Books in the The MIT Press series

In this book, ten prominent economists—including Nobel laureates and several likely laureates—offer their ideas about what the future might hold in 100 years.This pithy and engaging volume shows that economists may be better equipped to predict the future than science fiction writers. Economists' ideas, based on both theory and practice, reflect their knowledge of the laws of human interactions as well as years of experimentation and reflection. Although perhaps not as screenplay-ready as a work of fiction, these economists' predictions are ready for their close-ups. In this book, ten prominent economists—including Nobel laureates and several likely laureates—offer their ideas about the world of the twenty-second century.In scenarios that range from the optimistic to the guardedly gloomy, these thinkers consider such topics as the transformation of work and wages, the continuing increase in inequality, the economic rise of China and India, the endlessly repeating cycle of crisis and (projected) recovery, the benefits of technology, the economic consequences of political extremism, and the long-range effects of climate change. For example, 2013 Nobelist Robert Shiller provides an innovative view of future risk management methods using information technology; and Martin Weitzman raises the intriguing but alarming possibility of using geoengineering techniques to mitigate the inevitable effects of climate change.Contributors Daron Acemoglu, Angus Deaton, Avinash K. Dixit, Edward L. Glaeser, Andreu Mas-Colell, John E. Roemer, Alvin E. Roth, Robert J. Shiller, Robert M. Solow, Martin L. Weitzman

The MIT Sloan School of Management perspective on future management challenges.

How xerography became a creative medium and political tool, arming artists and activists on the margins with an accessible means of making their messages public. This is the story of how the xerographic copier, or "Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York's downtown art and punk scenes of the 1970s to 1990s, arguing that xerography—including photocopied posters, mail art, and zines—changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine's gritty, DIY aesthetics into international art markets.Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.

An account of the movement for sustainable development in Ecuador through four eras: movement origins, neoliberal boom, neoliberal bust, and citizens' revolution.

A lucid and wide-ranging meditation on why photography is unique among the picture-making arts.

A generously illustrated volume that documents the career of Jason Rohrer, one of the most heralded art game designers working today.A maker of visually elegant and conceptually intricate games, Jason Rohrer is among the most widely heralded art game designers in the short but vibrant history of the field. His games range from the elegantly simple to others of almost Byzantine complexity. Passage (2007)—acquired by the Museum of Modern Art in New York—uses game rules and procedurals to create a contemporary memento mori that captures an entire lifetime in five minutes. In Chain World (2011), each subsequent player of the game's single copy modifies the rules of the universe. A Game for Someone (2013) is a board game sealed in a box and buried in the Mojave Desert, with a list of one million potential sites distributed to Rohrer's fan base. (Rohrer estimated that it would take two millennia of constant searching to find the game.) With Chain World and A Game for Someone, Rohrer became the first designer to win the prestigious Game Challenge Design award twice.This book, and the exhibition it accompanies, offers a comprehensive account of the artist's oeuvre. The book documents all seventeen of Rohrer's finished games, as well as sketches, ephemera, and related material, with color images throughout. It includes entries on individual games (with code in footnotes), artist interviews, artist writings, commentary by high scorers, and interpretive texts. Two introductory essays view Rohrer's work in the contexts of game studies and art history. ExhibitionThe Davis Museum at Wellesley College February-June 2016

A comprehensive assessment and analysis of the validity, trustworthiness, and effectiveness, of such environmental ratings as ENERGY STAR, LEED, and USDA Organic.

Annuity insurance products help protect retirees against outliving their incomes.