assesses some of its implications. Arguing against the abandonment of utopian perspectives, it advocates a rethinking of utopianism through considering its potential function in developing critical approaches to urban questions. The authoritarianism of much utopian urbanism certainly needs acknowledging and criticising, but this need not entail a retreat from imagining alternatives and dreaming of better worlds. Instead, it is necessary to reconceptualise utopia, and to open up the field of utopian urbanism that for too long has been understood in an overly narrow way. The paper suggests the potential value of developing, in particular, modes of critical and transformative utopianism that are open, dynamic and that, far from being compensatory, aim to estrange the taken–for–granted, to interrupt space and time, and to open up perspectives on what might be.