The MIT Press Podcast

Midori Yamamura’s Yayoi Kusama: Inventing the Singular (MIT Press, 2015) is an in-depth examination of the famed artist’s early years in Japan and the United States. Based on extensive research in Kusama’s archives as well as interviews with Kusama herself, Inventing the Singular both tracks the evolution of Kusama’s artistic practice and maps the artistic, social, and political contexts in which Kusama developed as an artist. The result is as much an analysis of the development of a globalized art world after the end of World War II as a study of one artist, however influential. The book begins with Kusama’s childhood in Japan before following her integration into artist groups, styles, and themes with a steadily more international focus. Yamamura’s careful scholarship seizes on connections to movements as diverse as Surrealism, Pop Art, and the Dutch Nul group to show how art dealers’ nascent control of the global art market encouraged the careers of white male artists at the expense of artists such as Kusama. Yamamura’s highlighting of the context in which Kusama’s career was established brings into stark relief just how striking the artist’s many achievements are. The book further shows how a variety of artists from around the world responded to the post-World War II end of their fascist governments by experimenting in similar ways and questioning the role of art in society. Inventing the Singular is the first book-length treatment of Kusama’s oeuvre in English outside of exhibit catalogues, an opportunity that Yamamura exploits to cross continents and art movements in a virtuosic analysis of the post-WWII art world.Amanda Kennell is a scholar of modern Japanese media who works on digital and public humanities projects. I'm currently finishing up a book about Japanese adaptations of Lewis Carroll's Alice in Wonderland novels as an Assistant Teaching Professor of International Studies at North Carolina State University.

If maximizing utility leads to the greatest happiness of the greatest number of people, as utilitarianism has always proposed, then why is it that as many of us currently maximize our utility--by working endlessly, undertaking further education and training, relentlessly marketing and selling ourselves--we are met with the steady worsening of collective social and economic conditions? In Futilitarianism: Neoliberalism and the Production of Uselessness (MIT Press, 2021), social and political theorist Neil Vallelly eloquently tells the story of how neoliberalism transformed the relationship between utility maximization and the common good.Drawing on a vast array of contemporary examples, from self-help literature and marketing jargon to political speeches and governmental responses to the COVID-19 pandemic, Vallelly coins several terms--including the futilitarian condition, homo futilitus, and semio-futility--to demonstrate that in the neoliberal decades, the practice of utility maximization traps us in useless and repetitive behaviors that foreclose the possibility of collective happiness.This urgent and provocative book chimes with the mood of the time by at once mapping the historical relationship between utilitarianism and capitalism, developing an original framework for understanding neoliberalism, and recounting the lived experience of uselessness in the early twenty-first century. At a time of epoch-defining disasters, from climate emergencies to deadly pandemics, countering the futility of neoliberal existence is essential to building an egalitarian, sustainable, and hopeful future.Neil Vallelly is a political and social theorist based at the University of Otago, New Zealand. His research has appeared in journals such as Rethinking Marxism, Angelaki, and Poetics Today, and magazines, including New Internationalist and ROAR. In 2022, he will take up a two-year Rutherford Foundation Postdoctoral Fellowship at Otago, working on a history of capitalism and migrant detention. An Italian translation of Futilitarianism will be published in March 2022.Tom Discenna is Professor of Communication at Oakland University whose work examines issues of academic labor and communicative labor more broadly.

In 1948, the World Health Organization began to prepare its social psychiatry project, which aimed to discover the epidemiology and arrive at a classification of mental disorders. In Mad by the Millions: Mental Disorders and the Early Years of the World Health Organization (MIT Press, 2021), Harry Y-Jui Wu examines the WHO's ambitious project, arguing that it was shaped by the postwar faith in technology and expertise and the universalizing vision of a “world psyche.” Wu shows that the WHO's idealized scientific internationalism laid the foundations for today's highly metricalized global mental health system.Examining the interactions between the WHO and developing countries, Wu offers an analysis of the “transnationality” of mental health. He examines knowledge-sharing between the organization and African and Latin American collaborators, and looks in detail at the WHO's selection of a Taiwanese scientist, Tsung-yi Lin, to be its medical officer and head of the social psychiatry project. He discusses scientists' pursuit of standardization—not only to synchronize sectors in the organization but also to produce a common language of psychiatry—and how technological advances supported this. Wu considers why the optimism and idealism of the social psychiatry project turned to dissatisfaction, reappraising the WHO's early knowledge production modality through the concept of an “export processing zone.” Finally, he looks at the WHO's project in light of current debates over psychiatry and global mental health, as scientists shift their concerns from the creation of universal metrics to the importance of local matrixes.Harry Yi-Jui Wu is Associate Professor in the Cross College Elite Program and Department of Medical Humanities and Social Medicine at National Cheng-Kung University in Taiwan.Kelvin Chan is a PhD Candidate at McGill University. His PhD dissertation focuses on the history of psychiatry and mental health care in colonial Hong Kong.

For decades, some of our best and brightest medical scientists have dedicated themselves to finding a cure for Alzheimer's disease. What happened? Where is the cure? The biggest breakthroughs occurred twenty-five years ago, with little progress since. In How Not to Study a Disease: The Story of Alzheimer's (MIT Press, 2021), neurobiologist Karl Herrup explains why the Alzheimer's discoveries of the 1990s didn't bear fruit and maps a direction for future research. Herrup describes the research, explains what's taking so long, and offers an approach for resetting future research.Herrup offers a unique insider's perspective, describing the red flags that science ignored in the rush to find a cure. He is unsparing in calling out the stubbornness, greed, and bad advice that has hamstrung the field, but his final message is a largely optimistic one. Herrup presents a new and sweeping vision of the field that includes a redefinition of the disease and a fresh conceptualization of aging and dementia that asks us to imagine the brain as a series of interconnected neighborhoods. He calls for changes in virtually every aspect of the Alzheimer's disease research effort, from the drug development process, to the mechanisms of support for basic research, to the often-overlooked role of the scientific media, and more. With How Not to Study a Disease, Herrup provides a roadmap that points us in a new direction in our journey to a cure for Alzheimer's.Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. To discuss and propose the book for an interview you can reach her at galina.limorenko@epfl.ch.

Banksy is the world's most famous living artist, yet no one knows who he is. For more than twenty years, his wryly political and darkly humorous spray paintings have appeared mysteriously on urban walls around the globe, generating headlines and controversy. Art critics disdain him, but the public (and the art market) love him. With Banksy: Completed (MIT Press, 2021), artist and critic Carol Diehl is the first author to probe the depths of the Banksy mystery. Through her exploration of his paintings, installations, writings, and Academy Award-nominated film, Exit Through the Gift Shop, Diehl proves unequivocally that there's more to Banksy than the painting on the wall.Seeing Banksy as the ultimate provocateur, Diehl investigates the dramas that unfold after his works are discovered, with all of their social, economic, and political implications. She reveals how this trickster rattles the system, whether during his month-long 2013 self-styled New York “residency” or his notorious Dismaland of 2015, a full-scale dystopian “family theme park unsuitable for children” dedicated to the failure of capitalism. Banksy's work, Diehl shows, is a synthesis of conceptual art, social commentary, and political protest, played out not in museums but where it can have the most effect—on the street, in the real world. The questions Banksy raises about the uses of public and private property, the role of the global corporatocracy, the never-ending wars, and the gap between artworks as luxury goods and as vehicles of social expression, have never been more relevant.Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. To discuss and propose the book for an interview you can reach her at galina.limorenko@epfl.ch.

The astronomer's chair is a leitmotif in the history of astronomy, appearing in hundreds of drawings, prints, and photographs from a variety of sources. Nineteenth-century stargazers in particular seemed eager to display their observing chairs--task-specific, often mechanically adjustable observatory furniture designed for use in conjunction with telescopes. But what message did they mean to send with these images? InThe Astronomer's Chair: A Visual and Cultural History (MIT Press, 2021), Omar W. Nasim considers these specialized chairs as both image and object, offering an original framework for linking visual and material cultures. Observing chairs, Nasim ingeniously argues, showcased and embodied forms of scientific labor, personae, and bodily practice that appealed to bourgeois sensibilities.Viewing image and object as connected parts of moral, epistemic, and visual economies of empire, Nasim shows that nineteenth-century science was represented in terms of comfort and energy, and that "manly" postures of Western astronomers at work in specialized chairs were contrasted pointedly with images of "effete" and cross-legged "Oriental" astronomers. Extending his historical analysis into the twentieth century, Nasim reexamines what he argues to be a famous descendant of the astronomer's chair: Freud's psychoanalytic couch, which directed observations not outward toward the stars but inward toward the stratified universe of the psyche. But whether in conjunction with the mind or the heavens, the observing chair was a point of entry designed for specialists that also portrayed widely held assumptions about who merited epistemic access to these realms in the first place. Corinne Doria is a historian specializing in the social history of medicine. She holds the chair of history of medicine at the School of Advanced Studies of the University of Tyumen (Russian Federation) and teaches Disability Studies at Sciences-Po (Paris).

In Living Books: Experiments in the Posthumanities (MIT Press, 2021), Janneke Adema proposes that we reimagine the scholarly book as a living and collaborative project -- not as linear, bound and fixed, but as fluid, remixed, and liquid, a space for experimentation. She presents a series of cutting-edge experiments in arts and humanities book publishing, showcasing the radical new forms that book-based scholarly work might take in the digital age. Adema's proposed alternative futures for the scholarly book go beyond such print-based assumptions as fixity, stability, the single author, originality, and copyright, reaching instead for a dynamic and emergent materiality.Our conversation highlights the performative nature of publishing, the possibilities and limitations of open access, balancing experimentation with fixity, and how publishing practices are intertwined with neoliberalism, scholarly identity, technology, and culture. In addition, we discuss the different forms that this work has manifested as, including the digital open access version on PubPub, as well a call for researchers, publishers, and institutions to make room for more experimentation in their academic performances. Sarah Kearns (@annotated_sci) reads about scholarship, the sciences, and philosophy, and is likely over-caffeinated.

In a series of talks and essays in 1937, H. G. Wells proselytized for what he called a World Brain, as manifested in a World Encyclopedia--a repository of scientifically established knowledge--that would spread enlightenment around the world and lead to world peace. Wells, known to readers today as the author of The War of the Worlds and other science fiction classics, was imagining something like a predigital Wikipedia. The World Encyclopedia would provide a summary of verified reality (in about forty volumes); it would be widely available, free of copyright, and utilize the latest technology.Of course, as Bruce Sterling points out in the foreword to this new edition of Wells's work, the World Brain didn't happen; the internet did. And yet, Wells anticipated aspects of the internet, envisioning the World Brain as a technical system of networked knowledge (in Sterling's words, a hypothetical super-gadget). Wells's optimism about the power of information might strike readers today as naïvely utopian, but possibly also inspirational.Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland. To discuss and propose the book for an interview you can reach her at galina.limorenko@epfl.ch.

Technology in World Civilization represents a milestone history of technology. First published in 1990 and now revised and expanded in light of recent research, the book broke new ground by taking a global view, avoiding the conventional Eurocentric perspective and placing the development of technology squarely in the context of a “world civilization.” Case studies include “technological dialogues” between China and West Asia in the eleventh century, medieval African states and the Islamic world, and the United States and Japan post-1950. It examines railway empires through the examples of Russia and Japan and explores current synergies of innovation in energy supply and smartphone technology through African cases.The book uses the term “technological dialogue” to challenge the top-down concept of “technology transfer,” showing instead that technologies are typically modified to fit local needs and conditions, often triggering further innovation. The authors trace these encounters and exchanges over a thousand years, examining changes in such technologies as agriculture, firearms, printing, electricity, and railroads. A new chapter brings the narrative into the twenty-first century, discussing technological developments including petrochemicals, aerospace, and digitalization from often unexpected global viewpoints and asking what new kind of industrial revolution is needed to meet the challenges of the Anthropocene.Hussein Mohsen is a PhD/MA Candidate in Computational Biology and Bioinformatics/History of Science and Medicine at Yale University. His research interests include machine learning, cancer genomics, and the history of human genetics. For more about his work, visit http://www.husseinmohsen.com.

Everybody eats. We may even consider ourselves experts on the topic, or at least Instagram experts. But are we aware that the shrimp in our freezer may be farmed and frozen in Vietnam, the grapes in our fruit bowl shipped from Chile, and the coffee in our coffee maker grown in Nicaragua, roasted in Germany, and distributed in Canada? Whether we know it or not, every time we shop for food, cook, and eat, we connect ourselves to complex supply networks, institutions, and organizations that enable our food choices. Even locavores may not know the whole story of the produce they buy at the farmers market. In Food, a contribution to the MIT Press Essential Knowledge series, food writer and scholar Fabio Parasecoli offers a consumer's guide to the food system, from local to global.Parasecoli describes a system made up of open-ended, shifting, and unstable networks rather than well-defined chains; considers healthy food and the contradictory advice about it consumers receive; discusses food waste and the implications for sustainability; explores food technologies (and “culinary luddism”); and examines hunger and food insecurity in both developing and developed countries. Parasecoli reminds us that we are not only consumers but also citizens, and as citizens we have more power to improve the food system than we do by our individual food choices.Fabio Parasecoli is a Professor in the Department of Nutrition and Food Studies, The New York University Steinhardt. His research explores the cultural politics of food, particularly in media, design, and heritage. His books include Al Dente: A History of Food in Italy, Feasting Our Eyes: Food, Film, and Cultural Citizenship in the US, Knowing Where It Comes From: Labeling Traditional Foods to Compete in a Global Market, and Global Brooklyn: Designing Food Experiences in World Cities. Website: https://fabioparasecoli.com/ Twitter: @FParasecoliAmir Sayadabdi is a lecturer in Anthropology at Victoria University of Wellington. He is mainly interested in anthropology of food and its intersection with gender studies, migration studies, and studies of race, ethnicity, and nationalism.