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5 pages/≈1375 words
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Object America History Book Report Research Paper Essay (Book Report Sample)


5 pages, around 1500 words


1. Essay of approx S pages synthesizing process and outcomes of observation with readings. Pull from at least five sources.
2. Create an abstract of your essay: 1 page OBJECT AMERICA Submission: Distillation of paper with documentation of your object through three views.RESOURCES: (All readings are available under “flies" on canvas)
1. Ackerman, D. (1990). [Excerpt recommendations: The Social Sense; The Hearing Heart; How to Watch the Sky.] A Natural History of the Senses. New York: Vintage Books, Random house.
2. Crary, Jonathan. (1990). Modernity and the Problem of the Observer. In Techniques of the Observer (pp. 1-24). Cambridge, MA: MIT Press.
3. Crary, Jonathan. (1990). Subjective Vision and the Separation of the Senses. In Techniques of the Observer (pp. 67-96). Cambridge, MA: MIT Press.
4. Highmore, B. (2011). Familiar Things. In Ordinary Lives, Studies in the Everyday (Pages 58-86). New York, NY: Routledge.
5. Jay, M. (2011). In the Realm of the Senses: An Introduction, The American Historical Review, Volume 116, Issue 2,1 April 2011, Pages 307-315
6. Jutte, R. (2005). Approaching the Suprahistorical. In, A History of the Senses: From Antiquity to Cyberspace. (Pages 8-20). Malden, Mass: Polity.
7. Jutte, R. (2005). Psi Phenomena, or the Exploration of Extra-Sensory Perception (Pages 309-324). In, A History of the Senses: From Antiquity to Cyberspace. (Pages 8-20). Malden, Mass: Polity.


8. Norman, D. (1990). The Psychopathology of Everyday Things. (Pages 1-33). The design of everyday things. New York: Doubleday.
9. Norman, Donald A. (2005).Three Levels of Design: Visceral, Behavioral, and Reflective. (Pages 63-98). Emotional Design: why we love (or hate) everyday things. New York: Basic Books.
10. Park, K. (2011). Observation in the Margins, 500-1500. In Histories of Scientific Observation (Eds. Daston, L. and Lunbeck, E.). (Pages 16-44). Chicago and London: University of Chicago.
11. Meli, D. (2011) The Color of Blood. In Histories of Scientific Observation (Eds. Daston, L. and Lunbeck, E.). (Pages 117-134). Chicago and London: University of Chicago.
12. Mirzoeff, N. (2006). On Visuality, journal of visual culture London, Thousand Oaks, CA and New Delhi: SAGE Publications, Vol 5(1), Pages 53-79
13. Sacks, O. (2005).The Mind's Eye, What the Blind See. In Howes. D. (Eds.), Empire of the Senses: The Sensual Culture Reader. (Pages 59-69). Oxford, UK; New York : Berg.
14. Stewart, S. (2005). Remembering the Senses. In Howes. D. (Eds.), Empire of the Senses: The Sensual Culture Reader. (Pages 59-69). Oxford, UK; New York: Berg.
15. Panagia, Davide (2010) "‘Partage du sensible': the distribution of the sensible." In Jacques Ranciere: Key Concepts, edited by Jean-Philippe Deranty. Durham: Acumen. Pp. 95-103.
16. Pratt, M.L. (1992). Alexander von Humboldt and the reinvention of America. In Imperial Eyes (pp 111-143). London, Routledge.
17. Ranciäre, Jacques (2004) “The Distribution of the Sensible: Politics and Aesthetics." In The Politics of Aesthetics, trans. by Gabriel Rockhill. NY: Continuum. Pp. 12-19.
18. Szendy, P. (2008). Listen: A History of Our Ears. US, US: Fordham University Press. ProQuest ebrary. Web. 20 September 2016.
PRACTICUM/ On writing Instructions:
1. Cortäzar, Julio (1999) "Instructions Manual" (Selections) in Cronopios and Famas Translated by Paul Blackburn. NY: New Directions Classics
2. See also: A visual essay based on Cortazar's “Instructions on How to Climb a Staircase” available at: https://vimeo(dot)com/96104610
3. Sennett, R. (2008). Expressive Instruction. In The Craftsman (Pages 179-193). New Haven & London: Yale University Press.
4. Ono, Y. (2000). Excerpts in Grapefruit. New York: Simon & Schuster.


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I would like this essay to arrive packed away at the bottom of a heavy box of carefully selected things. Each item piled on top of this narrow volume would be individually wrapped in tissue paper. There would be no labels. On the way to the buried title page, the potential reader would be challenged to differentiate seaweed from sago, whalebone from India rubber, slate from granite, and mace from fragrant ginger. Perhaps the reader might stop to unwrap an oyster shell, a bone-handled penknife or a smooth ceramic cup or to slip a thin blue cyanotype from its acid-free envelope. A particular item might force the thwarted reader to pause and to wonder.
To the curious reader, this box would be filled with both things and questions. Why was this item included? What it is? Where did it come from? Is it familiar? How is it used? These queries would not simply be about the material world, the physical qualities of the items or their potential functions. Upon further consideration, the items in the box might also provoke inquiries into the nature of knowing and perceiving. How does one know what an item may be? How are those conclusions expressed? What is assumed and what is known? Maybe it draws one back to a nature walk, a dusty mineral collection, or a display in a museum. Some might just look closely and try to tell a plausible story.

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