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This article provides a framework by way of introduction to the special section, ‘The Urban Problematic II’. It introduces a new selection of papers contributing to the continuing project of interrogating concepts, processes and practices associated with contemporary forms of urban life. The article focuses in particular on the problem of infrastructure in relation to questions of urban politics and especially remarks on the emergence of a kind of thinking in which the separation of notions of material infrastructure from those of the social or cultural sphere can no longer be usefully maintained. The essays in the section cumulatively address the issue of an emergent hybridity of urban elements: the virtual and the material, the social and the technical, the political and the instrumental, the vertical and the horizontal. The spectacle of contemporary political activism and dissent emerges in the transformation of social and urban space.

This article, which introduces the special section on The Urban Problematic, takes as its starting point the ways in which categories associated with the ‘urban’ have broken down, such that the once singular and coherent concept ‘city’ has disintegrated in certain ways: the notion has been demythologized, so that representations of the city must now be regarded as partial and invested; and cities themselves have become opaque and unpredictable both to urban scholars and to governments, planners and various kinds of welfare organizations. The indications of crisis, captured for instance by concerns about the slums, favelas and shanty towns of the world’s megacities, also indicate that much of what counts in modern urban life is in some way connected with the marginal, the unofficial, and the supplemental. The article takes a supplemental view of the current state of urban dwelling. This involves at the same time a longer, more patient, historical view in its attempt to understand the current state of the city as part of a shift in the play of heterogeneous forces. With reference to the articles contained in The Urban Problematic, this introductory article finally draws attention to some of the urgent and critical issues of contemporary urbanism.

This piece presents the work of academics and architects in a collaborative venture. It provides an architectural design and a series of statements towards the hypothetical creation of an unconventional city centre in the Chinese city of Shenzhen. The idea is to create a linear university that would run the 20-kilometer length of the Shenzhen Strip: the 20K university. The contributors outline, in the diversity of their idioms, a complex spatial condition fundamental to life, and demonstrate new relationships between knowledge and the city. The design of the proposed ‘open university space’ responds to two simultaneous and interrelated challenges: that posed to architecture, and that posed to science. The university would embody the meeting of these at the intersection of the urban infrastructure and the knowledge infrastructure. The purpose is thus also to develop the notion of knowledge, embodied in institutions, as urban infrastructure. © 2011, SAGE, Los Angeles, London, New Delhi, and Singapore. All rights reserved.

In this interview Samuel Weber proposes a rethinking of the relation of secrecy to transparency and outlines some of the forms it takes, while considering certain of its implications for current social, political and epistemological contexts. He begins by questioning the opposition itself, suggesting that we will have to learn to be more at home with the secret and that the demand for transparency must be radically rethought and complicated. He argues that the demand for absolute transparency can only promote and obscure the process by which the ‘secret’ is placed in the service of private appropriation. As the emotional experience of the relation between transparency and secrecy reflects the historically specific traditions that constitute the sense of self, then it is that sense that should be ‘opened up to its irreducible heterogeneity’.

Taking the publication in English of several works by Alain Badiou and Jacques Rancière as its point of departure, this review article attempts to outline what may be at stake in reading these two authors together. Looking especially at the works on politics and on aesthetics (particularly Badiou’s Handbook of Inaesthetics and Rancière’s Politics of Aesthetics ), the article also draws on other major texts by these authors as a way of clarifying their basic philosophical principles. Under the rubrics of ‘the axiom of equality’ (Rancière) and ‘the empty set’ (Badiou), these two thinkers establish links with their tradition in ways that are mobilized towards invention or transfiguration in spheres of both politics and art.

This article considers the Media Art Exhibition held at the University of Tokyo's Hongo Campus as part of the conference 'Ubiquitous Media: Asian Transformation' 13-16 July 2007), and reflects on the questions raised by the exhibits concerning the connections between science and art, which are revealed lo be mediated through aesthetic technologies. Exhibits that emphasize tactility and revel in synaesthetic effects demonstrate a peculiar and historically determinate complicity between scientific and aesthetic discourses. The exhibits are also analysed for what they reveal about the relationship between art and science as it functions in the public sphere. if discourses of science privilege certain conceptions of knowledge, and values of teaching and learning based upon them, then the exhibition of art tends to be adapted in gallery spaces in these values.

This article commemorates Jean Baudrillard’s career with an account of the consistency of his interventionist logic, the subtlety of his styles of argument and the prescience of his observations. It provides an account of Baudrillard’s sustained engagement with the intensification of simulation that has increasingly codified trends in communications, technology politics, the social, the psychological and economics in the name of functionality. The consistency of Baudrillard’s arguments belies the many superficial judgements made about them, which were anyway often knowingly encouraged by Baudrillard’s rhetorical strategies.

This article considers the Undercover Surrealism exhibition curated at London’s Hayward Gallery (from May to July 2006) and reflects on the practices of documentation, archiving and exhibition when the topic of the exhibition, as in this case, is a journal that in its most radical intention was set up to critique the practices of exhibition and documentation. The short and controversial life of Georges Bataille’s Documents unfolds as an often deliberately confusing juxtaposition of images and articles. The exhibition aims to represent both the sometimes incompatible interests of the journal’s collaborators and the public dispute between Bataille and Breton over the aims of Surrealism. The article explores the intentions, risks, and possible effects of the exhibition in the context of Bataille’s own philosophy and his own peculiar part in the publication of Documents, which in its time was a contemporary review of diverse cultural phenomena interspersed with subversive dictionary entries. The article thus raises the question of what happens to the subversive intentions of a project like Documents in the scholarly historicist environment of public exhibition space.