The MIT Press Podcast

Matt Colquhoun (author/editor of Egress and Postcapitalist Desire) speaks to to Thomas Moynihan about his most recent book X-Risk: How Humanity Discovered Its Own Extinction.From forecasts of disastrous climate change to prophecies of evil AI superintelligences and the impending perils of genome editing, our species is increasingly concerned with the prospects of its own extinction. With humanity's future on this planet seeming more insecure by the day, in the twenty-first century, existential risk has become the object of a growing field of serious scientific inquiry. But, as Thomas Moynihan shows in X-Risk, this preoccupation is not exclusive to the post-atomic age of global warming and synthetic biology. Our growing concern with human extinction itself has a history.Tracing this untold story, Moynihan revisits the pioneers who first contemplated the possibility of human extinction and stages the historical drama of this momentous discovery. He shows how, far from being a secular reprise of religious prophecies of apocalypse, existential risk is a thoroughly modern idea, made possible by the burgeoning sciences and philosophical tumult of the Enlightenment era. In recollecting how we first came to care for our extinction, Moynihan reveals how today's attempts to measure and mitigate existential threats are the continuation of a project initiated over two centuries ago, which concerns the very vocation of the human as a rational, responsible, and future-oriented being.Produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux.

Writer and academic Anthony Gardner (NSK from Kapital to Capital, Politically Unbecoming) interviews Marko Ilić about his new book A Slow Burning Fire, which documents Yugoslavia's cultural output throughout the 60s, 70s and 80s.This first comprehensive study of the former Yugoslavia's alternative art scene tells the origin stories of some of the most significant artists of the late twentieth century. In Yugoslavia from the late 1960s to the late 1980s, state-supported Students' Cultural Centers became incubators for new art. This era's conceptual and performance art—known as Yugoslavia's New Art Practice—emerged from a network of diverse and densely interconnected art scenes that nurtured the early work of Marina Abramović, Sanja Iveković, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ilić examines Yugoslavia's New Art Practice in light of the political upheavals of the 1980s.Countering the usual binary of official versus unofficial art, Ilić shows that the Students' Cultural Centers were an expression of Yugoslavia's “third way” political and economic system, which was founded on workers' self-management. Ilić examines key actions, gestures, and propositions affiliated with the New Art Practice, including the conceptual and dematerialized art practices that emerged from Zagreb's Student Center Gallery, the struggle of Belgrade's Students' Cultural Center (where Abramović performed her career-defining Rhythm 5), to break into the international art scene, the pre-Žižek culture of Ljubljana, and Sarajevo's miraculous dokumenta, held in the midst of Yugoslavia's disintegration.Produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux

Dungeons and Dragons expert Jon Peterson (The Elusive Shift, Game Wizards) speaks with Peter Bebergal (Season of the Witch, Too Much to Dream) about his new book Appendix N, an anthology of writing which takes its name from the list of “inspirational reading” provided by Gary Gygax in the first Dungeon Master's Guide.Drawing upon the original list of “inspirational reading” provided by Gary Gygax in the first Dungeon Master's Guide, published in 1979, as well as hobbyist magazines and related periodicals that helped to define the modern role-playing game, Appendix N offers a collection of short fiction and resonant fragments that reveal the literary influences that shaped Dungeons & Dragons, the world's most popular RPG. The stories in Appendix N contextualize the ambitious lyrical excursions that helped set the adventurous tone and dank, dungeon-crawling atmospheres of fantasy roleplay as we know it today.

Writer Huw Lemmey (Chubz, Red Tory, Unknown Language) speaks with Mattilda Bernstein Sycamore about her most recent book The Freezer Door and searching for connection in a world that enforces bland norms of gender, sexuality, and friendship.Produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen GallerneauxSoundtrack by Kristen Gallerneaux

This episode features discussions with Thomas Weaver (Senior Acquisitions Editor for Art and Architecture) and Victoria Hindley (Acquisitions Editor in Visual Culture and Design) about publishing in the fields of art, architecture, and visual culture, as part of our virtual attendance of the 2021 College Art Association Conference. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux

Clive Nwonka and Anamik Saha discuss their forthcoming book Black Film, British Cinema II (publishing in March with Goldsmiths Press), a book which brings together scholars, thinkers and practitioners to consider the politics of blackness in contemporary British cinema and visual practice.Black Film British Cinema II considers the politics of blackness in contemporary British cinema and visual practice. This second iteration of Black Film British Cinema, marking over 30 years since the ground-breaking ICA Documents 7 publication in 1988, continues this investigation by offering a crucial contemporary consideration of the textual, institutional, cultural and political shifts that have occurred from this period. It focuses on the practices, values and networks of collaborations that have shaped the development of black film culture and representation. But what is black British film? How do such films, however defined, produce meaning through visual culture, and what are the political, social and aesthetic motivations and effects? How are the new forms of black British film facilitating new modes of representation, authorship and exhibition? Explored in the context of film aesthetics, curatorship, exhibition and arts practice, and the politics of diversity policy, Black Film British Cinema II provides the platform for new scholars, thinkers and practitioners to coalesce on these central questions. It is explicitly interdisciplinary, operating at the intersections of film studies, media and communications, sociology, politics and cultural studies. Through a diverse range of perspectives and theoretical interventions that offer a combination of traditional chapters, long-form essays, shorter think pieces, and critical dialogues, Black Film British Cinema II is a comprehensive, sustained, wide ranging collection that offers new framework for understanding contemporary black film practices and the cultural and creative dimensions that shape the making of blackness and race.Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux

Nick Aikens and Elizabeth Robles discuss The Place Is Here (Sternberg Press, 2019) and the range of perspectives on black art in Thatcherite Britain offered by the collection of artworks, essays, and conversations found in the book.The Place Is Here begins to write a missing chapter in British art history: work by black artists in the Thatcherite 1980s. Richly illustrated, with more than two hundred color images, it brings together artworks, essays, archives, and conversations that map the varying perspectives and approaches of a group of artists who challenged the dominance of white heterosexual men in the canon of contemporary art. The many artists discussed and displayed here do not make up a “movement” or a school or a chronological progression, but represent the diverse interests and activities of artists across a decade and beyond. They grapple with black nationalism, anti-colonialism and postcolonialism, anti-Thatcherism, black feminism, black queer subjectivity, psychoanalysis, forms of narrative and documentary image-making, in different ways and through different modes of representation across a range of media.The book, which grows out of a series of exhibitions that began in 2014, offers essays, close readings of selected works, panel discussions, and archival presentations, bringing together different voices and generational perspectives. Contributions come from the artists themselves, established scholars, and younger practitioners, critics, and art historians. They discuss the exhibitions, call for a reappraisal of dominant art historical approaches, and consider the use and role of the archive in artworks; look at works by Mona Hatoum, Martina Atille, Said Adrus, Chila Kumari Burman, and Pratibha Parmar; and present key documents and other material.Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux

Cathi Unsworth, journalist and author of Bad Penny Blues, as well as numerous other novels, speaks with artists and author Jenny Hval about her recent book Girls Against God.At once a time-travelling horror story and a fugue-like feminist manifesto, this is a singular, genre-warping new novel from the author of the acclaimed Paradise Rot.“It’s 1992 and I’m the Gloomiest Child Queen.”Welcome to 1990s Norway. White picket fences run in neat rows and Christian conservatism runs deep. But as the Artist considers her past, her practice and her hatred, things start stirring themselves up around her. In a corner of Oslo, a coven of witches begins cooking up some curses. A time-travelling Edvard Munch arrives in town to join a black metal band, closely pursued by the teenaged subject of his painting Puberty, who has murder on her mind. Meanwhile, out deep in the forest, a group of school girls get very lost and things get very strange. Awful things happen in aspic.Jenny Hval’s latest novel is a radical fusion of feminist theory and experimental horror, and a unique treatise on magic, gender and art.Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux

Damon Kruskowski, author of Ways of Hearing and The New Analog, previously member of Galaxie 500 and currently a member of Damon & Naomi interviews Rose Simpson about her book Muse, Odalisque, Handmaiden.Rose is an English former musician. Between 1968 and 1971, she was a member of the Incredible String Band, with whom she sang and played bass guitar, violin, and percussion.Between 1967 and 1971 Rose Simpson lived with the Incredible String Band (Mike Heron, Robin Williamson and Licorice McKechnie), morphing from English student to West Coast hippie and, finally, bassist in leathers. The band's image adorned psychedelic posters and its music was the theme song for an alternative lifestyle.Rose and partner Mike Heron believed in, and lived, a naive vision of utopia in Scotland. But they were also a band on tour, enjoying the thrills of that life. They were at the center of “Swinging London” and at the Chelsea Hotel with Andy Warhol's superstars. They shared stages with rock idols and played at Woodstock in 1969. Rose and fellow ISB member Licorice were hippie pin-ups, while Heron and Robin Williamson the seers and prophets of a new world.Through a haze of incense and marijuana, they played out their Arcadian dreams on stages brilliant with the colors of clothes, light-shows, rugs, cushions, and exotic instruments. Like most utopias, the ISB's imploded. Never seeing herself as a professional musician, Rose retained an outsider's detachment even while living the life of a hippie chick. Her memoir gives a voice to those flower-wreathed girls whose photographs have become symbols of the psychedelic sixties.

The philosopher Bruno Latour (We Have Never Been Modern, Laboratory Life, Science in Action) and Eugene Richardson, physician, anthropologist, and author of Epidemic Illusions discuss COVID, colonialism and Critical Zones.Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux