The MIT Press Podcast

For fans of computers and comedy alike, an accessible and entertaining look into how we can use artificial intelligence to make smart machines funny.Most robots and smart devices are not known for their joke-telling abilities. And yet, as computer scientist Tony Veale explains in Your Wit Is My Command (MIT Press, 2021), machines are not inherently unfunny; they are just programmed that way. By examining the mechanisms of humor and jokes—how jokes actually works—Veale shows that computers can be built with a sense of humor, capable not only of producing a joke but also of appreciating one. Along the way, he explores the humor-generating capacities of fictional robots ranging from B-9 in Lost in Space to TARS in Interstellar, maps out possible scenarios for developing witty robots, and investigates such aspects of humor as puns, sarcasm, and offensiveness.In order for robots to be funny, Veale explains, we need to analyze humor computationally. Using artificial intelligence (AI), Veale shows that joke generation is a knowledge-based process—a sense of humor is blend of wit and wisdom. He notes that existing technologies can detect sarcasm in conversation, and explains how some jokes can be pre-scripted while others are generated algorithmically—all while making the technical aspects of AI accessible for the general reader. Of course, there's no single algorithm or technology that we can plug in to make our virtual assistants or GPS voice navigation funny, but Veale provides a computational roadmap for how we might get there.Galina Limorenko is a doctoral candidate in Neuroscience with a focus on biochemistry and molecular biology of neurodegenerative diseases at EPFL in Switzerland.

In Designing Motherhood: Things that Make and Break Our Births (MIT Press, 2021), Michelle Millar Fisher and Amber Winick along with more than fifty contributors consider over a hundred designs that have defined the arc of human reproduction. The designed objects that surround people during menstruation, birth control, conception, pregnancy, childbirth, and early motherhood vary as oddly, messily, and dramatically as the stereotypes suggest. This volume considers a breadth of designs that have defined the relationships between people and babies during the past century.It is organized around four sections (Reproduction, Pregnancy, Birth, and Postpartum) and includes designs such as the menstrual cup, population policy posters, home pregnancy tests, tie-waist skirts, cesarean birth curtains, birth in film, the Kuddle Up blanket, breast pumps, and car seats.Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies.

In 1847, Herman Helmholtz, arguably the most important German physicist of the nineteenth century, published his formulation of what became known as the conservation of energy--unarguably the most important single development in physics of that century, transforming what had been a conglomeration of separate topics into a coherent field unified by the concept of energy. In Helmholtz and the Conservation of Energy: Contexts of Creation and Reception (MIT Press, 2021), Kenneth Caneva offers a detailed account of Helmholtz's work on the subject, the sources that he drew upon, the varying responses to his work from scientists of the era, and the impact on physics as a discipline.Caneva describes the set of abiding concerns that prompted Helmholtz's work, including his rejection of the idea of a work-performing vital force, and investigates Helmholtz's relationship to both an older generation of physicists and an emerging community of reformist physiologists. He analyzes Helmholtz's indebtedness to Johannes Müller and Justus Liebig and discusses Helmholtz's tense and ambivalent relationship to the work of Robert Mayer, who had earlier proposed the uncreatability, indestructibility, and transformability of force. Caneva examines Helmholtz's continued engagement with the subject, his role in the acceptance of the conservation of energy as the central principle of physics, and the eventual incorporation of the principle in textbooks as established science.Corinne Doria is a historian specializing in the social history of medicine. She is a lecturer at the Chinese University of Hong Kong in Shenzhen and teaches Disability Studies at Sciences-Po (Paris). Her work focuses on the history of ophthalmology and visual impairment in the West.

Can libraries be radical positive change agents in their communities?R. David Lenkes offers a guide for librarians who see their profession as a chance to make a positive difference in their communities —librarians who recognize that it is no longer enough to stand behind a desk waiting to serve.Lankes reminds libraries and librarians of their mission: to improve society by facilitating knowledge creation in their communities. In this book, he provides tools, arguments, resources, and ideas for fulfilling this mission. Librarians will be prepared to become radical positive change agents in their communities, and other readers will learn to understand libraries in a new way.The libraries of Ferguson, Missouri, famously became positive change agents in August 2014 when they opened their doors when schools were closed because of civil unrest after the shooting of an unarmed teen by police. Working with other local organizations, they provided children and their parents a space for learning, lunch, and peace. But other libraries serve other communities—students, faculty, scholars, law firms—in other ways. All libraries are about community.In The New Librarianship Field Guide (MIT Press, 2016), Lankes addresses the mission of libraries and explains what constitutes a library. He offers practical advice for librarian training; provides teaching notes for each chapter; and answers “Frequently Argued Questions” about the new librarianship.Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network’s Van Leer Jerusalem Series on Ideas. Write her at reneeg@vanleer.org.il

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).