Bøger udgivet af MIT Press

"Many business leaders know that diversity in organizational leadership is important; this book ushers executives through the next steps of understanding exactly why diverse leadership teams produce better business outcomes and how to diversify their companies' leaders"--

"As Companion books to the first ever catalogue raisonnâe on influential artist Tony Smith, the Against Reason books refresh the conventional catalogue by offering critical commentary on the artist's works while expanding canonical views on modernism"--

A critical and sobering look at how international bankers and investors turn pandemics into investment opportunities, and what we stand to lose when we rely on “innovative finance.”In a world increasingly defined by crisis, bankers and investors behind-the-scenes turn catastrophes like pandemics into financial securities that can be bought and sold. Offering new insights into how the excesses of capitalism shape pandemic preparedness, Investable! is an ethnography of World Bank bonds designed to solve a big-ticket global health problem by getting international investors to gamble on future crisis. In this, the first book-length treatment of pandemic bonds, award-winning medical anthropologist Susan Erikson explains how we got here and asks who should hold the responsibility for the terrible things that happen to people, at a time when pandemics are turned into casinos. Erikson, who travelled over 300,000 miles conducting research for the book, takes readers from the red-clay roads of West Africa to the concrete sidewalks of New York City and London’s financial districts, telling the stories of the people, the special interests, and the logics of pandemic bonds. Original, insightful, and extremely timely, Erikson’s lively interdisciplinary exploration tells readers in powerful, vibrant prose about the pitfalls of contemporary global health finance “solutions.” Written for a smart general audience concerned about capitalism’s effect on human health, Investable! will appeal to financiers, politicians, economists, people working in global development, healthcare, and international affairs, and anyone who wants to better understand how capitalism affects how we care for one another in times of crisis.

Ten acclaimed writers imagine the future of art across space and time.In this volume from the Twelve Tomorrows series, Deep Dream, ten writers imagine the different ways in which art forms might evolve, devolve, shift, and transform in the decades and centuries to come. They consider how the rapid progress of technology will interact with different mediums of art or give rise to new ones, and what the lives and inner worlds of different kinds of artists might look like in the future as they adapt to rapidly shifting eras amidst anthropogenic global threats like climate change and fascism. Contributors include award-winning authors and artists from around the world, with a strong focus on South Asia; three of the contributors are from India or Sri Lanka. Readers will also find in this collection American science-fiction legend Bruce Sterling and Egyptian counter-cultural cartoonist, visual artist, and writer Ganzeer, as well as artist Diana Scherer, one of the pioneers in bio tech art. The volume also includes an interview with noted science fiction publisher and editor Neil Clarke, who discusses the future of art and the ways in which the science fiction short fiction market has responded to the introduction of AI-generated fiction and art.ContributorsSamit Basu, Vajra Chandrasekera, Neil Clarke, Aliette de Bodard, Ganzeer, Cassandra Khaw, Lavanya Lakshminarayan, Archita Mittra, Sloane Leong, Bruce Sterling, Wole Talabi, Lavie Tidhar. Artwork by Diana Scherer.

An essential resource on the work of Bernard Tschumi Architects, with a focus on how concept, context, and program intersect with intuition in singular and unexpected ways.Event-Cities 5 is the fifth and final volume in the MIT Press series documenting recent built and unbuilt projects by renowned architect Bernard Tschumi. This volume expands on the theoretical preoccupations that have shaped Tschumi’s work in practice and pedagogy. In this volume, Tschumi embarks on what he calls a “poetics” that addresses both the rational elaboration of work and the irrational eruption of inexplicable elements in architectural projects. How do chance, intuition, and analogy, among other elements, intersect with the logical play of concept, context, and program to generate innovative and informed design?Highlights of this volume include circular building projects, works with suspended gardens and floating rectangular masses, superposed structures created via surrealist tactics, an immense educational research complex in France that hovers between building and urban design, a museum in China made from intersecting conic shapes, and a project for a cultural center in Italy that is structured as an investigation into courtyards and facades. The book features nearly 30 projects developed over the last fifteen years and highlights Tschumi’s longstanding interest not only in producing conceptual clarity, but in questioning architecture itself.

An illustrated anthology of texts on artist Amanda Williams, edited in collaboration with Camille Bacon.What Black Is This You Say?, by Amanda Williams, convenes a broad set of contributors to respond to her own eponymous public artwork at Storefront for Art and Architecture in New York City (2021–2023). In this collection, the 17 colors and captions that appeared on the facade of Storefront—the project began as a series of Instagram posts of different hues of black, paired with witty and incisive comments on the multiplicity of Black culture—are expounded upon in poems, essays, and prose. With this anthology, Williams deliberately departs from traditional art criticism by gathering an intimate ensemble of her peers, friends, and collaborators, including Roxane Gay, Corinne Bailey Rae, and J Wortham, to comment on her work.What Black Is This You Say? is the first title in a new series titled Groundworks, produced in conjunction with Storefront for Art and Architecture. Storefront, founded in 1982, is known for its commitment to challenging and reframing the relationship between public and private space. In 1993, the gallery commissioned a project by the artist Vito Acconci and architect Steven Holl that replaced the exterior façade with a series of 12 movable panels that open the entire length of the gallery to the street, enabling endless possibilities of entry, navigation, and absorption into the gallery space.

A compilation of uncommon supernatural tales and bibliographic oddities edited by musician David Tibet.A third volume of supernatural tales and obscure texts that continues the series of chilling compilations edited by artist, writer, and musician David Tibet that began with The Moons At Your Door and There Is a Graveyard that Dwells In Man. Dark Indeed, Sorrel includes the first new story, and a selection of new poems, written by June-Alison Gibbons, author of The Pepsi Cola Addict, since the 1990s, and unpublished poems by her twin sister Jennifer. Longer texts include the anonymously-authored "The Autobiography Of A Schizophrenic" (1951), Theodore Frederick Poulson’s bizarre and hallucinatory ghost-story "The Flying Wig" (1948), the apocalyptic, visionary "A Description Of A Remarkable Vision, Seen By Thomas Webster, While Speaking Over A Corpse At The Grave's Side" (1798) text—accompanied by hand-coloured illustrations—and the early witchcraft / poltergeist account "Witchcraft At The Lamb Inn Bristol" (1800).Also included are stories by Miriam Bloch, Conall Cearnach, Arthur L Salmon, Rosaline Norton, Edgar Magnus Birnstingl, HW Bousfield and Wirt Gerrare, a previously unpublished play-fragment by Count Stenbock, and Coptic, Ugaritic, and Biblical Hebrew texts translated by David Tibet.

A feminist paean to perversity: on remaking intimacy outside the Republic of Gender.Seasonal begins writing sentences and thinking thoughts they never thought possible. They want to give László the pleasure of being nothing. The more they come to like him, to value his sensitivity, his sharp mind, his aesthetics, his ethics, and the more they want his respect, the easier it seems to become to think about destroying him. A new set of capacities which they had only dimly sensed are now coursing in their muscles, their cunt, their blood, their mind.Abandoned by their Dutch partner after giving up their home and their job to follow him to the Netherlands, humanities scholar Seasonal finds themself single in a strange place for the first time in a decade.  Dipping into the rabbit hole of digital eroticism, Seasonal soon meets László, a male sub who volleys back their cerebral sexts and is seeking a dominant guide. His dating-app profile—a photo of Foucault and the ingenuous greeting “Hello, World?”—thinly veils his desire to be annihilated. It’s a desire that Seasonal senses they can fulfill. But to do this means crossing the frightening gap between their desires and capacities.   Seasonal and László embark on an experiment in remaking intimacy outside the Republic of Gender. But as it continues, the two realize they are staging separate confrontations with domination: Seasonal finds they must confront their own relation to the violence and anger that marked their upbringing in working-class, small-town Australia, while László stages his own confrontation with his decision to leave Viktor Orbán’s Hungary. As they attempt to improvise a theater of domination that opens up possibilities of reciprocity, the energies of their sexuality stalk this collaboration, threatening to give them exactly what they bargained or begged for. A feminist paean to perversity in the tradition of Pauline Réage’s Story of O and Anaïs Nin’s Delta of Venus, Anna Poletti’s hello, world? dares to fully inhabit female power, and to fully face the violence, beauty, and uncharted territories of human sexuality.

"Layered historical and artistic portrait of Henrietta Leavitt, the woman who laid the foundation for modern cosmology"--

An award-winning neurologist on the Stone-Age roots of our screen addictions, and what to do about them.The human brain hasn’t changed much since the Stone Age, let alone in the mere thirty years of the Screen Age. That’s why, according to neurologist Richard Cytowic—who, Oliver Sacks observed, “changed the way we think of the human brain”—our brains are so poorly equipped to resist the incursions of Big Tech: They are programmed for the wildly different needs of a prehistoric world. In Your Stone-Age Brain in the Screen Age, Cytowic explains exactly how this programming works—from the brain’s point of view. What he reveals in this book shows why we are easily addicted to screen devices, why young, developing brains are particularly vulnerable, why we need silence, and what we can do to push back.In the engaging storytelling style of his popular TED Talk, Cytowic draws an easily comprehensible picture of the Stone-Age brain’s workings—the function of neurotransmitters like dopamine in basic instincts for survival such as wanting and reward; the role of comparison in emotion, and emotion in competition; and, most significantly, the orienting reflex, one of the unconscious circuits that automatically focus, shift, and sustain attention. In light of this picture, the nature of our susceptibility to digital devices becomes clear, along with the possibility of how to break their spell.Full of practical actions that we can start taking right away, Your Stone-Age Brain in the Screen Age is compelling evidence that we can change the way we use technology, resist its addictive power over us, and take back the control we have lost.

"An invitation to pivot how we address hunger in America, rooted in the personal, political, and spiritual work critical to making change"--

"Through photography and creative nonfiction, we see Brooklyn, NY and Oakland, CA through new eyes-alongside the critical importance of everyday places"--

How organizations can use practices developed by expert designers to solve today's open, complex, dynamic, and networked problems.

"An ethnographically rich study of graffiti as monument and the monument as graffiti, establishing that graffiti is an inherently political form of popular visual culture"--

"An expert on AI safety explains what we must do now to minimize the serious harms and threats that AI poses while realizing its benefits for society"--

"Establishes the cultural power of hair in the 19th century through critical interpretation of the significant space and time devoted to it as an important sociocultural symbol"--

"In this book, digital anthropologist Payal Arora proposes ways in which we can envision new design systems and thinking to include the world. Drawing from fieldwork on young people's digital usage in Brazil, India, Bangladesh and Nigeria, Arora reveals how their understandings of algorithmic systems shape their creativity, trust, identity, and political action"--

A powerful collection of perspectives on the contemporary and evolving meanings of home, and how they capture both the shared and conflicting narratives that impact our country today.Home is shaped by many factors: culture, region, environment, citizenship, economics, state of mind, and more. Edited by Alexandra Cunningham Cameron, Christina De León, and Michelle Joan Wilkinson, Making Home explores the diverse perspectives on home across the United States, US Territories, and Tribal Nations to reveal how design impacts this country, its value systems, and the people who inhabit its landscapes. Positioning home not only as a place of dwelling but also as a complex and highly subjective ecosystem, contributors show how notions of home resonate through private and public consciousness to inform the shared or conflicting histories that impact our country.Probing urgent topics related to home such as colonialism, technological innovation, landscapes and the environment, and aesthetics and culture, Making Home uses the framework of design to pair investigative and practical analyses with imaginative and speculative ones. Contributors include designers, scholars, writers, artists, and critical thinkers across disciplines whose work and lived experiences illustrate specific circumstances that shape the contemporary home.Contributors:Brian Adams, AphroChic, Joe Baker, Joseph Becker, La Vaughn Belle, Frank Blazquez, Lori Brown, Michael Bullock, CareHaus, Mona Chalabi, Katrina Collins, Michelle Commander,Sean Connelly, Reverand Houston Cyprus, Design Earth, Designing Justice + Designing Spaces, Leah DeVun, Heather Dewey Hagborg, Terrol Dew Johnson, Jarrett Earnest, Sofia Gallisa Muriente, Roxane Gay, Sophia Gebara, Curry Hackett, David Hartt,Hord, Coplan, Macht, Joyce Hwang, Alan Isaac, Sandra Jackson-Dumont, Dalton Johnson,Kenneth Kuper, Ruba Katrib, Elleza Kelley, Michelle Lanier, Natalia LaSalle Morillo, Liam Lee, Brent Leggs, Dominic Leong, Sarah Lopez, Gervais Marsh, Carlos Martin, Catherine E. McKinley, Joiri Minaya, Tommy Mishima, Victoria Munro, Maria Nicanor, Caroline O’Connell, Camille Okhio, Betty Poncho, Sheila Pree Bright, Ronald Rael, Suchi Reddy,Katherine Simóne Reynolds, Tracey Robertson Carter,Dr. Yashica Robinson, William Scott, Siddhartha V. Shah, SITU Research, Gretchen Sorin, Carlos Soto, Renée Stout, Journey Streams, Isabel Strauss, Davóne Tines,Gene Tinnie, Dr. Wallis Tinnie, Cornelius Tulloch, Whitney Lee White, Kevin Young,John ZeiselA copublication with the Cooper Hewitt, Smithsonian Design Museum.

From the bestselling author of Quantum Computing for Everyone, a concise, accessible, and elegant approach to mathematics that not only illustrates concepts but also conveys the surprising nature of the digital information age.Most of us know something about the grand theories of physics that transformed our views of the universe at the start of the twentieth century: quantum mechanics and general relativity. But we are much less familiar with the brilliant theories that make up the backbone of the digital revolution. In Beautiful Math, Chris Bernhardt explores the mathematics at the very heart of the information age. He asks questions such as: What is information? What advantages does digital information have over analog? How do we convert analog signals into digital ones? What is an algorithm? What is a universal computer? And how can a machine learn?The four major themes of Beautiful Math are information, communication, computation, and learning. Bernhardt typically starts with a simple mathematical model of an important concept, then reveals a deep underlying structure connecting concepts from what, at first, appear to be unrelated areas. His goal is to present the concepts using the least amount of mathematics, but nothing is oversimplified. Along the way, Bernhardt also discusses alphabets, the telegraph, and the analog revolution; information theory; redundancy and compression; errors and noise; encryption; how analog information is converted into digital information; algorithms; and finally, neural networks. Historical anecdotes are included to give a sense of the technology at that time, its impact, and the problems that needed to be solved. Taking its readers by the hand, regardless of their math background, Beautiful Math is a fascinating journey through the mathematical ideas that undergird our everyday digital interactions.

"In science, it frequently happens that researchers look for something and find something else: understanding why leads us to the heart of how scientific method works and to the root of its wonder"--

"This book is Todd Stern's eyewitness account of the full, charged, seven-year story of how the Paris Agreement came to be, following an arc from Copenhagen, to Durban, to the secret U.S.-China climate deal in 2014, to Paris itself. It illuminates the strategy and tactics, policy, politics and diplomacy that made Paris possible, and it also depicts the pitfalls and challenges overcome, the struggle between different groups of countries, the sometimes shifting alliances, the last-minmute maneuvering and the ultimate historic success"--

"Davis addresses the "screen time" debate by recognizing that children's experiences of technology and social relationships are qualitatively distinct at different stages of development"--

"Blockchain Governance offers an accessible, critical overview of legal and political issues related to blockchain technology. It moves beyond the hype, showing how blockchain offers a fertile ground for experimentation with radically new ways to govern people and institutions"--

A unique, critical, and creative encyclopedia from scholars, artists, and writers on the world and words of finance capital.What does finance capital look like? How do the push and pull of debt and credit shape our feelings and relations? Across fifty-five unforgettable entries, Finance Aesthetics: A Critical Glossary offers an unorthodox appraisal of our bizarre, distorted contemporary condition.

An electroacoustic, olfactory, and textual project by artist Florian Hecker.Florian Hecker is an artist whose work is realized through the technical manipulation of sensory data. By utilizing machinic scales and registers, Hecker creates environments marked at once by overwhelming complexity and vexing subtlety, where audience members are led to dwell on the outer limits of their own perceptual capacities.Resynthesizers took place in Laurel Canyon, Los Angeles, in the Fitzpatrick-Leland House, a tri-level residence designed by Rudolf Schindler and built in 1936. Centered around a trio of compositions produced using a novel algorithm for texture synthesis, the exhibition also featured three olfactory accords selected by Marc vom Ende and Philip Kraft of Symrise, and three electrophoretic displays transmitting a libretto by Robin Mackay.The molecular construction of sensory experience enabled by the technical manipulation and synthesis of materials emerges as a central theme of Resynthesizers. The regime of these ‘immaterials’ disjoins sensation from inherited conceptual models, and in the encounter with its resyntheses we are challenged to reintegrate sense and formulate new concepts.Designed by NORM, Zurich, this meticulously assembled document features exhibition documentation by Fredrik Nilsen Studio and data visualizations by Axel Roebel alongside essays by Wendy Hui Kyong Chun and Alex H. Barnett, Marc Vom Ende and Philip Kraft, Robin Mackay, and Luciana Parisi.

A young woman discovers that dancers at a local discotheque are being driven to acts of insane violence.“The place was full of swarming, pugnacious, dangerous missellneous reptile’s… Teenager’s everywhere pounded their way on top of each other crazily strangling, biting and slashing each other’s with broken glass, smashed records or sharpened blades… ”16-year-old Jennifer Gibbons (1963–1993) wrote Discomania in 1980, alongside her twin sister June-Alison, who was also writing her own novel, The Pepsi Cola Addict, in the bedroom that they shared.Jennifer offered Discomania to the same English vanity press who would publish June-Alison’s book, but Discomania was turned down for being “too violent, too sexual, and too futuristic.”Long thought to have been lost or destroyed, June-Alison had in fact preserved the typescript of this unique, furious, funny, and strange novel, which we present with her blessing, alongside additional texts from June-Alison, and editors David Tibet and Ania Goszczyńska.

The affects, aesthetics, and ethics of voice in the new materialist turn, explored through encounters with creative works in media and the arts.

In this book, Michael Madary examines visual experience, drawing on both phenomenological and empirical methods of investigation. He finds that these two approaches -- careful, philosophical description of experience and the science of vision -- independently converge on the same result: Visual perception is an ongoing process of anticipation and fulfillment. Madary first makes the case for the descriptive premise, arguing that the phenomenology of vision is best described as on ongoing process of anticipation and fulfillment. He discusses visual experience as being perspectival, temporal, and indeterminate; considers the possibility of surprise when appearances do not change as we expect; and considers the content of visual anticipation. Madary then makes the case for the empirical premise, showing that there are strong empirical reasons to model vision using the general form of anticipation and fulfillment. He presents a range of evidence from perceptual psychology and neuroscience, and reinterprets evidence for the two-visual-systems hypothesis. Finally, he considers the relationship between visual perception and social cognition. An appendix discusses Husserlian phenomenology as it relates to the argument of the book.Madary argues that the fact that there is a convergence of historically distinct methodologies itself is an argument that supports his findings. With Visual Phenomenology, he creates an exchange between the humanities and the sciences that takes both methods of investigation seriously.