New Books in Technology

Increasingly, it seems like the corporate names that dominate headlines are much more diverse than they used to be. Samsung, TSMC, and SK Hynix. Alibaba and Tencent; BYD and DeepSeek. Sea and Grab.
For twenty-five years, it seems like every major technology was American . That assumption is now under strain as innovation spreads from one place to many.
Mehran Gul tries to map out this new network in his book The New Geography of Innovation: The Global Contest for Breakthrough Technologies (Simon and Schuster, 2026). From China's startlingly messy AI ecosystem to Singapore's government-led innovation, from South Korea's decades-old conglomerates still at the frontier to India's world-class talent that too often works abroad; from Europe's struggle to hold on to its best companies, to the deeper role of the state everywhere—including in Silicon Valley—and why the United States, far from declining, is extending its lead into a genuinely bipolar technological order.
Mehran is a winner of the Financial Times/McKinsey Bracken Bower Prize. He attended Yale where he was a Fulbright Scholar, Fox International Fellow, and Teaching Fellow. He has been a Lead for the Digital Transformation of Industries at the World Economic Forum and an expert on Higher Education, Entrepreneurship, and Industrial Policy at the United Nations Industrial Development Organization. Before Yale, he studied at the Lahore University of Management Sciences. He has been a visiting scholar at the Jawaharlal Nehru University in New Delhi and a Fellow with the Acumen Fund.
You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of The New Geography of Innovation. Follow on Twitter at @BookReviewsAsia.
Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon.

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We are in a state of crisis. Democracy is under threat, authoritarian politics are on the rise, and digital media—once heralded as emancipatory technologies—are increasingly implicated in democratic erosion. The Discursive-Digital Link offers a critical framework for understanding the entangled relationships between discourse, digital media, and the hidden dynamics behind antagonism and polarisation.
The Discursive-Digital Link: Antagonism and Polarisation in Digital Spaces (Routledge, 2025) presents a fluid social ontology that theorises how discourses and digital communication technologies are inseparably entangled, and how this entanglement contributes to the formation of complex hierarchical relations. Drawing on discourse theory and new materialist perspectives, Dehghan maps how the various components of the discursive-digital link—users, collectives, identities, the medium’s design, underlying neoliberal capitalist logics, and structural power dynamics—together shape antagonistic frontiers in digital spaces. Through detailed case studies across multiple digital media, Dehghan demonstrates how these entanglements manifest through different articulatory logics that could transform societies towards either agonistic progress or disastrous polarisation.
By revealing the logics of discursive-digital alliances and active passivity, Dehghan provides critical insights for academics, activists, and anyone seeking to foster progressive togetherness. The Discursive-Digital Link offers a powerful theoretical framework and methodology for analysing digitally mediated communication. It challenges monolithic understandings of polarisation, technological solutionism, and symptom-focused approaches, instead advocating for radical structural interventions across all entangled components of the discursive-digital link—a necessary shift in both academic research and progressive political strategy to address the democratic crises of our time.

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When I heard that Leo XIV’s first encyclical, “Magnifica Humanitas,” was about “Safeguarding the Human Person in the Time of Artificial Intelligence,” my first reaction was dread. Turns out I was wrong; always something new out of Chicago.....
This is an experiment (akin to Books in Dark Times and Recall This Story and Recall This B-Side and to JP's earlier Hannah Arendt articles) in soliloquy. You can consult footnotes and read a transcript by heading back to the article in its original form here.

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In this episode of International Horizons, host John Torpey sits with Pepper Culpepper, Blavatnik Professor of Government and Public Policy at the University of Oxford, to explore the core thesis of his recent book, Billionaire Backlash: The Age of Corporate Scandal and How It Could Save Democracy (co-authored with Taeku Lee).
Drawing historical parallels to the American Progressive Era and the trust-busting of the early 20th century, Culpepper explains how corporate missteps act as catalysts for public action. The discussion delves into the concept of "latent opinion"—the submerged, widespread unease regarding corporate power, tech monopolies, and unchecked wealth that may be missed by conventional polling endeavors — and how high-profile scandals mobilize this sentiment into concrete regulatory reform. From the fiasco of Cambridge Analytica and controversies over AI data centers to the rising political tension surrounding billionaires, this conversation offers a nuanced, "possibilist" framework for how public outrage can revitalize democratic institutions and establish essential guardrails for modern capitalism.

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Debates about AI typically deal with its immediate material consequences, from cybersecurity and infrastructure to plagiarism and copyright. Yet most people deal with AI as a generative consumer product that raises longer-term questions about its cultural effects on American society, human art, and ultimately, our souls. What is the role of the artist, for example, when a bot can crank out the same thing more quickly and efficiently?
To help answer that question, as we continue Season 6, I have as our guest the playwright, novelist, and essayist Matthew Gasda. The author of the novels The Sleepers (2025) and Stranger Beauty (2026), he has written, produced, and directed over thirty plays, including Dimes Square, Zoomers, and Doomers, with his former production company, The Center for Theatre Research.
Today, drawing on his upcoming book, Futurepast (Encounter Books 2026), alongside Stranger Beauty, his many essays on culture and technology, as well as his Ted Talk about training an LLM on his own works, we discuss the future of the creative arts in the AI age.
We also touch upon the paradoxes of Jorge-Luis Borges, Harold Bloom’s literary criticism, what is different about large language models, why Kafka felt older than his predecessors, the mysteries of poetic inspiration and of the soul, what hosting live theater was like during the pandemic, the possibility of secular monasteries, how to use AI as a competitor to root out artistic complacency, and the unpredictable prospects for cultural renewal.
Hosted by Ryan Shinkel, Madison’s Notes is the podcast of Princeton University’s James Madison Program in American Ideals and Institutions. The transcript for this interview is available on the JMP substack page, “Madison’s Footnotes.

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