How the simulation and visualization technologies so pervasive in science, engineering, and design have changed our way of seeing the world. Over the past twenty years, the technologies of simulation and visualization have changed our ways of looking at the world. In Simulation and Its Discontents, Sherry Turkle examines the now dominant medium of our working lives and finds that simulation has become its own sensibility. We hear it in Turkle's description of architecture students who no longer design with a pencil, of science and engineering students who admit that computer models seem more “real” than experiments in physical laboratories. Echoing architect Louis Kahn's famous question, “What does a brick want?”, Turkle asks, “What does simulation want?” Simulations want, even demand, immersion, and the benefits are clear. Architects create buildings unimaginable before virtual design; scientists determine the structure of molecules by manipulating them in virtual space; physicians practice anatomy on digitized humans. But immersed in simulation, we are vulnerable. There are losses as well as gains. Older scientists describe a younger generation as “drunk with code.” Young scientists, engineers, and designers, full citizens of the virtual, scramble to capture their mentors' tacit knowledge of buildings and bodies. From both sides of a generational divide, there is anxiety that in simulation, something important is slipping away. Turkle's examination of simulation over the past twenty years is followed by four in-depth investigations of contemporary simulation culture: space exploration, oceanography, architecture, and biology.

How the simulation and visualization technologies so pervasive in science, engineering, and design have changed our way of seeing the world. Over the past twenty years, the technologies of simulation and visualization have changed our ways of looking at the world. In Simulation and Its Discontents, Sherry Turkle examines the now dominant medium of our working lives and finds that simulation has become its own sensibility. We hear it in Turkle's description of architecture students who no longer design with a pencil, of science and engineering students who admit that computer models seem more “real” than experiments in physical laboratories. Echoing architect Louis Kahn's famous question, “What does a brick want?”, Turkle asks, “What does simulation want?” Simulations want, even demand, immersion, and the benefits are clear. Architects create buildings unimaginable before virtual design; scientists determine the structure of molecules by manipulating them in virtual space; physicians practice anatomy on digitized humans. But immersed in simulation, we are vulnerable. There are losses as well as gains. Older scientists describe a younger generation as “drunk with code.” Young scientists, engineers, and designers, full citizens of the virtual, scramble to capture their mentors' tacit knowledge of buildings and bodies. From both sides of a generational divide, there is anxiety that in simulation, something important is slipping away. Turkle's examination of simulation over the past twenty years is followed by four in-depth investigations of contemporary simulation culture: space exploration, oceanography, architecture, and biology.

Memoir, clinical writings, and ethnography inform new perspectives on the experience of technology; personal stories illuminate how technology enters the inner life. For more than two decades, in such landmark studies as The Second Self and Life on the Screen, Sherry Turkle has challenged our collective imagination with her insights about how technology enters our private worlds. In The Inner History of Devices, she describes her process, an approach that reveals how what we make is woven into our ways of seeing ourselves. She brings together three traditions of listening—that of the memoirist, the clinician, and the ethnographer. Each informs the others to compose an inner history of devices. We read about objects ranging from cell phones and video poker to prosthetic eyes, from Web sites and television to dialysis machines. In an introductory essay, Turkle makes the case for an “intimate ethnography” that challenges conventional wisdom. One personal computer owner tells Turkle: “This computer means everything to me. It's where I put my hope.” Turkle explains that she began that conversation thinking she would learn how people put computers to work. By its end, her question has changed: “What was there about personal computers that offered such deep connection? What did a computer have that offered hope?” The Inner History of Devices teaches us to listen for the answer. In the memoirs, ethnographies, and clinical cases collected in this volume, we read about an American student who comes to terms with her conflicting identities as she contemplates a cell phone she used in Japan (“Tokyo sat trapped inside it”); a troubled patient who uses email both to criticize her therapist and to be reassured by her; a compulsive gambler who does not want to win steadily at video poker because a pattern of losing and winning keeps her more connected to the body of the machine. In these writings, we hear untold stories. We learn that received wisdom never goes far enough.

(Dover thrift editions).

A groundbreaking book by one of the most important thinkers of our time shows how technology is warping our social lives and our inner ones Technology has become the architect of our intimacies. Online, we fall prey to the illusion of companionship, gathering thousands of Twitter and Facebook friends, and confusing tweets and wall posts with authentic communication. But this relentless connection leads to a deep solitude. MIT professor Sherry Turkle argues that as technology ramps up, our emotional lives ramp down. Based on hundreds of interviews and with a new introduction taking us to the present day, Alone Together describes changing, unsettling relationships between friends, lovers, and families.

Passion for objects and love for science: scientists and students reflect on how objects fired their scientific imaginations.

Winner of the 2021 National Jewish Book Award in Autobiography & Memoir! “A beautiful book… an instant classic of the genre.” —Dwight Garner, New York Times • A New York Times Critics’ Top Book of 2021 • A New York Times Book Review Editors' Choice • Named a Best Nonfiction Book of 2021 by Kirkus MIT psychologist and bestselling author of Reclaiming Conversation and Alone Together, Sherry Turkle's intimate memoir of love and work For decades, Sherry Turkle has shown how we remake ourselves in the mirror of our machines. Here, she illuminates our present search for authentic connection in a time of uncharted challenges. Turkle has spent a career composing an intimate ethnography of our digital world; now, marked by insight, humility, and compassion, we have her own. In this vivid and poignant narrative, Turkle ties together her coming-of-age and her pathbreaking research on technology, empathy, and ethics. Growing up in postwar Brooklyn,Turkle searched for clues to her identity in a house filled with mysteries. She mastered the codes that governed her mother's secretive life. She learned never to ask about her absent scientist father--and never to use his name, her name. Before empathy became a way to find connection, it was her strategy for survival. Turkle's intellect and curiosity brought her to worlds on the threshold of change. She learned friendship at a Harvard-Radcliffe on the cusp of coeducation during the antiwar movement, she mourned the loss of her mother in Paris as students returned from the 1968 barricades, and she followed her ambition while fighting for her place as a woman and a humanist at MIT. There, Turkle found turbulent love and chronicled the wonders of the new computer culture, even as she warned of its threat to our most essential human connections. The Empathy Diaries captures all this in rich detail--and offers a master class in finding meaning through a life's work.

Life on the Screen is a book not about computers, but about people and how computers are causing us to reevaluate our identities in the age of the Internet. We are using life on the screen to engage in new ways of thinking about evolution, relationships, politics, sex, and the self. Life on the Screen traces a set of boundary negotiations, telling the story of the changing impact of the computer on our psychological lives and our evolving ideas about minds, bodies, and machines. What is emerging, Turkle says, is a new sense of identity—as decentered and multiple. She describes trends in computer design, in artificial intelligence, and in people’s experiences of virtual environments that confirm a dramatic shift in our notions of self, other, machine, and world. The computer emerges as an object that brings postmodernism down to earth.

Autobiographical essays, framed by two interpretive essays by the editor, describe the power of an object to evoke emotion and provoke thought: reflections on a cello, a laptop computer, a 1964 Ford Falcon, an apple, a mummy in a museum, and other "things-to-think-with." 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 volume's 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 it's a student's 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 Gardner's keyboards and Lev Vygotsky's hobbyhorses; William Mitchell's Melbourne train and Roland Barthes' pleasures of text; Joseph Cevetello's glucometer and Donna Haraway's 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.

A groundbreaking critique of the digital world that analyzes its universal technological foundations Whence that nagging sense that something in the digital is amiss—that, as wonderful as our devices are, time spent on smartphones and computers leaves us sour, enervated, alienated? The Digital and Its Discontents uniquely explains that worry and points us toward a more satisfying relationship between our digital lives and our nondigital selves, one that requires a radical change in the way we incorporate technology into our lives. Aden Evens analyzes universal technological principles—in particular, the binary logic—to show that they encourage certain ways of thinking while making others more challenging or impossible. What is out of reach for any digital machine is contingency, the ontological principle that refuses every rule. As humans engage ourselves and our world ever more through digital machines, we are losing touch with contingency and so banishing from our lives the accidental and unexpected that fuel our most creative and novel possibilities for living. Taking cues from philosophy rather than cultural or media theory, Evens argues that the consequences of this erosion of contingency are significant yet often overlooked because the same values that make the digital seem so desirable also make contingency seem unimportant—without contingency the digital is confined to what has already been thought, and yet the digital’s ubiquity has allowed it to disguise this inherent sterility. Responsive only to desires that meet the demands of its narrow logic, the digital requires its users to practice those same ideological dictates, instituting a hegemony of thought and value sustained by the pervasive presence of digital mechanisms. Interweaving technical and philosophical concepts, The Digital and Its Discontents advances a powerful and urgent argument about the digital and its impact on our lives. Retail e-book files for this title are screen-reader friendly.