In the first instance, objects must evince features signaling humanness—faces, mouths, voices—to be looked at animate; in objectophilia, the item is sexy exactly since it is perhaps not individual, perhaps not soft and high in fluids, but instead difficult, difficult, hard—though also a little porous.
But both instances are about things coming to a new lease of life in regards to their counterparties—subjects, individuals, wetware. Nevertheless, both are about topics engaging with things, whoever brand new status is merely caused by them by the former. In Jane Bennett’s view, in comparison, the newest charm of things is rooted within their being regarded as things, which starts if they are no longer objects for topics. 4 They then become available not just for animist animation and sexual interest, also for a 3rd connection: as things of recognition, as avenues toward what exactly is eventually a de-animation, a kind of de-subjectivation or critical problem of subjectivation. Hito Steyerl might have had something similar to this in your mind whenever she penned in e-flux journal: