Books in The MIT Press series

Innovating is for doers: you don't need to wait for an earth-shattering idea, but can build one with a hunch and scale it up to impact.Innovation is the subject of countless books and courses, but there's very little out there about how you actually innovate. Innovation and entrepreneurship are not one and the same, although aspiring innovators often think of them that way. They are told to get an idea and a team and to build a show-and-tell for potential investors. In Innovating, Luis Perez-Breva describes another approach―a doer's approach developed over a decade at MIT and internationally in workshops, classes, and companies. He shows that to start innovating it doesn't require an earth-shattering idea; all it takes is a hunch. Anyone can do it. By prototyping a problem and learning by being wrong, innovating can be scaled up to make an impact. As Perez-Breva demonstrates, "no thing is new" at the outset of what we only later celebrate as innovation.In Innovating, the process―illustrated by unique and dynamic artwork―is shown to be empirical, experimental, nonlinear, and incremental. You give your hunch the structure of a problem. Anything can be a part. Your innovating accrues other people's knowledge and skills. Perez-Breva describes how to create a kit for innovating, and outlines questions that will help you think in new ways. Finally, he shows how to systematize what you've learned: to advocate, communicate, scale up, manage innovating continuously, and document―“you need a notebook to converse with yourself,” he advises. Everyone interested in innovating also needs to read this book.

How a form of play becomes a sport: players, agents, referees, leagues, tournaments, sponsorships, and spectators, and the culture of professional computer game play.Competitive video and computer game play is nothing new: the documentary King of Kong memorably portrays a Donkey Kong player's attempts to achieve the all-time highest score; the television show Starcade (1982–1984) featured competitions among arcade game players; and first-person shooter games of the 1990s became multiplayer through network play. A new development in the world of digital gaming, however, is the emergence of professional computer game play, complete with star players, team owners, tournaments, sponsorships, and spectators. In Raising the Stakes, T. L. Taylor explores the emerging scene of professional computer gaming and the accompanying efforts to make a sport out of this form of play.In the course of her explorations, Taylor travels to tournaments, including the World Cyber Games Grand Finals (which considers itself the computer gaming equivalent of the Olympics), and interviews participants from players to broadcasters. She examines pro-gaming, with its highly paid players, play-by-play broadcasts, and mass audience; discusses whether or not e-sports should even be considered sports; traces the player's path from amateur to professional (and how a hobby becomes work); and describes the importance of leagues, teams, owners, organizers, referees, sponsors, and fans in shaping the structure and culture of pro-gaming.Taylor connects professional computer gaming to broader issues: our notions of play, work, and sport; the nature of spectatorship; the influence of money on sports. And she examines the ongoing struggle over the gendered construction of play through the lens of male-dominated pro-gaming. Ultimately, the evolution of professional computer gaming illuminates the contemporary struggle to convert playful passions into serious play.

Architects who engaged with cybernetics, artificial intelligence, and other technologies poured the foundation for digital interactivity.In Architectural Intelligence, Molly Wright Steenson explores the work of four architects in the 1960s and 1970s who incorporated elements of interactivity into their work. Christopher Alexander, Richard Saul Wurman, Cedric Price, and Nicholas Negroponte and the MIT Architecture Machine Group all incorporated technologies―including cybernetics and artificial intelligence―into their work and influenced digital design practices from the late 1980s to the present day. Alexander, long before his famous 1977 book A Pattern Language, used computation and structure to visualize design problems; Wurman popularized the notion of “information architecture”; Price designed some of the first intelligent buildings; and Negroponte experimented with the ways people experience artificial intelligence, even at architectural scale. Steenson investigates how these architects pushed the boundaries of architecture―and how their technological experiments pushed the boundaries of technology. What did computational, cybernetic, and artificial intelligence researchers have to gain by engaging with architects and architectural problems? And what was this new space that emerged within these collaborations? At times, Steenson writes, the architects in this book characterized themselves as anti-architects and their work as anti-architecture. The projects Steenson examines mostly did not result in constructed buildings, but rather in design processes and tools, computer programs, interfaces, digital environments. Alexander, Wurman, Price, and Negroponte laid the foundation for many of our contemporary interactive practices, from information architecture to interaction design, from machine learning to smart cities.

Why companies need to move away from a “product first” orientation to pursuing innovation based on customer need.In the past, companies found success with a product-first orientation; they made a thing that did a thing. TheInversion Factor explains why the companies of today and tomorrow will have to abandon the product-first orientation. Rather than asking “How do the products we make meet customer needs?” companies should ask “How can technology help us reimagine and fill a need?” Zipcar, for example, instead of developing another vehicle for moving people from point A to point B, reimagined how people interacted with vehicles. Zipcar inverted the traditional car company mission. The authors explain how the introduction of “smart” objects connected by the Internet of Things signals fundamental changes for business. The IoT, where real and digital coexist, is powering new ways to meet human needs. Companies that know this include giants like Amazon, Airbnb, Uber, Google, Tesla, and Apple, as well as less famous companies like Tile, Visenti, and Augury. The Inversion Factor offers a roadmap for businesses that want to follow in their footsteps.The authors chart the evolution of three IoTs―the Internet of Things (devices connected to the Internet), the Intelligence of Things (devices that host software applications), and the Innovation of Things (devices that become experiences). Finally, they offer a blueprint for businesses making the transition to inversion and interviews with leaders of major companies and game-changing startups.

A wide-ranging, interdisciplinary look at global changes that may occur over the next fifty years―whether sudden and cataclysmic world-changing events or gradually unfolding trends.Fundamental change occurs most often in one of two ways: as a “fatal discontinuity,” a sudden catastrophic event that is potentially world changing, or as a persistent, gradual trend. Global catastrophes include volcanic eruptions, viral pandemics, wars, and large-scale terrorist attacks; trends are demographic, environmental, economic, and political shifts that unfold over time. In this provocative book, scientist Vaclav Smil takes a wide-ranging, interdisciplinary look at the catastrophes and trends the next fifty years may bring.Smil first looks at rare but cataclysmic events, both natural and human-produced, then at trends of global importance, including the transition from fossil fuels to other energy sources and growing economic and social inequality. He also considers environmental change―in some ways an amalgam of sudden discontinuities and gradual change―and assesses the often misunderstood complexities of global warming.Global Catastrophes and Trends does not come down on the side of either doom-and-gloom scenarios or techno-euphoria. Instead, Smil argues that understanding change will help us reverse negative trends and minimize the risk of catastrophe.

A collection of writing about design from the influential, eclectic, and adventurous Design Observer.Founded in 2003, Design Observer inscribes its mission on its homepage: Writings about Design and Culture. Since its inception, the site has consistently embraced a broader, more interdisciplinary, and circumspect view of design's value in the world―one not limited by materialism, trends, or the slipperiness of style. Dedicated to the pursuit of originality, imagination, and close cultural analysis, Design Observer quickly became a lively forum for readers in the international design community. Fifteen years, 6,700 articles, 900 authors, and nearly 30,000 comments later, this book is a combination primer, celebration, survey, and salute to a certain moment in online culture. This collection includes reassessments that sharpen the lens or dislocate it; investigations into the power of design idioms; off-topic gems; discussions of design ethics; and experimental writing, new voices, hybrid observations, and other idiosyncratic texts. Since its founding, Design Observer has hosted conferences, launched a publishing imprint, hosted three podcasts, and attracted more than a million followers on social media. All of these enterprises are rooted in the original mission to engage a broader community by sharing ideas on ways that design shapes―and is shaped by―our lives.Contributors includeSean Adams, Allison Arieff, Ashleigh Axios, Eric Baker, Rachel Berger, Andrew Blauvelt, Liz Brown, John Cantwell, Mark Dery, Michael Erard, Stephen Eskilson, Bryan Finoki, Kenneth FitzGerald, John Foster, Steven Heller, Karrie Jacobs, Meena Kadri, Mark Lamster, Alexandra Lange, Francisco Laranjo, Adam Harrison Levy, Mimi Lipson, KT Meaney, Thomas de Monchaux, Randy Nakamura, Phil Patton, Maria Popova, Rick Poynor, Louise Sandhaus, Dmitri Siegel, Martha Scotford, Adrian Shaughnessy, Andrew Shea, John Thackara, Dori Tunstall, Alice Twemlow, Tom Vanderbilt, Véronique Vienne, Alissa Walker, Rob Walker, Lorraine Wild, Timothy Young

Manifestos by artists, authors, editors, publishers, designers, zinesters explore publishing as artistic practice.Independent publishing, art publishing, publishing as artistic practice, publishing counterculture, and the zine, DIY, and POD scenes have proliferated over the last two decades. So too have art book fairs, an increasingly important venue―or even medium―for art. Art publishing experienced a similar boom in the 1960s and 1970s, in response to the culture's "linguistic turn." Today, art publishing confronts the internet and the avalanche of language and images that it enables. The printed book offers artists both visibility and tangibility. Publishing Manifestos gathers texts by artists, authors, editors, publishers, designers, zinesters, and activists to explore this rapidly expanding terrain for art practice.The book begins in the last century, with texts by Gertrude Stein, El Lissitsky, Oswald de Andrade, and Jorge-Luis Borges. But the bulk of the contributions are from the twenty-first century, with an emphasis on diversity, including contributions from Tauba Auerbach, Mariana Castillo Deball, Ntone Edjabe, Girls Like Us, Karl Holmqvist, Temporary Services, and zubaan. Some contributors take on new forms of production and distribution; others examine the political potential of publishing and the power of collectivity inherent in bookmaking. They explore among other topics, artists' books, appropriation, conceptual writing, non-Western communities, queer identities, and post-digital publishing. Many texts are reproduced in facsimile―including a handwritten "speculative, future-forward newspaper" from South Africa. Some are proclamatory mission statements, others are polemical self-positioning; some are playful, others explicitly push the boundaries. All help lay the conceptual foundations of a growing field of practice and theory.ContributorsAND Publishing, Oswald de Andrade, Archive Books, Art-Rite, Rasheed Araeen, Tauba Auerbach, Michael Baers, Bibi Bakare-Yusuf, Ricardo Basbaum, Derek Beaulieu, Bernadette Corporation, Riccardo Boglione, Bombay Underground, Jorge Luis Borges, bpNichol, Kate Briggs, Broken Dimanche Press, Eleanor Vonne Brown, Urvashi Butalia, Ulises Carrión, Mariana Castillo Deball, Paul Chan, Chimurenga, Arpita Das, Anita Di Bianco, Guy Debord, Constant Dullaart, Craig Dworkin, Ntone Edjabe, Zenon Fajfer, Marina Fokidis, General Idea, Annette Gilbert, Girls Like Us, Gloria Glitzer, Marianne Groulez, Alex Hamburger, Karl Holmqvist, Lisa Holzer, Mahmood Jamal, Tom Jennings, Ray Johnson, David Jourdan, Sharon Kivland, Kione Kochi, Kwani?, Bruce LaBruce, Tan Lin, El Lissitzky, Alessandro Ludovico, Sara MacKillop, Steve McCaffery, Jonathan Monk, Simon Morris, Mosireen, León Munoz Santini, Takashi Murakami, Deke Nihilson, Aurélie Noury, Johnny Noxzema, Clive Phillpot, Michalis Pichler, Seth Price, Riot Grrrl, Carlos Soto Román, Allen Ruppersberg, Joachim Schmid, Oliver Sieber, Paul Soulellis, Matthew Stadler, Gertrude Stein, Paul Stephens, Hito Steyerl, Mladen Stilinovic, Katja Stuke, Temporary Services, Nick Thurston, TIQQUN, Elisabeth Tonnard, V. Vale, Eric Watier, Erik van der Weijde, Lawrence Weiner, Eva Weinmayr, Jan Wenzel, Stephen Willats, Gil J Wolman, zubaanCopublished with Miss Read: The Berlin Art Book Fair

Communism, capitalism, work, crisis, and the market, described in simple storybook terms and illustrated by drawings of adorable little revolutionaries.Once upon a time, people yearned to be free of the misery of capitalism. How could their dreams come true? This little book proposes a different kind of communism, one that is true to its ideals and free from authoritarianism. Offering relief for many who have been numbed by Marxist exegesis and given headaches by the earnest pompousness of socialist politics, it presents political theory in the simple terms of a children's story, accompanied by illustrations of lovable little revolutionaries experiencing their political awakening.It all unfolds like a story, with jealous princesses, fancy swords, displaced peasants, mean bosses, and tired workers–not to mention a Ouija board, a talking chair, and a big pot called “the state.” Before they know it, readers are learning about the economic history of feudalism, class struggles in capitalism, different ideas of communism, and more. Finally, competition between two factories leads to a crisis that the workers attempt to solve in six different ways (most of them borrowed from historic models of communist or socialist change). Each attempt fails, since true communism is not so easy after all. But it's also not that hard. At last, the people take everything into their own hands and decide for themselves how to continue. Happy ending? Only the future will tell. With an epilogue that goes deeper into the theoretical issues behind the story, this book is perfect for all ages and all who desire a better world.

Innovating is for doers: you don't need to wait for an earth-shattering idea, but can build one with a hunch and scale it up to impact.Innovation is the subject of countless books and courses, but there's very little out there about how you actually innovate. Innovation and entrepreneurship are not one and the same, although aspiring innovators often think of them that way. They are told to get an idea and a team and to build a show-and-tell for potential investors. In Innovating, Luis Perez-Breva describes another approach―a doer's approach developed over a decade at MIT and internationally in workshops, classes, and companies. He shows that to start innovating it doesn't require an earth-shattering idea; all it takes is a hunch. Anyone can do it. By prototyping a problem and learning by being wrong, innovating can be scaled up to make an impact. As Perez-Breva demonstrates, "no thing is new" at the outset of what we only later celebrate as innovation.In Innovating, the process―illustrated by unique and dynamic artwork―is shown to be empirical, experimental, nonlinear, and incremental. You give your hunch the structure of a problem. Anything can be a part. Your innovating accrues other people's knowledge and skills. Perez-Breva describes how to create a kit for innovating, and outlines questions that will help you think in new ways. Finally, he shows how to systematize what you've learned: to advocate, communicate, scale up, manage innovating continuously, and document―“you need a notebook to converse with yourself,” he advises. Everyone interested in innovating also needs to read this book.

A catalog of wonders, from walking fish to self-medicating chimpanzees.This Atlas of Poetic Zoology leads readers into a world of wonders where turtles fly under the sea, lizards walk on water, insects impersonate flowers, birds don't fly, frogs come back from the dead, and virgin sharks give birth. Animals, writes Emmanuelle Pouydebat, are lyric poets; they discover and shape the world when they sing, dance, explore, and reproduce. The animal kingdom has been evolving for millions of years, weathering many crises of extinction; this book allows us to draw inspiration from animals' enduring vitality.Pouydebat's text, accompanied by striking color illustrations by artist Julie Terrazzoni, offers a catalog of wondrous beings. Pouydebat describes the African bush elephant―the biggest land mammal of them all, but the evolutionary descendant of a tiny animal that stood less than fifty centimeters (nineteen inches) high sixty million years ago; the scaly, toothless pangolin, the world's most endangered mammal―and perhaps its most atypical; the red-lipped batfish, which walks, rather than swims, across the ocean floor; and the great black cockatoo, a gifted percussionist. Chimpanzees, she tells us, self-medicate with medicinal plants; the jellyfish, under stress, reverts to juvenile polyp-hood; and the sweetly named honey badger feeds on reptiles, termites, scorpions, and earthworms. Pouydebat, a researcher at the French Museum of Natural History, and Terrazzoni capture the astonishment promised by any excursion into nature―the happiness that comes from watching a dragonfly, spider, frog, lizard, elephant, parrot, mouse, orangutan, or ladybug. It's the joy of witnessing life itself. We need only open our eyes to see.

An industry insider explains why there is so much bad software―and why academia doesn't teach programmers what industry wants them to know.Why is software so prone to bugs? So vulnerable to viruses? Why are software products so often delayed, or even canceled? Is software development really hard, or are software developers just not that good at it? In The Problem with Software, Adam Barr examines the proliferation of bad software, explains what causes it, and offers some suggestions on how to improve the situation.For one thing, Barr points out, academia doesn't teach programmers what they actually need to know to do their jobs: how to work in a team to create code that works reliably and can be maintained by somebody other than the original authors. As the size and complexity of commercial software have grown, the gap between academic computer science and industry has widened. It's an open secret that there is little engineering in software engineering, which continues to rely not on codified scientific knowledge but on intuition and experience. Barr, who worked as a programmer for more than twenty years, describes how the industry has evolved, from the era of mainframes and Fortran to today's embrace of the cloud. He explains bugs and why software has so many of them, and why today's interconnected computers offer fertile ground for viruses and worms. The difference between good and bad software can be a single line of code, and Barr includes code to illustrate the consequences of seemingly inconsequential choices by programmers. Looking to the future, Barr writes that the best prospect for improving software engineering is the move to the cloud. When software is a service and not a product, companies will have more incentive to make it good rather than “good enough to ship."