Posts or Comments 19 March 2013

Uncategorized kimiko | 09 Feb 2008 12:51 pm

Week 4

Assignment Week 4

Turkle discusses “we think with the objects we love, and we love the objects we think with.” A la Turkle’s discussion of “The Things That Matter,” pick an object from your life and discuss its meaning to you. Where does it take you? What are you able to understand? Describe the dynamic relationship between the object and your thinking.

 

150 Responses to “Week 4”

  1. on 12 Feb 2008 at 8:34 pm 1.jessica_kline said …

    My running shoes

    My running shoes take me all around North Berkeley, underneath the BART tracks, by my junior high school, past the smells of Gioia pizza and ACME bread. But more importantly my running shoes take my mind away from email, a never-ending to do list, and homework. And instead my mind has room to explore, imagine, brainstorm, daydream, solve problems, and see other points of view.

    It is true. I could run a few blocks in my flip flops. But I couldn’t formulate my thoughts in such a short distance. In fact, the longer I run, the more complex issues I solve and the more wild and crazy ideas come into fruition. I can run these great distances for one reason: my running shoes fit. I didn’t buy them on sale. I didn’t buy them because of their color (although I do like the green paisley interior design). I bought them because they fit.

    My running shoes are close to reaching retirement. But I am hopeful that their replacements will be equally inspiring and, of course, comfortable.

  2. on 12 Feb 2008 at 11:17 pm 2.maryanne_berry said …

    My black top hat sits on the mantle above my desk. For me, it evokes and mocks several ideas at the same time. It is serious and playful. It represents and laughs at masculinity. It is both practical and absurd. Staid and erotic. Sensible and “mad.”

    I am most drawn to the artifacts with which imagination inspires us to question our sense of reality. My first thought was to write about my laptop because I think of it in the same way—as have a duality that inspires imagination. While Gardener wrote about the keyboard, my thoughts turn more to the screen of my computer. Lev Manovich has written about humans a potential “prisoners of the screen,” but the screen can also be a portal of liberation. Anything worth thinking about must in some sense be irreconcilable. Keats described this experience of understanding as “Negative Capability, that is when man is capable of being in uncertainties, mysteries, doubts without any irritable reaching after fact and reason.” It takes an act of will to cultivate this understanding—and I fear I have not been able to maintain it for long.

    But consider my top hat…

    In Ibsen’s play, A Doll’s House (1879), Dr. Rank speaks of the “big black hat—haven’t you heard of the invisible hat? It comes down all over you, and then no one can see you.” Of course he is speaking of death. Certainly the idea of boundaries, limitations inspire me to take risks. The big black hat came down over my mother when she was 27 and since that time thoughts of death have electrically threaded the singular moments of my life.

    But the top hat suggests magic too. Think of the circus ringmaster introducing the audience to daredevil feats. The magician pulling the rabbit out of his hat. Days of teaching and of learning have possessed this magic. I have experienced moments of awe and wonder that have rendered me speechless.

  3. on 13 Feb 2008 at 12:51 am 3.andy_carle said …

    Denny Matthews

    The “object” that I most closely associate with daydreaming, creativity, and deep thought is the voice of Denny Matthews.

    Denny has been the primary radio announcer of my beloved Kansas City Royals (that’s baseball, for those who don’t believe in the Midwest) since the team’s inception in 1969. He is highly regarded, having been recently voted into the Major League Baseball Hall of Fame in Cooperstown, NY and is known throughout baseball as “The Voice of the Royals.”

    I’ve been a fan of the Royals since I could first really understand sports. But, as my mother can attest, I’ve been a fan of Denny Matthews since before I was born. Denny is known for his wry wit and calm, soothing announcing style. As noted baseball historian Bill James says, “His voice has a pleasant timbre which suggests a cheerful occasion. His inflection varies naturally so it’s neither falsely enthusiastic nor boring. He has a dry, understated humor that drifts through much of his audience undetected. One cannot learn these things at a microphone; they are given.”

    For decades, I have listened to Denny’s voice anytime I needed to relax or forget about my current worries for a moment. In elementary school, I frequently fell asleep after a long night of homework to games playing over my parents’ stereo in the living room. In high school, Denny and the radio in my room got me through times when I just didn’t want to deal with the rest of my family for a while. In college and my grad school days, Denny’s voice has moved to the digital realm – waiting for me on demand from my computer at the end of a hard day.

    My deep connection with and understanding of Denny’s voice allows me to meditate in my own ways while still listening to the game. I know the inflections of his voice so well that I can literally tell you the score of the game even after having been awoken from a light nap or disturbed from a heavy trance of deep thoughts. I can’t tell you anything else about the game, just the score and the rough times that good and bad things happened. It is in these deep trances during baseball games, with my mind drifting away to summer evenings at the ballpark, that I’ve had some of my greatest thoughts.

  4. on 13 Feb 2008 at 10:03 am 4.seungwan_hong said …

    My evocative objects: Making House by Picture Books, on Evocative Objects by S.Turkle

    What is the relationship between creativity and evocative objects? In many cases, special bonds with an object and each author in childhood provide them with long-term interests, potential stimulus, and a hint to problem finding and solving. . In the world, there is a lot of object and peoples have various talents and interests. How to meet such numerous objects and people’s talents as such memorable and special bonds?

    Memories with cello motivate Machove to think new quality of sounds and educational methodologies for music. The impressive moments with genuine artworks and sense of touching them make a chance to think a meaning of physical architecture in the digital area for Yee. For young Resnick, watching stars was an attractive initial point for his profession, pattern searching. Young Belmonte’s rough analysis about nature and a metaphorical object about such chaotic nature provide her with a chance to understand autism. Unique memories with imaginary friends lead Gleason to be a psychologist.

    In my case, picture books with hard cover were always interesting materials for house-making play in my childhood. Picture books had various colorful images and stories. According to tilt-up or stacking, such images were turned to be very nice wall papers. Combining such tilt-up books was also possible to make small chambers, small bridges, and roof like a house or a castle in the view-scale of children. I usually spent time inside the book house with toy playing when I was a child. It was a very fantastic experience that normal pretty picture books could be turned a small house or castle with marvelous wall papers. I never forget the spatial quality which was filled with imagination, comfortable, and very private. As a design scientist and an architect, of course, I often remember the happiest memories of making book houses for designing friendly spatial quality whatever it is virtual or physical.

  5. on 13 Feb 2008 at 10:10 am 5.katherine_ahern said …

    Inside a very beautiful carved polished wood jewelry box I have (among the jewelry) a small, heavy, stylized pewter human skull. I love it because it transforms my jewelry box and all that it symbolizes (wealth, femininity) into something else entirely (a pirate’s treasure chest and all that it symbolizes - adventure, flamboyance, danger). I had already chosen this object when I read Turkle’s aside about the jeweled pin that symbolizes both connection between mother and daughter and mixed feelings about the family’s immigrant status, which reminds me of my own ambivalence about wealth and femininity. Like Gardner, I am more comfortable in old clothing, and I don’t wear jewelry very often. But I do appreciate its transformative value, or how effective it can be at conveying status or controlling psychic energy, as Czikszentmihalyi discusses.

    Czikszentmihalyi’s discussion of Freud is provocative, of course - if anyone has a Freudian interpretation of why I keep a skull in my jewelry box please keep it to yourself!

  6. on 13 Feb 2008 at 10:47 am 6.hsin_hsien_chiu said …

    Being the same career with my father as an architecture designer, one of the most meaningful object is the sketch pen he gave me when traveling in Japan. Having black, solid penholder with stylish appearance, the sketch pen not only works functionally but suitable for my formal dressing for design presentation. I usually hold it when explaining my design ideas to the audiences. Also it’s very helpful to point at blueprints when negotiating with other experts in construction site.
    The sketch pen keeps me company for traveling around ten countries, recording both my thinking and ideas graphically or in text. Sometimes when running out of new design concepts, I would like to free myself, drawing or writing something conscious or unconsciously on the paper, especially using the sketch pen. It is the drawing texture that makes it special to me. I can control thickness of lines easily by rotating the special pen point slightly to create something even out of my imagination. I was inspired in this way. Meanwhile, when sketching architecture design, I could think of my father using the same tool to creating his design as well. Unconsciously, my mental condition seems to be interwove and encouraged by him through the object.
    The sketch pen broadens my mind, recording my life and thinking, connecting me with my family.

  7. on 13 Feb 2008 at 5:02 pm 7.jon_breitbart said …

    When thinking about a specific object in my life, there is only one that I have had my whole life (or, at least as long as i can remember), and that is my pillow. Even to me, it seems funny or strange for someone to have the same pillow for over a quarter of a century. And yes, it is falling apart at the seams a bit these days. I think I initially latched on to this specific pillow as a child because one of the seams was fraying a bit and i liked to play with, absentmindedly. I often did this unconsciously, but it was comforting, as habits can be. Like many of the authors in this week’s readings mention, the object of my pillow has really become an extension of myself at times. But not really in the way the stuffed bunny Murray was an extension of Shayla’s self - more in the physical sense. My pillow couldn’t read my thoughts, but it became so ingrained in my everyday (or night, as the case may be) experience (to sleep on, to touch, etc.) that I actually still fall asleep easier with it than with any other pillow. And I think the reasons for this are a mixture of emotional/psychological and that I have physically grown accustomed to sleeping on a pillow of that specific shape. I think that this is the nature of evocative objects, in that their essence or nature contain an emotional connection or component to one’s life and experiences (my pillow connects me to my house as a child, to my parents, to feelings of security and safety), but there is also the concrete physical nature of the object that forms a tangible connection to the body. And when these two aspects mesh is what creates a truly evocative and meaningful object. For instance, as a child, I actually used to think that if I had a bad dream, I could turn my pillow over and that sleeping on the opposite side of the pillow would prevent the dream from coming back.

    Similarly, I also thought about the computer when thinking about an object of importance in my life - specifically, the tablet computer I have now. This tablet PC represents an attempt at combining the computer with the physical act of writing with a pen or pencil - sort of meshing the digital and physical world. I can now take notes directly on the screen, highlighting passages of a paper or sections of a presentation, jotting down notes in the margins, as if I were interacting with pieces of paper. And yet, it is still important to recognize that this experience is different from actually using a pen and paper. It is great that I automatically have digital copies of all the notes I take or the sketches I make. But the experience is still very different. Like Susan Yee with the digitizing of Corbusier’s drawings, the digital experience of the tablet does not allow the same physical experience with the materials of paper and ink, pencil, or eraser. And there is some part of that experience that is invariably lost. The process or ritual, perhaps, as Yee describes. This is an issue my group is struggling with in another project looking at the design of online library systems and how they might be better connected to the actual experience of being in a library among shelves of books. I think this is definitely something to take into account and to recognize when interacting with and designing digital “objects.” But the digital world can also provide us with new functionalities that can combine with and add to our experiences with the physical world and help to broaden our perspectives.

  8. on 13 Feb 2008 at 9:23 pm 8.kevin_lim said …

    My Yellow Notebook

    The object that has been at the epicenter of my creativity is definitely my yellow notebook. Many notebooks have come and gone, and I’ve had mighty storms of creative thinking using all kinds of buckets (legal pads, audio recorder on my phone, jott.com), but my trusty yellow Rite-in-the-Rain waterproof, all-weather, notebook rules them all.

    The pages are treated with a waterproof substance, and the cover is plastic, so you can literally take the notebook into the shower for those brainstorms too. I think about the robustness of ideas when I marvel at my notebook. I’ve heard hard drives click and seen printouts melt into a rain-soaked blob of paper that remind me of tear-drenched mascara. So the idea that my notebook can withstand the physical wear-and-tear of everyday symbolizes how important I think robustness is. Much of the wear and tear comes from just being in my pocket every day. Which brings me to another point. The consistency, the reliability, of its presence. It is ALWAYS in my right front pocket, barring extreme circumstances. The notebook’s ever-presence is a testament to the fact that the brain can storm at any time. Whether at a concert, the shower, climbing up the stairs, or waiting for the bus, I always have to be ready to turn ephemeral thoughts into robust physically stored bits. The storage area itself is not enough: my notebook’s spiral binding always has a golf pencil inside it.

    However, my creativity object can be indicted for an utter lack of order. I’ve tried various hacks, like trying to put a rubber-band that marks the latest used page. But I rarely need ordinality, or even retrievability for that matter. My creative spurts typically stay in my brain in a much stronger way for having written them down in this magic notebook.

  9. on 13 Feb 2008 at 10:20 pm 9.anirban_sen said …

    The one object that I would say has a great meaning in my life is my iPod. To most people, it is simply a way to listen to music. To me, it is much more. I was given my first walkman when I was in 7th Grade and I carried it with me everywhere I went. It only played tapes and only had 2 modes, play and fast forward. To rewind a tape, you would have to eject it, flip it over, and fast forward, estimating the amount of time to your specific song on the tape. Regardless, it was a key artifact in my childhood, and I learned my appreciation of music through it. Actually, I used to create “mix tapes” from the radio and play them on my walkman wherever I went. My iPod brings me back to those carefree childhood days whenever I have the ear buds in my ears. Over the years, I have amassed a substantial collection of music which I have digitized and uploaded into my iPod. With this artifact, I can access these songs and the memories associated with these songs at any time I wish. I have also expanded my musical selection to other genres such as jazz. Coltrane and Davis (among others) now take me to a special meditative place in my mind where I can sort out my thoughts and feelings and organize them in ways that are unique and innovative. There is also mention about objects are status symbols. I don’t know if I agree that my iPod is a status symbol (although some may argue). I usually carry it in my pocket so that it does not seem to be conspicuous, although the white ear buds are somewhat telling!

  10. on 13 Feb 2008 at 10:47 pm 10.liz_goodman said …

    From 1995 - 2001 I lived with safety pins. They hung in chains from belt loops and sat in neat rows on my shirt sleeve. At the laundry, I’d find them in odd places — like stuck to the knee of my jeans, or squirreled away in pockets. Those were the years I worked as a costume designer, both as a student and a professional. They were some of the busiest and most purely creative years I can remember. Even after I left theater, overwhelmed by the economic impossibility of making a living, and the drudgery of constant mending, I couldn’t bring myself to remove the pins.

    Safety pins are cheap. They’re invisible and everywhere. Workhorses of costume construction, they are bought by the gross and grabbed in handfuls. Safety pins are temporary: they hold together brown paper pattern pieces made by drapers, mark alterations, and make emergency repairs. They are an essential link between paper and cloth: they fix to-do lists to garments, and post-its to piles of otherwise identical underwear. With safety pins, I pinned things to myself I might otherwise lose: necklaces, handkerchiefs, ribbons, and lace. If I lost a pin, there were always more. And anything held securely by a safety pin rarely came loose.

    I never took a class in costume design; I learned by doing, and by being shown, and by being told what to do. Safety pins were one way I learned. Because they are temporary, they are experimental: you can pin, and re-pin, and re-pin again. The safety pin is safe. Safety pins were also instructional. As an assistant, I’d stand with a handful of them in front of an actor, and follow the instructions of my boss: “Take the hem up two inches. No, higher. Higher. There.” Finally placing the safety pin meant the completion of a set of judgments and reassessments. The designer looked at the actor, and the actor looked at the mirror. Thus, the fitting room is where I learned empathy through placing pins - learning what it means to fear that one’s hips are spreading, or that one is too short to be a leading man. There are lots of things that actors fear, and one of the jobs of the costume designer is to work with them. Moving a safety pin can be read as a message of inadequacy. When I worked as a film wardrober, I was told to keep my mouth shut and focus on following directions. That way, I wouldn’t say anything to upset the talent. It was good advice. Instead of talking, I popped the safety pins open with my teeth. My boss — with whom I mostly got along — hated that habit. She said, repeatedly, that popping safety pins with my teeth would give me a bloody lip one day. But I couldn’t help myself. I loved the feel of the pins popping open in my mouth. It was most satisfying in fittings, where the casualness of the gesture made me feel like I looked like I knew what I was doing.

    Working in costumes, I learned, meant being careful in the fitting room but improvisational backstage. You can’t fix everything with safety pins, but it was amazing how useful they were in a range of crises. Mostly, the crises were small: safety pins held up hems and pieced together torn seams long enough to get through one more scene. But having the safety pins was a reassuring symbol of competence. Wearing them meant you were, like a scout, always prepared. To be honest, I hated working backstage. The the long stretches of boredom punctuated by urgency were alternately irritating and panicky. And I loathed picking up after actors. But I had loved all the visible signs of membership that working backstage gave me: the wardrobe of mismatched black clothes (also useful for freelancing in publishing), the ever-present jumble of scissors, toupee tape, needles and thread…and of course, the safety pins. They hung on securely for years, even after I went back to grad school for interaction design, even after I left New York. The last one disappeared off my favorite ratty skirt a year or so ago, and it was both upsetting and freeing. With the last safety pins gone, I felt like I’d lost some important … proof, I guess — of something I used to do or be.

  11. on 13 Feb 2008 at 11:26 pm 11.aylin_selcukoglu said …

    For as long as I can remember, I’ve had a cross-stitched dinosaur holding a sign in it’s mouth that says “aylin’s room” sitting in a red plastic frame in my bedroom. My older sister (8 years my senior), Bengi, made it for me.

    My mom is a big proponent of throwing stuff out, the opposite of a pack rat. With each move I’ve made (first to college and then to graduate school), there was a constant fear that she would discard the belongings I left behind. For this reason, and because I was never one to play with dolls, my framed dino is one of the only objects that I still have from my childhood.

    It’s not with me though, right now. It has never left my house. I thought of taking it with me to college, but it didn’t feel right. Turkle explains that evocative objects can “serve as a marker of relationship and emotional connection,” and my dino frame does just that. It marks the relationship and ambiguous emotional connection my sister and I share. I’ve always looked up to my sister, she was my idol and role model throughout my adolescent and teenage years (pretty much until I graduated from high school). The frame is a constant reminder of what I am and what I’m not. I loved it so much that I learned how to cross-stitch too, starting many projects but never finishing them, never creating anything nearly as good as my sister, though how I tried. I also followed in her footsteps by taking piano lessons, but never played as well as her (oh how I hated practicing). She danced, I didn’t. She sang, I couldn’t. She read all the time, I preferred to watch tv. My parents never pressured me to be exactly like her, but the dino frame was a constant reminder of her accomplishments.

    At different points in my life the dino frame has meant different things to me. Eventually, when my sister went away to college we stopped fighting and grew closer (I was more mature then and less annoying, according to her), then it represented our connection, even though she was thousands of miles away from me. Since she was off at college, doing her own thing, I felt more free to do my own. There was more space for me to explore without feeling the shadow of the dino frame cast upon me.

    Now, it’s still hanging on the wall in my bedroom at home. When I see it I almost feel this sense of regret, like it represents a time when my sister and I were closer. Maybe it’s waiting for me to move back to Chicago and take it to a new home.

  12. on 13 Feb 2008 at 11:29 pm 12.sally_maki said …

    Something that was once very much a part of me was my car. I got rid of it when moving here, and have since really felt like I’ve lost an important part of my life. The meaning of the car for me changed throughout different phases of my life, but those phases all overlapped with each other somewhat.

    I inherited my car when my mother passed away during my junior year of high school. In the beginning, the car was a connection to her as well as something I could actually call my own. It quickly became a symbol of freedom. Before I could drive I always felt the need to run away. I didn’t have a very good family, and my house was full of bad memories, but I was imprisoned there. Once I got a car I could run away and blast the music and escape anytime I wanted to. I would sometimes drive around aimlessly, or drive to remote places in the middle of the night to look at the stars, and the world became whatever I made it.

    The next meaning the car took on for me was a connection to friends. I was pretty shy before I got a car, and didn’t have many close friends. Once I could drive, my friendships were no longer limited by geographic proximity and I could spend time with friends that I chose. I loved to share my newfound freedom too and bring my friends away from their lives to new and exciting things.

    Then, during college, my car became a refuge. Although I was a commuter student, I hated being at home and often stayed elsewhere. I moved back and forth between different places to live, friends houses, school, jobs, and home. I was always moving between places, and it was my car that was always there, a constant in my life, a kind of second home. My car became a place where I could keep my belongings: books, clothes, food, toothbrush, stashes of many random things I thought I might need at some point. This made me feel safe and prepared. To me, it created stability in an unstable life.

    Finally, my car was a form of expression. I would re-decorate it with fun things every now and then. I would clean it all the time to show other people that I was organized, and create an illusion of order. It was somewhere I could blast music and sing at the top of my lungs to express all sorts of emotions, it was somewhere I could cry and express sorrow and pain, it was somewhere I could laugh with my friends. It was somewhere I could drive with skill, or speed around and feel dangerous (although I know that’s bad I still loved it). It was a part of my life where I had control and where I could let out my feelings.

    Since moving here and getting rid of my car, nothing has been able to replace it. Nothing can be all of those things at once. I particularly miss the freedom and ability to escape, even though now I have so much less to want to escape from. I feel that losing my car, however, has since changed who I am, and even if I had it again it wouldn’t be the same.

  13. on 14 Feb 2008 at 9:01 am 13.pierre_tchetgen said …

    The object I think with is the pen. Different color pens. As a writer, I often find it to be ‘focusing’ to hold a pen in my hand versus typing on the keyboard. Perhaps there is a more embodied feel to the experience. I’ve been holding pens since I was 4 or 5 years old, maybe younger. In fact, doodling with colored pens drawing mountains and horses are some of my earliest writing memories. The biggest pen I ever held was one of those giant magic pens with multiple colors. This one had eight. I remember being puzzled at the bulky design, wondering what could prompt someone to want to use a utensil so big (designing for small hands does matter). The immediate access to any color I wanted, even purple, quickly convinced me of its utility however.

    In the Interface Aesthetics class last Monday, Daniela gave an interesting talk on fonts, which I think of in relation to the pen. Color and font are powerful in that they help shape perception and convey meaning beyond the definition of the word we write. So, by extension, the pen becomes a wand to paint mental pictures on tangibles surfaces, using variants of line, shape and color (tone) to articulate our inner thoughts and emotions.

  14. on 11 Mar 2008 at 11:20 am 14.jonathan_brack said …

    At the risk of sounding materialistic the first object that came to mind for me was my iPhone. As a gift for Christmas, it has instantaneously made a profound on my life and in the context of this discussion — my thinking.
    In Evocative Objects, Turkle highlight how in material culture, objects carry an array of emotions and ideas and furthermore that these ideas are fluid. I think that the experience that I have had with the iPhone provides a clear practical example of this. For not only does the iPhone carry many of my internal thoughts, ideas and emotions, in the material culture of U.S. society, it also carries many different emotions and ideas of others.
    Having a portable, efficient, practicile peice of technology, from which I am able to access my music, photos, the enitire internet and other people via the phone has certainly had an influence of how I, personally think with and about each of these things.
    Moreover, because out materialistic society places social status with particular objects — the iPhone being an immense phenomenon — having an iPhone also carries with how people, see, think about and interact with me.

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