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Evocative Objects: Things We Think with

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For Sherry Turkle, We think with the objects we love; we love the objects we think with. In Evocative Objects, Turkle collects writings by scientists, humanists, artists, and designers that trace the power of everyday things. These essays reveal objects as emotional and intellectual companions that anchor memory, sustain relationships, and provoke new ideas.These days, scholars show new interest in the importance of the concrete. This volumes special contribution is its focus on everyday riches: the simplest of objects--an apple, a datebook, a laptop computer--are shown to bring philosophy down to earth. The poet contends, No ideas but in things. The notion of evocative objects goes further: objects carry both ideas and passions. In our relations to things, thought and feeling are inseparable.Whether its a students beloved 1964 Ford Falcon (left behind for a station wagon and motherhood), or a cello that inspires a meditation on fatherhood, the intimate objects in this collection are used to reflect on larger themes--the role of objects in design and play, discipline and desire, history and exchange, mourning and memory, transition and passage, meditation and new vision.In the interest of enriching these connections, Turkle pairs each autobiographical essay with a text from philosophy, history, literature, or theory, creating juxtapositions at once playful and profound. So we have Howard Gardners keyboards and Lev Vygotskys hobbyhorses; William Mitchells Melbourne train and Roland Barthes pleasures of text; Joseph Cevetellos glucometer and Donna Haraways cyborgs. Each essay is framed by images that are themselves evocative. Essays by Turkle begin and end the collection, inviting us to look more closely at the everyday objects of our lives, the familiar objects that drive our routines, hold our affections, and open out our world in unexpected ways.

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Evocative Objects

Evocative Objects

Things We Think With

edited by Sherry Turkle

The MIT Press Cambridge, Massachusetts London, England

2007 Massachusetts Institute of Technology

All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.

MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please Email <> or write to Special Sales Department, The MIT Press, 55 Hayward Street, Cambridge, MA 02142.

This book was set in Bookman Old Style, ITC Bookman, and Stymie by Graphic Composition, Inc., Athens, Georgia.

Printed and bound in the United States of America.

Library of Congress Cataloging-in-Publication Data

Evocative objects : things we think with / [edited by] Sherry Turkle ;

theoretical essay and bibliographical essay by Sherry Turkle.

p. cm.

Includes bibliographical references and index.

ISBN-13: 978-0-262-20168-1 (hardcover : alk. paper)

1.Transitional objects (Psychology) I. Turkle, Sherry.

BF175.5.T73E96 2007

155.9 1dc22

2006027966

10 9 8 7 6 5 4 3 2 1

To Charles Zimmerman

Contents

Acknowledgments
Sherry Turkle |Introduction: The Things That Matter
OBJECTS OF DESIGN AND PLAY
Tod Machover | My Cello
Carol Strohecker | Knots
Susan Yee | The Archive
Mitchel Resnick | Stars
Howard Gardner | Keyboards
OBJECTS OF DISCIPLINE AND DESIRE
Eden Medina | Ballet Slippers
Joseph Cevetello | The Elite Glucometer
Matthew Belmonte | The Yellow Raincoat
Michelle Hlubinka | The Datebook
Annalee Newitz | My Laptop
Gail Wight | Blue Cheer
OBJECTS OF HISTORY AND EXCHANGE
Julian Beinart | The Radio
Irene Castle McLaughlin | The Bracelet
David Mitten | The Axe Head
Susan Spilecki | Dit Da Jow: Bruise Wine
Nathan Greenslit | The Vacuum Cleaner
OBJECTS OF TRANSITION AND PASSAGE
William J. Mitchell | The Melbourne Train
Judith Donath | 1964 Ford Falcon
Trevor Pinch | The Synthesizer
Tracy Gleason | Murray: The Stuffed Bunny
David Mann | The World Book
Susan Rubin Suleiman | The Silver Pin
OBJECTS OF MOURNING AND MEMORY
Henry Jenkins | Death-Defying Superheroes
Stefan Helmreich | The SX-70 Instant Camera
Glorianna Davenport | Salvaged Photographs
Susan Pollak | The Rolling Pin
Caroline A. Jones | The Painting in the Attic
Olivia Dast | The Suitcase
OBJECTS OF MEDITATION AND NEW VISION
Nancy Rosenblum | Chinese Scholars Rocks
Susannah Mandel | Apples
Jeffrey Mifflin | The Mummy
Michael M. J. Fischer | The Geoid
Robert P. Crease | Foucaults Pendulum
Evelyn Fox Keller | Slime Mold
Sherry Turkle | What Makes an Object Evocative?
Notes
Selected Bibliography
Epigraph Sources
Illustration Credits
Index

Acknowledgments

This book began with a seminar series at the MIT Initiative on Technology and Self and became a way to capture the intellectual enthusiasms of that enterprise. I thank the Mitchell Kapor Foundation for its support of the Initiative as well as all participants in the Evocative Objects Seminar in the STS program over many years.

My research assistants Anita Chan, Olivia Dast, and Kelly Gray worked closely with me on all aspects of making this volume a reality. Deborah Cantor-Adamss labors ensured consistency and clarity. I am grateful for Erin Hasleys combination of tenacity and perfect pitch in the design work for this volume. Lisa Lius excellent transcription and editing of Initiative presentations helped many of the authors recall unscripted moments that improved the quality of their final essays.

Thanks are also due to Valerie Geary, Mark Kramer, Robert Prior, and Susan Silbey for their helpful comments on my introduction and concluding essay. Comments on the introduction by Michael Fischer, Howard Gardner, and Susan Suleiman are gratefully acknowledged. Funding from the Intel Corporation to pursue work on the complex qualities of objects and conversations with my research partner at Intel, Margaret Morris, have deepened my thinking.

This book has been a labor of love; I have lived with it for many years. I thank my daughter Rebecca for lighting up my life as I worked. Tellingly, she has resisted my recent suggestions that she tidy up her room by informing me that the stuff I want her to throw out are her evocative objects. Im taking this as a good sign that the phrase is apt to catch on with others.

Sherry Turkle

Boston, Massachusetts

January 2007

Evocative Objects

INTRODUCTION: THE THINGS THAT MATTER

Sherry Turkle

I grew up hoping that objects would connect me to the world. As a child, I spent many weekends at my grandparents apartment in Brooklyn. Space there was limited, and all of the family keepsakesincluding my aunts and my mothers books, trinkets, souvenirs, and photographswere stored in a kitchen closet, set high, just below the ceiling. I could reach this cache only by standing on the kitchen table that I moved in front of the closet. This I had been given permission to do, and this is what I did, from age six to age thirteen or fourteen, over and over, weekend after weekend. I would climb onto the table in the kitchen and take down every book, every box. The rules were that I was allowed to look at anything in the closet, but I was always to put it back. The closet seemed to me of infinite dimensions, infinite depth.

Each object I found in the closetevery keychain, postcard, unpaired earring, high school textbook with its marginalia, some of it my mothers, some of it my auntssignaled a new understanding of who they were and what they might be interested in; every photograph of my mother on a date or at a dance became a clue to my possible identity. My biological father had been an absent figure since I was two. My mother had left him. We never spoke about him. It was taboo to raise the subject. I did not feel permitted to even think about the subject.

My aunt shared the small apartment with my grandmother and grandfather, and sometimes one of them would come into the kitchen to watch me at my investigations. At the time I didnt know what I was looking for. I think they did. I was looking, without awareness, for the one who was missing. I was looking for a trace of my father. But they had been there before me and gotten rid of any bits and pieces he might have leftan address book, a business card, a random note. Once I found a photograph of a man standing on a boardwalk with his face cut out of the picture. I never asked whose face it was; I knew. And I knew enough never to mention the photograph, for fear that it too would disappear. It was precious to me. The image had been attacked, but it contained so many missing puzzle pieces. What his hands looked like. That he wore lace-up shoes. That his pants were tweed.

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