The MIT Press Podcast

Liberal internationalism has been the West's foreign policy agenda since the Cold War, and the West has long occupied the top rung of a hierarchical system. In Dynamics Among Nations, Hilton Root argues that international relations, like other complex ecosystems, exists in a constantly shifting landscape, in which hierarchical structures are giving way to systems of networked interdependence, changing every facet of global interaction. Accordingly, policymakers will need a new way to understand the process of change. Root suggests that the science of complex systems offers an analytical framework to explain the unforeseen development failures, governance trends, and alliance shifts in today's global political economy.Root examines both the networked systems that make up modern states and the larger, interdependent landscapes they share. Using systems analysis--in which institutional change and economic development are understood as self-organizing complexities--he offers an alternative view of institutional resilience and persistence. From this perspective, Root considers the divergence of East and West; the emergence of the European state, its contrast with the rise of China, and the network properties of their respective innovation systems; the trajectory of democracy in developing regions; and the systemic impact of China on the liberal world order. Complexity science, Root argues, will not explain historical change processes with algorithmic precision, but it may offer explanations that match the messy richness of those processes.Hilton L. Root, an expert on international political economy and development, is Professor at the George Mason University School of Public Policy. He is the author of Alliance Curse: How the U.S. Lost the Third World, Capital and Collusion: Political Logic of Global Economic Development, and other books.

In July 1969, ninety-four percent of American televisions were tuned to coverage of Apollo 11's mission to the moon. How did space exploration, once the purview of rocket scientists, reach a larger audience than My Three Sons? Why did a government program whose standard operating procedure had been secrecy turn its greatest achievement into a communal experience? In Marketing the Moon, David Meerman Scott and Richard Jurek tell the story of one of the most successful marketing and public relations campaigns in history: the selling of the Apollo program.Primed by science fiction, magazine articles, and appearances by Wernher von Braun on the “Tomorrowland” segments of the Disneyland prime time television show, Americans were a receptive audience for NASA's pioneering “brand journalism.” Scott and Jurek describe sophisticated efforts by NASA and its many contractors to market the facts about space travel—through press releases, bylined articles, lavishly detailed background materials, and fully produced radio and television features—rather than push an agenda. American astronauts, who signed exclusive agreements with Life magazine, became the heroic and patriotic faces of the program. And there was some judicious product placement: Hasselblad was the “first camera on the moon”; Sony cassette recorders and supplies of Tang were on board the capsule; and astronauts were equipped with the Exer-Genie personal exerciser. Everyone wanted a place on the bandwagon.Generously illustrated with vintage photographs, artwork, and advertisements, many never published before, Marketing the Moon shows that when Neil Armstrong took that giant leap for mankind, it was a triumph not just for American engineering and rocketry but for American marketing and public relations.David Meerman Scott is a marketing strategist and the author of three bestselling books,The New Rules of Marketing and PR, Real-Time Marketing, and Marketing Lessons from the Grateful Dead. He lives in Lexington, Massachuetts.

Anyone who has ever been to a public hearing or community meeting would agree that participatory democracy can be boring. Hours of repetitive presentations, alternatingly alarmist or complacent, for or against, accompanied by constant heckling, often with no clear outcome or decision. Is this the best democracy can offer? In Making Democracy Fun, Josh Lerner offers a novel solution for the sad state of our deliberative democracy: the power of good game design. What if public meetings featured competition and collaboration (such as team challenges), clear rules (presented and modeled in multiple ways), measurable progress (such as scores and levels), and engaging sounds and visuals? These game mechanics would make meetings more effective and more enjoyable—even fun.Lerner reports that institutions as diverse as the United Nations, the U.S. Army, and grassroots community groups are already using games and game-like processes to encourage participation. Drawing on more than a decade of practical experience and extensive research, he explains how games have been integrated into a variety of public programs in North and South America. He offers rich stories of game techniques in action, in children's councils, social service programs, and participatory budgeting and planning. With these real-world examples in mind, Lerner describes five kinds of games and twenty-six game mechanics that are especially relevant for democracy. He finds that when governments and organizations use games and design their programs to be more like games, public participation becomes more attractive, effective, and transparent. Game design can make democracy fun—and make it work.Josh Lerner is Executive Director of The Participatory Budgeting Project, a nonprofit organization in New York City that empowers communities to decide how to spend public money.

The usual history of architecture is a grand narrative of soaring monuments and heroic makers. But it is also a false narrative in many ways, rarely acknowledging the personal failures and disappointments of architects. In Bleak Houses, Timothy Brittain-Catlin investigates the underside of architecture, the stories of losers and unfulfillment often ignored by an architectural criticism that values novelty, fame, and virility over fallibility and rejection.As architectural criticism promotes increasingly narrow values, dismissing certain styles wholesale and subjecting buildings to a Victorian litmus test of “real” versus “fake,” Brittain-Catlin explains the effect this superficial criticality has had not only on architectural discourse but on the quality of buildings. The fact that most buildings receive no critical scrutiny at all has resulted in vast stretches of ugly modern housing and a pervasive public illiteracy about architecture.Timothy Brittain-Catlin is Senior Lecturer at the new Kent School of Architecture, University of Kent. His writing has appeared in The World of Interiors, Architectural Review, and many other publications.

Behind the lectern stands the professor, deploying course management systems, online quizzes, wireless clickers, PowerPoint slides, podcasts, and plagiarism-detection software. In the seats are the students, armed with smartphones, laptops, tablets, music players, and social networking. Although these two forces seem poised to do battle with each other, they are really both taking part in a war on learning itself. In The War on Learning, Elizabeth Losh examines current efforts to “reform” higher education by applying technological solutions to problems in teaching and learning. She finds that many of these initiatives fail because they treat education as a product rather than a process. Highly touted schemes—video games for the classroom, for example, or the distribution of iPads—let students down because they promote consumption rather than intellectual development.Losh analyzes recent trends in postsecondary education and the rhetoric around them, often drawing on first-person accounts. In an effort to identify educational technologies that might actually work, she looks at strategies including MOOCs (massive open online courses), the gamification of subject matter, remix pedagogy, video lectures (from Randy Pausch to “the Baked Professor”), and educational virtual worlds. Finally, Losh outlines six basic principles of digital learning and describes several successful university-based initiatives. Her book will be essential reading for campus decision makers—and for anyone who cares about education and technology.Elizabeth Losh directs the Culture, Art, and Technology Program at Sixth College at the University of California, San Diego. She is the author of Virtualpolitik: An Electronic History of Government Media-Making in a Time of War, Scandal, Disaster, Miscommunication, and Mistakes (MIT Press) and the coauthor of Understanding Rhetoric: A Graphic Guide to Writing.

The global economy has become increasingly, perhaps chronically, unstable. Since 2008, we have heard about the housing bubble, subprime mortgages, banks “too big to fail,” financial regulation (or the lack of it), and the European debt crisis. Wall Street has discovered that it is more profitable to make money from other people's money than by investing in the real economy, which has limited access to capital—resulting in slow growth and rising inequality. What we haven't heard much about is the role of natural resources—energy in particular—as drivers of economic growth, or the connection of “global warming” to the economic crisis. In The Bubble Economy, Robert Ayres—an economist and physicist—connects economic instability to the economics of energy.Ayres describes, among other things, the roots of our bubble economy (including the divergent influences of Senator Carter Glass—of the Glass-Steagall Law—and Ayn Rand); the role of energy in the economy, from the “oil shocks” of 1971 and 1981 through the Iraq wars; the early history of bubbles and busts; the end of Glass-Steagall; climate change; and the failures of austerity.Finally, Ayres offers a new approach to trigger economic growth. The rising price of fossil fuels (notwithstanding “fracking”) suggests that renewable energy will become increasingly profitable. Ayres argues that government should redirect private savings and global finance away from home ownership and toward “de-carbonization”—investment in renewables and efficiency. Large-scale investment in sustainability will achieve a trifecta: lowering greenhouse gas emissions, stimulating innovation-based economic growth and employment, and offering long-term investment opportunities that do not depend on risky gambling strategies with derivatives.Robert U. Ayres, an American-born physicist and economist, is Emeritus Professor of Economics and Political Science at INSEAD, the international graduate business school. He is the author or coauthor of many books, including (with Benjamin Warr) The Economic Growth Engine: How Energy and Work Drive Prosperity.

Surfboards were once made of wood and shaped by hand, objects of both cultural and recreational significance. Today most surfboards are mass-produced with fiberglass and a stew of petrochemicals, moving (or floating) billboards for athletes and their brands, emphasizing the commercial rather than the cultural. Surf Craft maps this evolution, examining surfboard design and craft with 150 color images and an insightful text. From the ancient Hawaiian alaia, the traditional board of the common people, to the unadorned boards designed with mathematical precision (but built by hand) by Bob Simmons, to the store-bought longboards popularized by the 1959 surf-exploitation movie Gidget, board design reflects both aesthetics and history. The decline of traditional alaia board riding is not only an example of a lost art but also a metaphor for the disintegration of traditional culture after the Republic of Hawaii was overthrown and annexed in the 1890s.In his text, Richard Kenvin looks at the craft and design of surfboards from a historical and cultural perspective. He views board design as an exemplary model of mingei, or art of the people, and the craft philosophy of Soetsu Yanagi. Yanagi believed that a design's true beauty and purpose are revealed when it is put to its intended use. In its purest form, the craft of board building, along with the act of surfing itself, exemplifies mingei. Surf Craft pays particular attention to Bob Simmons's boards, which are striking examples of this kind of functional design, mirroring the work of postwar modern California designers.Surf Craft is published in conjunction with an exhibition at San Diego's Mingei International Museum.Richard Kenvin is Director of the Hydrodynamica Project. He writes for The Surfer’s Journal and is the guest curator of the Surf Craft exhibition.

What is the best way for a company to innovate? Advice recommending "innovation vacations" and the luxury of failure may be wonderful for organizations with time to spend and money to waste. The Innovator's Hypothesis addresses the innovation priorities of companies that live in the real world of limits. Michael Schrage advocates a cultural and strategic shift: small teams, collaboratively--and competitively--crafting business experiments that make top management sit up and take notice. He introduces the 5x5 framework: giving diverse teams of five people up to five days to come up with portfolios of five business experiments costing no more than $5,000 each and taking no longer than five weeks to run. Successful 5x5s, Schrage shows, make people more effective innovators, and more effective innovators mean more effective innovations.Michael Schrage is a Research Fellow at the Center for Digital Business at MIT Sloan School of Management. A sought-after consultant on business innovation, he is the author of Serious Play: How the World’s Best Companies Simulate to Innovate and What Do You Want Your Customers to Become?

A specter is haunting philosophy—the specter of Hamlet. Why is this? Wherefore? What should we do?Entering from stage left: the philosopher's Hamlet. The philosopher's Hamlet is a conceptual character, played by philosophers rather than actors. He performs not in the theater but within the space of philosophical positions. In All for Nothing, Andrew Cutrofello critically examines the performance history of this unique role.The philosopher's Hamlet personifies negativity. In Shakespeare's play, Hamlet's speech and action are characteristically negative; he is the melancholy Dane. Most would agree that he has nothing to be cheerful about. Philosophers have taken Hamlet to embody specific forms of negativity that first came into view in modernity. What the figure of the Sophist represented for Plato, Hamlet has represented for modern philosophers. Cutrofello analyzes five aspects of Hamlet's negativity: his melancholy, negative faith, nihilism, tarrying (which Cutrofello distinguishes from “delaying”), and nonexistence. Along the way, we meet Hamlet in the texts of Kant, Coleridge, Hegel, Marx, Schopenhauer, Kierkegaard, Nietzsche, Freud, Russell, Wittgenstein, Heidegger, Benjamin, Arendt, Schmitt, Lacan, Deleuze, Foucault, Derrida, Badiou, Žižek, and other philosophers. Whirling across a kingdom of infinite space, the philosopher's Hamlet is nothing if not thought-provoking.Andrew Cutrofello is Professor of Philosophy at Loyola University Chicago. He is the author of Continental Philosophy: A Contemporary Introduction and other books.

Feature films, television shows, homemade videos, tweets, blogs, and breaking news: digital media offer an always-accessible, apparently inexhaustible supply of entertainment and information. Although choices seems endless, public attention is not. How do digital media find the audiences they need in an era of infinite choice? In The Marketplace of Attention, James Webster explains how audiences take shape in the digital age.Webster describes the factors that create audiences, including the preferences and habits of media users, the role of social networks, the resources and strategies of media providers, and the growing impact of media measures—from ratings to user recommendations. He incorporates these factors into one comprehensive framework: the marketplace of attention. In doing so, he shows that the marketplace works in ways that belie our greatest hopes and fears about digital media.Some observers claim that digital media empower a new participatory culture; others fear that digital media encourage users to retreat to isolated enclaves. Webster shows that public attention is at once diverse and concentrated—that users move across a variety of outlets, producing high levels of audience overlap. So although audiences are fragmented in ways that would astonish midcentury broadcasting executives, Webster argues that this doesn't signal polarization. He questions whether our preferences are immune from media influence, and he describes how our encounters with media might change our tastes. In the digital era's marketplace of attention, Webster claims, we typically encounter ideas that cut across our predispositions. In the process, we will remake the marketplace of ideas and reshape the twenty-first century public sphere.James G. Webster is Professor in the School of Communication at Northwestern University.