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The object is sexy precisely because it is not human, not soft and full of liquids, but instead hard, hard, hard—though also a bit porous in the first instance, objects must evince features signaling humanness—faces, mouths, voices—to be considered animate; in objectophilia.
But both situations are about items arriving at a life that is new reference to their counterparties—subjects, individuals, wetware. Still, both are about topics engaging with items, whoever brand new status is simply caused by them by the previous. The new charm of things is rooted in their being seen as things, which begins when they are no longer objects for subjects in Jane Bennett’s view, by contrast. 4 They then become available not merely for animist animation and sexual interest, but in addition for a 3rd connection: as things of recognition, as avenues toward what exactly is finally a de-animation, a type of de-subjectivation or critical problem of subjectivation. Continue reading