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The purpose of this paper is to present a reflexive review of ANTi-History written as a reply to a critique by James Reveley, published in the Journal of Management History, called “Firm objects: new realist insights into the sociohistorical ontology of the business enterprise.”

Reveley’s critique of ANTi-History focuses on three aspects, namely, matters of ontology, actors and relationalism. Using the logic of ANTi-History, the author reviews each and offers a reply.

This paper demonstrates that ANTi-History is inspired by amodern thought. This condition negates the need and desire to classify social and physical objects in the study of history. Drawing on Actor-Network Theory, ANTi-History assumes that historical actors are heterogeneous, and the consequence is that both human and nonhuman actors should feature in the study of history. The focus, in using ANTi-History, should be in-between the human and nonhuman actors that make up the past and history. This is the premise of using a relational lens.

The review of ANTi-History is structured as a reply to critiques of the approach. In reflecting on these criticisms, the author realizes that ANTi-History has gotten beyond its originators. As one of those originators, the author inspired to continue to develop its strange potential.

The present chapter explores the topic of death in the context of contemporary New Delhi, India. Building upon what I chose to call an ‘expanded ethnography’, it explores the multiple ways in which sensory, visual and digital mediations and tools can help researchers address such an existentially delicate topic. Building on a mix of online visual ethnography (of computer screens and smartphones), of bodily/sensory practices, of sound recording and image-making, my research focussed on retirement homes and shelters amidst a bulging Indian metropolis. I engaged with subjects who, because of personal choices or family difficulties, have ended up finishing their lives in solitude amidst a city forced to co-live with the presence of death. Alternating between photographic portraits, filmic observations and moments of playful exchanges in front of a camera (with me as one of the objects portrayed) my method capitalizes upon the integration (and problematisation) of bodily (sensory and affective) as well as digital techniques. All together these different mediations have granted me access to different layers of connection to the topic of death in Delhi and also to my ageing guides/interlocutors.