The aim of this article is to theorize how materials can play an active, constitutive, and causally effective role in the production and sustenance of cultural forms and meanings. It does so through an empirical exploration of the Museum of Modern Art of New York (MoMA). The article describes the museum as an “objectification machine” that endeavors to transform and to stabilize artworks as meaningful “objects” that can be exhibited, classified, and circulated. The article explains how the extent to which (...) the museum succeeds in this process of stabilization ultimately depends on the material properties of artworks and, more specially, on whether these behave as “docile” or “unruly” objects. Drawing on different empirical examples, the article explores how docile and unruly objects shape organizational dynamics within the museum and, through them, the wider processes of institutional and cultural reproduction. The article uses this empirical example to highlight the importance of developing a new “material sensibility” that restores heuristic dignity to the material within cultural sociology. (shrink)

The history of laboratories may become controversial in social sciences. In this paper, the story of Sciences Po Médialab told by Venturini et al. is discussed and completed by demonstrating the incoherence in the choice of digital methods at the Médialab from the actor network theory perspective. As the Médialab mostly used web topologies as structural analysis of social positions, they were not able to account for the propagation of ideas, considered in actor network theory as non-humans that have their (...) own agency. The main arguments in favour of the ‘more continuous social’ developed at the Médialab proved to be as misleading as the network metaphor. The distribution of agency that actor network theory so successfully expands was paradoxicallty reduced to structures and individual preferences, to the detriment of the agency of replications that circulate entities in the form of messages, content or memes, and that should now become the next step for actor network theory-style digital methods. (shrink)

Cet article examine, du point de vue de la socio-économie, comment consommateurs et producteurs s'y prennent pour gérer leurs « embarras du choix » respectifs (diversité de l'offre et de la concurrence d'un côté, difficulté à choisir entre produits similaires de l'autre). En reprenant la métaphore de l'âne de Buridan, qui hésite entre deux quantité de nourriture identiques, l'auteur montre d'une part que le problème du consommateur consiste souvent à convertir l'idée générale qu'il se fait du produit en choix de (...) telle ou telle de ses occurrences particulières, et d'autre part que la gestion moderne vise précisément à « équiper » la décision du consommateur pour le sortir de l'embarras du choix entre produits similaires. Nos choix de consommation individuels apparaissent ainsi comme le fruit d'un arbitrage récurrent, complexe et difficilement prévisible entre notre désir d'effectuer des choix libres et/ou pertinents (s'en remettre à soi-même), et notre souci de ne pas consacrer un temps et un effort excessifs à la sélection des produits (accepter les dispositifs du prêt-à-choisir). (shrink)