Assia Boundaoui, a fellow at the MIT Open Documentary Lab, writes for The Los Angeles Times about her experience as a Muslim American filmmaker. “Despite the many ways we have been marginalized within the film industry, Muslim and Middle Eastern filmmakers will continue to tell our stories – stories where our humanity is assumed, not a subject of debate,” writes Boundaoui.
Boston Globe reporter Peter Keough spotlights artist JR’s new documentary “Paper and Glue,” which will be screened at the MIT List Visual Arts Center on Jan. 20. “JR takes on trouble spots around the globe, where he involves oppressed communities in creating the blown-up, immersive photo installations that are his oeuvre and which make a strong case that art can” change the world, writes Keough.
WBUR reporter Pamela Reynolds spotlights a new exhibit of Sharona Franklin’s work, which will be on display at the MIT List Visual Arts Center this coming February. “Franklin presents a new installation combining the themes of chronic illness with bioethics, environmental harm and holistic approaches to healthcare,” writes Reynolds.
MIT startup Formlabs has announced a new pair of 3D printers featuring an exposure and printing speed increase that is up to 40% faster than previous models, reports Brian Heater for TechCrunch. “The Form 3+ is the next iteration designed to help users go from idea to part in hand as quickly and easily as possible,” says CEO Max Lobovsky MS ’11.
Gramophone contributor Laurence Vittes spotlights Prof. Tod Machover’s “Death and the Powers,” an opera about robots and humans that has recently been released as an “electrifying surround-sound thriller.” Vittes writes that “Machover’s arsenal of music stands triumphantly on its own, fusing and defusing technoflash from the composer’s MIT Media Lab with rich writing for Gil Rose’s Boston Modern Orchestra ensemble.”
The Boston Globe highlights three new exhibits on display at the MIT List Visual Arts Center. New installations include “Andrew Norman’s two video pieces ‘Impersonator’ (2021) and ‘Kodak’ (2019); Sreshta Rit Premnath’s sculpture show ‘Grave/Grove’; and, in this era of stops and starts as we lurch from lockdown to reopening, the serendipitously named ‘Begin Again, Again,’ by the pioneering video artist Leslie Thornton.”
Graduate student Olumakinde “Makinde” Ogunnaike and Josh Sariñana PhD ’11 join Boston Public Radio to discuss The Poetry of Science, an initiative that brought together artists and scientists of color to help translate complex scientific research through art and poetry. “Science is often a very difficult thing to penetrate,” says Sariñana. “I thought poetry would be a great way to translate the really abstract concepts into more of an emotional complexity of who the scientists actually are.”
In a new exhibit by Sreshta Rit Premnath, currently on display at MIT’s List Visual Arts Center, “nine pieces perform as a sort of breviloquent visual haiku, touching on pressing social themes outside museum walls,” reports Pamela Reynolds for WBUR. “I’m very aware that the area that I'm living in always enters into my work, sometimes in more abstract ways,” says Premnath.
New York Times Style Magazine reporter Zoë Lescaze explores the work of artist Agnieszka Kurant and her new installation at MIT. “Looping black lines composed of high-tech lights were designed to simulate the flow of ink scrawl across the facades of two new buildings, as though an invisible hand were repeatedly signing the walls,” writes Lescaze. “Kurant worked with computer scientists to create two collective signatures — one for the scientific and academic community at MIT and another for Cambridge residents.”
MIT researchers have developed a new fiber, dubbed OmniFibers, that could potentially be used to help regulate breath, reports Ray White for Mashable. “When sewn into clothing, the fiber can sense how much it’s stretched. It then gives tactile feedback to the wearer via pressure, stretch or vibration.”
Times Higher Ed reporter Rosa Ellis writes that MIT took second place in the World University Rankings 2022 for arts and humanities. Agustín Rayo, interim dean of SHASS, and Hashim Sarkis, dean of SA+P, write that the humanities, “have an essential research role in problem-solving major civilisational issues” and they also “reliably contribute to well-being and a well-lived life.”
Writing for Times Higher Ed, Agustín Rayo, interim dean of MIT’s School of Humanities, Arts and Social Sciences, and Hashim Sarkis, dean of the School of Architecture and Planning, underscore the importance of the arts, humanities, and design fields as “an essential part of an MIT education, critical to the Institute’s capacity for innovation and vital to its mission to make a better world." They add that "the MIT mission is to serve humankind, and the arts and humanities are essential resources for knowledge and understanding of the human condition.”
Xin Liu SM ’17, art curator for the Media Lab’s Space Exploration Initiative, speaks with Los Angeles Times reporter Deborah Vankin about her work “Living Distance,” which is on display as part of the “Synthetic Wilderness” installation at Culver City’s Honor Fraser Gallery. “‘Living Distance’ is both a personal fantasy and a serious space mission,” says Liu. “A wisdom tooth is sent to outer space and back down to Earth again. Carried by the crystalline robotic sculpture, the tooth becomes a newborn entity in outer space.”
The MIT List Visual Arts Center has reopened with three new exhibitions, reports Riana Buchman for The Boston Globe. The new installation includes “Andrew Norman Wilson’s two video pieces ‘Impersonator’ (2021) and ‘Kodak’ (2019); Sreshta Rit Premnath’s sculpture show ‘Grave/Grove’; and, in this era of stops and starts as we lurch from lockdown to reopening, the serendipitously named ‘Begin Again, Again,’ by the pioneering video artist Leslie Thornton.”
Erin Genia ‘19 a multidisciplinary artist, has been honored as one of The ARTery 25, which highlights artists of color in the Greater Boston area who stand out for the work they are making, reports WBUR. “Genia, a tribal member of the Sisseton-Wahpeton Oyate of South Dakota, sees her artistic mission as one of many efforts to make up for the centuries of assimilation and cultural repression.”