The MIT Press Podcast

In Co-Illusion, writer and critic David Levi Strauss, tracks the rise of Donald Trump and the media landscape that warped around him. In this interview he discusses the language of Trump, the forthcoming election, and the changing relationship between image and truth.The political crisis that sneaked up on America--the rise of Trump and Trumpism--has revealed the rot at the core of American exceptionalism. Recent changes in the way words and images are produced and received have made the current surreality possible; communication through social media, by design, maximizes attention and minimizes scrutiny. In Co-Illusion, the noted writer on art, photography, and politics David Levi Strauss bears witness to the new "iconopolitics" in which words and images lose their connection to reality. The collusion that fueled Trump's rise was the secret agreement of voters and media consumers--their "co-illusion"--to set aside the social contract.Strauss offers dispatches from the epicenter of our constitutional earthquake, writing first from the 2016 Democratic and Republican conventions and then from the campaign. After the election, he switches gears, writing in the voices of the regime and of those complicit in its actions--from the thoughts of the President himself ("I am not a mistake. I am not a fluke, or a bug in the system. I am the System") to the reflections of a nameless billionaire tech CEO whose initials may or may not be M. Z. Finally, Strauss shows us how we might repair the damage to the public imaginary after Trump exits the scene. Photographs by celebrated documentary photographers Susan Meiselas and Peter van Agtmael accompany the texts.

An interview with Dariusz Jemielniak and Aleksandra Przegalinska about Collaborative Society (The MIT Press Essential Knowledge series) and how networked technology enables the emergence of a new collaborative society.Humans are hard-wired for collaboration, and new technologies of communication act as a super-amplifier of our natural collaborative mindset. This volume in the MIT Press Essential Knowledge series examines the emergence of a new kind of social collaboration enabled by networked technologies. This new collaborative society might be characterized as a series of services and startups that enable peer-to-peer exchanges and interactions though technology. Some believe that the economic aspects of the new collaboration have the potential to make society more equitable; others see collaborative communities based on sharing as a cover for social injustice and user exploitation.The book covers the "sharing economy," and the hijacking of the term by corporations; different models of peer production, and motivations to participate; collaborative media production and consumption, the definitions of "amateur" and "professional," and the power of memes; hactivism and social movements, including Anonymous and anti-ACTA protest; collaborative knowledge creation, including citizen science; collaborative self-tracking; and internet-mediated social relations, as seen in the use of Instagram, Snapchat, and Tinder. Finally, the book considers the future of these collaborative tendencies and the disruptions caused by fake news, bots, and other challenges.

In Uncommon Sense: Aesthetics after Marcuse (MIT Press, 2022), Craig Leonard argues for the contemporary relevance of the aesthetic theory of Herbert Marcuse, an original member of the Frankfurt School and icon of the New Left, while also acknowledging his philosophical limits. This account reinvigorates Marcuse for contemporary readers, putting his aesthetic theory into dialogue with anti-capitalist activism.Craig Leonard speaks to Pierre d’Alancaisez about anti-art, habit, the practice of defamiliarisation, a subversion of common sense. Leonard brings forward Marcuse’s claim that the aesthetic dimension is political because of its refusal to operate according to the repressive common sense that establishes and maintains relationships dictated by advanced capitalism.Craig Leonard‘s research and teaching interests include artist publications, sound art, performance and sculpture. His recent exhibitions include Central Art Garage (Ottawa), Darling Green (New York) and Double Happiness (Toronto). He is associate professor of art at NSCAD.Pierre d’Alancaisez is a contemporary art curator, cultural strategist, researcher. Sometime scientist, financial services professional.

The social consequences of anti-parasitic urbanism, as efforts to expunge supposedly biological parasites penalize those viewed as social parasites. According to French philosopher Michel Serres, ordered systems are founded on the pathologization of parasites, which can never be fully expelled. In Paris and the Parasite: Noise, Health, and Politics in the Media City (MIT Press, 2021), Macs Smith extends Serres's approach to Paris as a mediatic city, asking what organisms, people, and forms of interference constitute its parasites. Drawing on French poststructuralist theory and philosophy, media theory, the philosophy of science, and an array of literary and cultural sources, he examines Paris and its parasites from the early nineteenth century to today, focusing on the contemporary city. In so doing, he reveals the social consequences of anti-parasitic urbanism.Salvador Lopez Rivera is a PhD candidate in French language and literature at Washington University in St. Louis.

Shashi Shekhar and Pamela Vold, authors of Spatial Computing, from The MIT Press Essential Knowledge series, discuss the reach, risks and importance of spatial computing in confronting COVID-19. An accessible guide to the ideas and technologies underlying such applications as GPS, Google Maps, Pokémon Go, ride-sharing, driverless cars, and drone surveillance.Billions of people around the globe use various applications of spatial computing daily--by using a ride-sharing app, GPS, the e911 system, social media check-ins, even Pokémon Go. Scientists and researchers use spatial computing to track diseases, map the bottom of the oceans, chart the behavior of endangered species, and create election maps in real time. Drones and driverless cars use a variety of spatial computing technologies. Spatial computing works by understanding the physical world, knowing and communicating our relation to places in that world, and navigating through those places. It has changed our lives and infrastructures profoundly, marking a significant shift in how we make our way in the world. This volume in the MIT Essential Knowledge series explains the technologies and ideas behind spatial computing.The book offers accessible descriptions of GPS and location-based services, including the use of Wi-Fi, Bluetooth, and RFID for position determination out of satellite range; remote sensing, which uses satellite and aerial platforms to monitor such varied phenomena as global food production, the effects of climate change, and subsurface natural resources on other planets; geographic information systems (GIS), which store, analyze, and visualize spatial data; spatial databases, which store multiple forms of spatial data; and spatial statistics and spatial data science, used to analyze location-related data.

Author of High Weirdness, Erik Davis discusses psychedelic politics, media paranoia, conspiracy theories, and consensus reality in the time of COVID-19.A study of the spiritual provocations to be found in the work of Philip K. Dick, Terence McKenna, and Robert Anton Wilson, High Weirdness charts the emergence of a new psychedelic spirituality that arose from the American counterculture of the 1970s. These three authors changed the way millions of readers thought, dreamed, and experienced reality--but how did their writings reflect, as well as shape, the seismic cultural shifts taking place in America?In High Weirdness, Erik Davis--America's leading scholar of high strangeness--examines the published and unpublished writings of these vital, iconoclastic thinkers, as well as their own life-changing mystical experiences. Davis explores the complex lattice of the strange that flowed through America's West Coast at a time of radical technological, political, and social upheaval to present a new theory of the weird as a viable mode for a renewed engagement with reality.

An interview with Wade Roush, author of Extraterrestrials, from The MIT Press Essential Knowledge series. Are we alone in the universe? If not, where is everybody? And which might be more meaningful?Soundtrack produced by artist and author of High Static, Dead Lines (Strange Attractor Press, December 2018) Kristen Gallerneaux.Everything we know about how planets form and how life arises suggests that human civilization on Earth should not be unique. We ought to see abundant evidence of extraterrestrial activity--but we don't. Where is everybody? In this volume in the MIT Press Essential Knowledge series, science and technology writer Wade Roush examines one of the great unsolved problems in science: is there life, intelligent or otherwise, on other planets?This paradox (they're bound to be out there; but where are they?), first formulated by the famed physicist Enrico Fermi, has fueled decades of debate, speculation, and, lately, some actual science. Roush lays out the problem in its historical and modern-day context and summarizes the latest thinking among astronomers and astrobiologists. He describes the long history of speculation about aliens (we've been debating the idea for thousands of years); the emergence of SETI (the Search for Extraterrestrial Intelligence) as a scientific discipline in the 1960s, and scientists' use of radio and optical techniques to scan for signals; and developments in astrobiology (the study of how life might arise in non-Earth like environments) and exoplanet research (the discovery of planets outside our solar system). Finally, he discusses possible solutions to the Fermi Paradox and suggests way to refocus SETI work that might increase the chances of resolving the paradox--and finding extraterrestrials.

An interview with Donna J. Drucker, author of Contraception, from The MIT Press Essential Knowledge series. We discuss reproductive justice, the history of contraceptive technology and how the future of contraception can offer more choice and more freedom for every kind of person.The development, manufacturing, and use of contraceptive methods from the late nineteenth century to the present, viewed from the perspective of reproductive justice.The beginning of the modern contraceptive era began in 1882, when Dr. Aletta Jacobs opened the first birth control clinic in Amsterdam. The founding of this facility, and the clinical provision of contraception that it enabled, marked the moment when physicians started to take the prevention of pregnancy seriously as a medical concern. In this volume in the MIT Press Essential Knowledge series, Donna Drucker traces the history of modern contraception, outlining the development, manufacturing, and use of contraceptive methods from the opening of Dr. Jacobs's clinic to the present. Drucker approaches the subject from the perspective of reproductive justice: the right to have a child, the right not to have a child, and the right to parent children safely and healthily.Drucker describes contraceptive methods available before the pill, including the diaphragm (dispensed at the Jacobs clinic) and condom, spermicidal jellies, and periodic abstinences. She looks at the development and dissemination of the pill and its chemical descendants; describes technological developments in such non-hormonal contraceptives as the cervical cap and timing methods (including the “rhythm method” favored by the Roman Catholic church); and explains the concept of reproductive justice. Finally, Drucker considers the future of contraception—the adaptations of existing methods, new forms of distribution, and ongoing efforts needed to support contraceptive access worldwide.

In this episode we hear from John Troyer, author of Technologies of the Human Corpse and the Director of The Center for Death and Society at The University of Bath. We discuss the way technology is blurring the distinctions between life and death, the emergence of death studies from the 70s social and political milieu and how his own experiences of bereavement inform his research.The relationship of the dead body with technology through history, from nineteenth-century embalming machines to the death-prevention technologies of today.Death and the dead body have never been more alive in the public imagination—not least because of current debates over modern medical technology that is deployed, it seems, expressly to keep human bodies from dying, blurring the boundary between alive and dead. In this book, John Troyer examines the relationship of the dead body with technology, both material and conceptual: the physical machines, political concepts, and sovereign institutions that humans use to classify, organize, repurpose, and transform the human corpse. Doing so, he asks readers to think about death, dying, and dead bodies in radically different ways.Troyer explains, for example, how technologies of the nineteenth century including embalming and photography, created our image of a dead body as quasi-atemporal, existing outside biological limits formerly enforced by decomposition. He describes the “Happy Death Movement” of the 1970s; the politics of HIV/AIDS corpse and the productive potential of the dead body; the provocations of the Body Worlds exhibits and their use of preserved dead bodies; the black market in human body parts; and the transformation of historic technologies of the human corpse into “death prevention technologies.” The consequences of total control over death and the dead body, Troyer argues, are not liberation but the abandonment of Homo sapiens as a concept and a species. In this unique work, Troyer forces us to consider the increasing overlap between politics, dying, and the dead body in both general and specifically personal terms.

In this podcast we discuss visibility, haunting and fascism with art historian and theorist Elizabeth Otto. Otto's book Haunted Bauhaus explores the marginalized histories of occult spirituality, gender fluidity and queer identity within the Bauhaus; offering fresh insight into one of the most canonized periods of European art history.The Bauhaus (1919–1933) is widely regarded as the twentieth century's most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school's engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories.The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members' spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school's Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis.With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus's signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew.