The MIT Press Podcast

Midcentury America was governed from the center, a bipartisan consensus of politicians and public opinion that supported government spending on education, the construction of a vast network of interstate highways, healthcare for senior citizens, and environmental protection. These projects were paid for by a steeply progressive tax code, with a top tax rate at one point during the Republican Eisenhower administration of 91 percent. Today, a similar agenda of government action (and progressive taxation) would be portrayed as dangerously left wing. At the same time, radically anti-government and anti-tax opinions (with no evidence to support them) are considered part of the mainstream. In Take Back the Center, Peter Wenz makes the case for a sane, reality-based politics that reclaims the center for progressive policies. The key, he argues, is taxing the wealthy at higher rates. The tax rate for the wealthiest Americans has declined from the mid-twentieth-century high of 91 percent to a twenty-first-century low of 36 percent—even as social programs are gutted and the gap between rich and poor widens dramatically.Ever since Ronald Reagan famously declared that government was the problem and not the solution, conservatives have had an all-purpose answer to any question: smaller government and lower taxes. Wenz offers an impassioned counterargument. He explains the justice of raising the top tax rates significantly, making a case for less income inequality (and countering society's worship of the wealthy), and he offers suggestions for how to spend the increased tax revenues: K-12 education, tuition relief, transportation and energy infrastructure, and universal health care. Armed with Wenz's evidence-driven arguments, progressives can position themselves where they belong: in the mainstream of American politics and at the center of American political conversations, helping their country address a precipitous decline in equality and quality of life.Peter S. Wenz is Emeritus Professor of Philosophy at the University of Illinois at Springfield and University Scholar at the University of Illinois. He is the author of Beyond Red and Blue: How Twelve Political Philosophies Shape American Debates (MIT Press) and other books.

Why is Memphis home to hundreds of motor carrier terminals and distribution centers? Why does the tiny island-nation of Singapore handle a fifth of the world's maritime containers and half the world's annual supply of crude oil? Which jobs can replace lost manufacturing jobs in advanced economies?Some of the answers to these questions are rooted in the phenomenon of logistics clusters—geographically concentrated sets of logistics-related business activities. In Logistics Clusters, supply chain management expert Yossi Sheffi explains why Memphis, Singapore, Chicago, Rotterdam, Los Angeles, and scores of other locations have been successful in developing such clusters while others have not.Sheffi outlines the characteristic “positive feedback loop” of logistics clusters development and what differentiates them from other industrial clusters; how logistics clusters “add value” by generating other industrial activities; why firms should locate their distribution and value-added activities in logistics clusters; and the proper role of government support, in the form of investment, regulation, and trade policy.Sheffi also argues for the most important advantage offered by logistics clusters in today's recession-plagued economy: jobs, many of them open to low-skilled workers, that are concentrated locally and not “offshorable.” These logistics clusters offer what is rare in today's economy: authentic success stories. For this reason, numerous regional and central governments as well as scores of real estate developers are investing in the development of such clusters.Yossi Sheffi is Elisha Gray II Professor of Engineering Systems at MIT and Director of the MIT Center for Transportation and Logistics. He has worked with leading manufacturers and logistics service providers around the world on supply chain issues and is an active entrepreneur, having founded or cofounded five companies since 1987. He is the author of The Resilient Enterprise: Overcoming Vulnerability for Competitive Advantage (MIT Press) and Urban Transportation Networks.

Imagine the astonishment felt by neuroscientist Rodrigo Quian Quiroga when he found a fantastically precise interpretation of his research findings in a story written by the great Argentinian fabulist Jorge Luis Borges fifty years earlier. Quian Quiroga studies the workings of the brain—in particular how memory works—one of the most complex and elusive mysteries of science. He and his fellow neuroscientists have at their disposal sophisticated imaging equipment and access to information not available just twenty years ago. And yet Borges seemed to have imagined the gist of Quian Quiroga's discoveries decades before he made them.The title character of Borges's "Funes the Memorious" remembers everything in excruciatingly particular detail but is unable to grasp abstract ideas. Quian Quiroga found neurons in the human brain that respond to abstract concepts but ignore particular details, and, spurred by the way Borges imagined the consequences of remembering every detail but being incapable of abstraction, he began a search for the origins of Funes. Borges's widow, María Kodama, gave him access to her husband's personal library, and Borges's books led Quian Quiroga to reread earlier thinkers in philosophy and psychology. He found that just as Borges had perhaps dreamed the results of Quian Quiroga's discoveries, other thinkers—William James, Gustav Spiller, John Stuart Mill—had perhaps also dreamed a story like "Funes."With Borges and Memory, Quian Quiroga has given us a fascinating and accessible story about the workings of the brain that the great creator of Funes would appreciate.Rodrigo Quian Quiroga, a native of Argentina, is Professor and Director of the Bioengineering Research Centre at the University of Leicester.

We may think of video games as being "fun," but in The Art of Failure, Jesper Juul claims that this is almost entirely mistaken. When we play video games, our facial expressions are rarely those of happiness or bliss. Instead, we frown, grimace, and shout in frustration as we lose, or die, or fail to advance to the next level. Humans may have a fundamental desire to succeed and feel competent, but game players choose to engage in an activity in which they are nearly certain to fail and feel incompetent. So why do we play video games even though they make us unhappy? Juul examines this paradox.In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Reader or audience reaction to tragedy is often explained as catharsis, as a purging of negative emotions. But, Juul points out, this doesn't seem to be the case for video game players. Games do not purge us of unpleasant emotions; they produce them in the first place. What, then, does failure in video game playing do?Juul argues that failure in a game is unique in that when you fail in a game, you (not a character) are in some way inadequate. Yet games also motivate us to play more, in order to escape that inadequacy, and the feeling of escaping failure (often by improving skills) is a central enjoyment of games. Games, writes Juul, are the art of failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it.The Art of Failure is essential reading for anyone interested in video games, whether as entertainment, art, or education.Jesper Juul is Assistant Professor at the New York University Game Center. He is the author of Half-Real: Video Games between Real Rules and Fictional Worlds and A Casual Revolution: Reinventing Video Games and Their Players, both published by the MIT Press.

With robots, we are inventing a new species that is part material and part digital. The ambition of modern robotics goes beyond copying humans, beyond the effort to make walking, talking androids that are indistinguishable from people. Future robots will have superhuman abilities in both the physical and digital realms. They will be embedded in our physical spaces, with the ability to go where we cannot, and will have minds of their own, thanks to artificial intelligence. In Robot Futures, the roboticist Illah Reza Nourbakhsh considers how we will share our world with these creatures, and how our society could change as it incorporates a race of stronger, smarter beings.Nourbakhsh imagines a future that includes adbots offering interactive custom messaging; robotic flying toys that operate by means of “gaze tracking”; robot-enabled multimodal, multicontinental telepresence; and even a way that nanorobots could allow us to assume different physical forms. Nourbakhsh examines the underlying technology and the social consequences of each scenario. He also offers a counter-vision: a robotics designed to create civic and community empowerment. His book helps us understand why that is the robot future we should try to bring about.Illah Reza Nourbakhsh is Professor of Robotics at Carnegie Mellon University, where he also directs the Community Robotics, Education, and Technology Empowerment (CREATE) Lab. He is a coauthor of Introduction to Autonomous Mobile Robots (MIT Press).

Contemporary art in the early twenty-first century is often discussed as if the very idea of art that is contemporary is new. Yet all works of art were once contemporary. In What Was Contemporary Art? Richard Meyer reclaims the contemporary from historical amnesia, and gives the contemporary its own art history. By exploring episodes in the study, exhibition, and reception of early twentieth-century art and visual culture, Meyer retrieves moments in the history of once-current art and redefines “the contemporary” as a condition of being alive to and alongside other moments, artists, and objects.A generous selection of images, many in color—from works of fine art to museum brochures and magazine covers—support and extend Meyer's narrative. These works were contemporary to their own moment. Now, in Meyer's account, they become contemporary to ours as well.Richard Meyer is Professor of Art History at Stanford University. He is the author of Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art and Naked Hollywood: Weegee in Los Angeles.

The world is filling with ever more kinds of media, in ever more contexts and formats. Glowing rectangles have become part of the scene; screens, large and small, appear everywhere. Physical locations are increasingly tagged and digitally augmented. Amid this flood, your attention practices matter more than ever. You might not be able to tune this world out. So it is worth remembering that underneath all these augmentations and data flows, fixed forms persist, and that to notice them can improve other sensibilities. In Ambient Commons, Malcolm McCullough explores the workings of attention through a rediscovery of surroundings.McCullough describes what he calls the Ambient: an increasing tendency to perceive information superabundance whole, where individual signals matter less and at least some mediation assumes inhabitable form. He explores how the fixed forms of architecture and the city play a cognitive role in the flow of ambient information. As a persistently inhabited world, can the Ambient be understood as a shared cultural resource, to be socially curated, voluntarily limited, and self-governed as if a commons? Ambient Commons invites you to look past current obsessions with smart phones to rethink attention itself, to care for more situated, often inescapable forms of information.Malcolm McCullough is Associate Professor of Architecture and Design at the University of Michigan.

The vast majority of all email sent every day is spam, a variety of idiosyncratically spelled requests to provide account information, invitations to spend money on dubious products, and pleas to send cash overseas. Most of it is caught by filters before ever reaching an in-box. Where does it come from? As Finn Brunton explains in Spam, it is produced and shaped by many different populations around the world: programmers, con artists, bots and their botmasters, pharmaceutical merchants, marketers, identity thieves, crooked bankers and their victims, cops, lawyers, network security professionals, vigilantes, and hackers. Every time we go online, we participate in the system of spam, with choices, refusals, and purchases the consequences of which we may not understand.This is a book about what spam is, how it works, and what it means. Brunton provides a cultural history that stretches from pranks on early computer networks to the construction of a global criminal infrastructure. The history of spam, Brunton shows us, is a shadow history of the Internet itself, with spam emerging as the mirror image of the online communities it targets. Brunton traces spam through three epochs: the 1970s to 1995, and the early, noncommercial computer networks that became the Internet; 1995 to 2003, with the dot-com boom, the rise of spam's entrepreneurs, and the first efforts at regulating spam; and 2003 to the present, with the war of algorithms—spam versus anti-spam. Spam shows us how technologies, from email to search engines, are transformed by unintended consequences and adaptations, and how online communities develop and invent governance for themselves.Finn Brunton is Assistant Professor of Information in the School of Information at the University of Michigan.

What is the future of the global creative economy? In Creative Hustling: Women Making and Distributing Films from Nairobi (MIT Press, 2023), Robin Steedman, a postdoc in the Department of Management, Society and Communication at Copenhagen Business School, offers a detailed analysis of the struggles and successes of women in Kenya’s capital city. The book draws on detailed fieldwork in Nairobi and an in-depth knowledge of the international film industry to explain how gender, class, and racial inequalities operate both at the local and global scale. Blending analysis of key films and directors with significant theoretical contributions such as the idea of creative hustling itself, the book is essential reading across media and cultural studies as well as social science and humanities, as well as for anyone interested in understanding how film and TV works.Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Sheffield.

Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry.In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible.Tom Sito has been a professional animator since 1975. One of the key players in Disney’s animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California.