The MIT Press Podcast

The vast majority of all email sent every day is spam, a variety of idiosyncratically spelled requests to provide account information, invitations to spend money on dubious products, and pleas to send cash overseas. Most of it is caught by filters before ever reaching an in-box. Where does it come from? As Finn Brunton explains in Spam, it is produced and shaped by many different populations around the world: programmers, con artists, bots and their botmasters, pharmaceutical merchants, marketers, identity thieves, crooked bankers and their victims, cops, lawyers, network security professionals, vigilantes, and hackers. Every time we go online, we participate in the system of spam, with choices, refusals, and purchases the consequences of which we may not understand.This is a book about what spam is, how it works, and what it means. Brunton provides a cultural history that stretches from pranks on early computer networks to the construction of a global criminal infrastructure. The history of spam, Brunton shows us, is a shadow history of the Internet itself, with spam emerging as the mirror image of the online communities it targets. Brunton traces spam through three epochs: the 1970s to 1995, and the early, noncommercial computer networks that became the Internet; 1995 to 2003, with the dot-com boom, the rise of spam's entrepreneurs, and the first efforts at regulating spam; and 2003 to the present, with the war of algorithms—spam versus anti-spam. Spam shows us how technologies, from email to search engines, are transformed by unintended consequences and adaptations, and how online communities develop and invent governance for themselves.Finn Brunton is Assistant Professor of Information in the School of Information at the University of Michigan.

Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: "Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons." This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry.In Moving Innovation, Tom Sito--himself an animator and industry insider for more than thirty years--describes the evolution of CG. His story features a memorable cast of characters--math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible.Tom Sito has been a professional animator since 1975. One of the key players in Disney’s animation revival of the 1980s and 1990s, he worked on such classic Disney films as The Little Mermaid (1989), Beauty and the Beast (1991), and The Lion King (1994). He left Disney to help set up the Dreamworks Animation Unit in 1995. He is Professor of Cinema Practice in the School of Cinematic Arts at the University of Southern California.

What is the future of the global creative economy? In Creative Hustling: Women Making and Distributing Films from Nairobi (MIT Press, 2023), Robin Steedman, a postdoc in the Department of Management, Society and Communication at Copenhagen Business School, offers a detailed analysis of the struggles and successes of women in Kenya’s capital city. The book draws on detailed fieldwork in Nairobi and an in-depth knowledge of the international film industry to explain how gender, class, and racial inequalities operate both at the local and global scale. Blending analysis of key films and directors with significant theoretical contributions such as the idea of creative hustling itself, the book is essential reading across media and cultural studies as well as social science and humanities, as well as for anyone interested in understanding how film and TV works.Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Sheffield.

The vast majority of American college students attend two thousand or so private and public institutions that might be described as the Middle—reputable educational institutions, but not considered equal to the elite and entrenched upper echelon of the Ivy League and other prestigious schools. Richard DeMillo has a warning for these colleges and universities in the Middle: If you do not change, you are heading for irrelevance and marginalization. In Abelard to Apple, DeMillo argues that these institutions, clinging precariously to a centuries-old model of higher education, are ignoring the social, historical, and economic forces at work in today's world. In the age of iTunes, open source software, and for-profit online universities, there are new rules for higher education.DeMillo, who has spent years in both academia and in industry, explains how higher education arrived at its current parlous state and offers a road map for the twenty-first century. He describes the evolving model for higher education, from European universities based on a medieval model to American land-grant colleges to Apple's iTunes U and MIT's OpenCourseWare. He offers ten rules to help colleges reinvent themselves (including “Don't romanticize your weaknesses”) and argues for a focus on teaching undergraduates.DeMillo's message—for colleges and universities, students, alumni, parents, employers, and politicians—is that any college or university can change course if it defines a compelling value proposition (one not based in “institutional envy” of Harvard and Berkeley) and imagines an institution that delivers it.Richard A. DeMillo is Distinguished Professor of Computing and Professor of Management, former John P. Imlay Dean of Computing, and Director of the Center for 21st Century Universities at Georgia Institute of Technology. Author of over 100 articles, books, and patents, he has held academic positions at Purdue University, the University of Wisconsin, and the University of Padua. He directed the Computer and Computation Research Division of the National Science Foundation and was Hewlett-Packard’s first Chief Technology Officer.

Many books explain what is known about the universe. This book investigates what cannot be known. Rather than exploring the amazing facts that science, mathematics, and reason have revealed to us, this work studies what science, mathematics, and reason tell us cannot be revealed. In The Outer Limits of Reason, Noson Yanofsky considers what cannot be predicted, described, or known, and what will never be understood. He discusses the limitations of computers, physics, logic, and our own thought processes.Yanofsky describes simple tasks that would take computers trillions of centuries to complete and other problems that computers can never solve; perfectly formed English sentences that make no sense; different levels of infinity; the bizarre world of the quantum; the relevance of relativity theory; the causes of chaos theory; math problems that cannot be solved by normal means; and statements that are true but cannot be proven. He explains the limitations of our intuitions about the world—our ideas about space, time, and motion, and the complex relationship between the knower and the known.Moving from the concrete to the abstract, from problems of everyday language to straightforward philosophical questions to the formalities of physics and mathematics, Yanofsky demonstrates a myriad of unsolvable problems and paradoxes. Exploring the various limitations of our knowledge, he shows that many of these limitations have a similar pattern and that by investigating these patterns, we can better understand the structure and limitations of reason itself. Yanofsky even attempts to look beyond the borders of reason to see what, if anything, is out there.Noson S. Yanofsky is Professor in the Department of Computer and Information Science at Brooklyn College and The Graduate Center of the City University of New York. He is a coauthor of Quantum Computing for Computer Scientists.

Photography matters, writes Jerry Thompson, because of how it works--not only as an artistic medium but also as a way of knowing. With this provocative observation, Thompson begins a wide-ranging and lucid meditation on why photography is unique among the picture-making arts. In Why Photography Matters, he constructs an argument that moves with natural logic from Thomas Pynchon (and why we read him for his vision and not his command of miscellaneous facts) to Jonathan Swift to Plato to Emily Dickinson (who wrote "Tell all the Truth but tell it slant") to detailed readings of photographs by Eugène Atget, Garry Winogrand, Marcia Due, Walker Evans, and Robert Frank. Forcefully and persuasively, he argues for photography as a medium whose business is not constructing fantasies pleasing to the eye or imagination, but describing the world in the toughest and deepest way.Jerry L. Thompson is a working photographer who also writes about photography. He worked as Walker Evans’s principal assistant from 1973 to Evans’s death in 1975. He is the author of The Last Years of Walker Evans and Truth and Photography.

Padma Desai grew up in the 1930s in the provincial world of Surat, India, where she had a sheltered and strict upbringing in a traditional Gujarati Anavil Brahmin family. Her academic brilliance won her a scholarship to Bombay University, where the first heady taste of freedom in the big city led to tragic consequences—seduction by a fellow student whom she was then compelled to marry. In a failed attempt to end this disastrous first marriage, she converted to Christianity.A scholarship to America in 1955 launched her on her long journey to liberation from the burdens and constraints of her life in India. With a growing self-awareness and transformation at many levels, she made a new life for herself, met and married the celebrated economist Jagdish Bhagwati, became a mother, and rose to academic eminence at Harvard and Columbia.How did she navigate the tumultuous road to assimilation in American society and culture? And what did she retain of her Indian upbringing in the process? This brave and moving memoir—Breaking Out--written with a novelist's skill at evoking personalities, places, and atmosphere, and a scholar's insights into culture and society, community, and family—tells a compelling and thought-provoking human story that will resonate with readers everywhere.Padma Desai is Gladys and Roland Harriman Professor of Comparative Economic Systems and Director, Center for Transition Economies at Columbia University.

Liberal internationalism has been the West's foreign policy agenda since the Cold War, and the West has long occupied the top rung of a hierarchical system. In Dynamics Among Nations, Hilton Root argues that international relations, like other complex ecosystems, exists in a constantly shifting landscape, in which hierarchical structures are giving way to systems of networked interdependence, changing every facet of global interaction. Accordingly, policymakers will need a new way to understand the process of change. Root suggests that the science of complex systems offers an analytical framework to explain the unforeseen development failures, governance trends, and alliance shifts in today's global political economy.Root examines both the networked systems that make up modern states and the larger, interdependent landscapes they share. Using systems analysis--in which institutional change and economic development are understood as self-organizing complexities--he offers an alternative view of institutional resilience and persistence. From this perspective, Root considers the divergence of East and West; the emergence of the European state, its contrast with the rise of China, and the network properties of their respective innovation systems; the trajectory of democracy in developing regions; and the systemic impact of China on the liberal world order. Complexity science, Root argues, will not explain historical change processes with algorithmic precision, but it may offer explanations that match the messy richness of those processes.Hilton L. Root, an expert on international political economy and development, is Professor at the George Mason University School of Public Policy. He is the author of Alliance Curse: How the U.S. Lost the Third World, Capital and Collusion: Political Logic of Global Economic Development, and other books.

In July 1969, ninety-four percent of American televisions were tuned to coverage of Apollo 11's mission to the moon. How did space exploration, once the purview of rocket scientists, reach a larger audience than My Three Sons? Why did a government program whose standard operating procedure had been secrecy turn its greatest achievement into a communal experience? In Marketing the Moon, David Meerman Scott and Richard Jurek tell the story of one of the most successful marketing and public relations campaigns in history: the selling of the Apollo program.Primed by science fiction, magazine articles, and appearances by Wernher von Braun on the “Tomorrowland” segments of the Disneyland prime time television show, Americans were a receptive audience for NASA's pioneering “brand journalism.” Scott and Jurek describe sophisticated efforts by NASA and its many contractors to market the facts about space travel—through press releases, bylined articles, lavishly detailed background materials, and fully produced radio and television features—rather than push an agenda. American astronauts, who signed exclusive agreements with Life magazine, became the heroic and patriotic faces of the program. And there was some judicious product placement: Hasselblad was the “first camera on the moon”; Sony cassette recorders and supplies of Tang were on board the capsule; and astronauts were equipped with the Exer-Genie personal exerciser. Everyone wanted a place on the bandwagon.Generously illustrated with vintage photographs, artwork, and advertisements, many never published before, Marketing the Moon shows that when Neil Armstrong took that giant leap for mankind, it was a triumph not just for American engineering and rocketry but for American marketing and public relations.David Meerman Scott is a marketing strategist and the author of three bestselling books,The New Rules of Marketing and PR, Real-Time Marketing, and Marketing Lessons from the Grateful Dead. He lives in Lexington, Massachuetts.

Anyone who has ever been to a public hearing or community meeting would agree that participatory democracy can be boring. Hours of repetitive presentations, alternatingly alarmist or complacent, for or against, accompanied by constant heckling, often with no clear outcome or decision. Is this the best democracy can offer? In Making Democracy Fun, Josh Lerner offers a novel solution for the sad state of our deliberative democracy: the power of good game design. What if public meetings featured competition and collaboration (such as team challenges), clear rules (presented and modeled in multiple ways), measurable progress (such as scores and levels), and engaging sounds and visuals? These game mechanics would make meetings more effective and more enjoyable—even fun.Lerner reports that institutions as diverse as the United Nations, the U.S. Army, and grassroots community groups are already using games and game-like processes to encourage participation. Drawing on more than a decade of practical experience and extensive research, he explains how games have been integrated into a variety of public programs in North and South America. He offers rich stories of game techniques in action, in children's councils, social service programs, and participatory budgeting and planning. With these real-world examples in mind, Lerner describes five kinds of games and twenty-six game mechanics that are especially relevant for democracy. He finds that when governments and organizations use games and design their programs to be more like games, public participation becomes more attractive, effective, and transparent. Game design can make democracy fun—and make it work.Josh Lerner is Executive Director of The Participatory Budgeting Project, a nonprofit organization in New York City that empowers communities to decide how to spend public money.