What is “the original”?

At the exhibit’s entrance were two giant tortoises from the Galápagos Islands, the best-known inhabitants of the archipelago where Darwin did his most famous investigations. The museum had been advertising these tortoises as wonders, curiosities, and marvels. Here, among the plastic models at the museum, was the life that Darwin saw more than a century and a half ago.

One tortoise was hidden from view; the other rested in its cage, utterly still. Rebecca inspected the visible tortoise thoughtfully for a while and then said matter-of-factly, “They could have used a robot.” I was taken aback and asked what she meant. She said she thought it was a shame to bring the turtle all this way from its island home in the Pacific, when it was just going to sit there in the museum, motionless, doing nothing. Rebecca was both concerned for the imprisoned turtle and unmoved by its authenticity.

It was Thanksgiving weekend. The line was long, the crowd frozen in place. I began to talk with some of the other parents and children. My question—“Do you care that the turtle is alive?”—was a welcome diversion from the boredom of the wait. A ten-year-old girl told me that she would prefer a robot turtle because aliveness comes with aesthetic inconvenience: “Its water looks dirty. Gross.” More usually, votes for the robots echoed my daughter’s sentiment that in this setting, aliveness didn’t seem worth the trouble. A twelve-year-old girl was adamant: “For what the turtles do, you didn’t have to have the live ones.” Her father looked at her, mystified: “But the point is that they are real. That’s the whole point.”

The Darwin exhibition put authenticity front and center: on display were the actual magnifying glass that Darwin used in his travels, the very notebook in which he wrote the famous sentences that first described his theory of evolution. Yet, in the children’s reactions to the inert but alive Galápagos tortoise, the idea of the original had no place.

(Sherry Turkle, Alone Together)