Hi everyone,
My name is Sarah Kriger, and I'm a PhD student in my (fingers
crossed) final year at the University of Toronto's Institute for the
History and Philosophy of Science and Technology. Although HPS is my
current field, I come to it from a background in theatre, and my
research focusses on the overlap between the stage and science in
19th-century London: special effects at the Lyceum Theatre,
spectacular science demonstrations at the Royal Polytechnic, and
magicians' apparatus at Egyptian Hall, England's "Home of Mystery"
until 1904.
Like you, Kristen, I enjoyed the Lourenco article, and from there I
decided to look at some more of the articles dealing with
methodology (Prown, Brooks). I wasn't sure exactly which aspect of
them interested me the most until I got a fortuitous email from my
cousin. He, my parents, and my sister had been helping my
grandmother move house, and they came across a lot of items that
hadn't been used in a long time. He sent me this:
with a video of the object in question:
Eventually, my eldest cousin "won" by asking around her office until
she found someone who'd used one. But for me, this experience
highlighted some of the questions raised by the articles I read. For
instance, in his analysis of a teapot, Prown deduces its purpose
from its physical structure; I was skeptical that this deduction
relied more on the artifact than on what Prown already knows about
the cultural niche of teapots, and my experience with my cousin's
"contest" strengthens my doubt. It's true that the function of some
parts of the utensil seems clear -- the red part is the handle (or
do I know that only because my cousin is holding it that way in the
video?), and the middle part seems to be the "active" one. But its
exact purpose was still mystefying, despite the fact that I knew it
had to do with cooking.
For me, this incident brings out the relationship between text-based
and object-based history (as roughly defined by Lourenco). Without
text -- my cousin's email, the spoken words in his email -- I would
have been unable to orient myself with respect to the object: unable
to figure out what it was I was looking for (a function for this
object in the type of kitchen my grandmother has), let alone how to
find it. Likewise, I noticed that I was hamstrung by my inability to
assign words to the object. How could I Google or ask around about
something that I couldn't even give a name? (I couldn't even give a
name it to its parts!) It seemed as though further information could
be sought only through non-textual means, the way my successful
eldest cousin shared the video with others until someone who had
personal experience of using similar objects recognized the target.
Finally, I thought about my experience researching a false automaton
used by one of the key figures in my dissertation. I had the
opportunity of examining it twice: once before I'd done any
text-based research and once afterwards. The information I got from
each examination was different. The first time, with very little
textual support, I gained a lot of unique observations about the
automaton's appearance and insights on how to interpret textual
sources I later encountered, but little sense of how it fit in to
its time period and location; the second time, I knew to look for
things I'd missed the first time because I hadn't known to look for
them, and I got a much better sense of how all the automaton's parts
worked together to create a particular performance.
I guess, to bring it all together, one of the things I've enjoyed
exploring in the readings and am excited to discuss further during
the workshop is the relationship between object and text: how
knowledge of each informs knowledge of the other, and how
performers, curators, and other exhibitors can use text to inform
audiences' understandings of objects.
Looking forward to meeting everyone!
Sarah Kriger