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When Indian policymakers decided which foreign companies could operate in their country, they were not just running economic calculations. They were making moral judgments.

That is the central argument of a new book by Jason Jackson, associate professor of political economy and urban planning in MIT's Department of Urban Studies and Planning (@mitdusp). In "Traders, Specculators, and Captains of Industry: How Capitalist Legitimacy Shaped Foreign Investment Policy in India," published by Harvard University Press (@harvardpress), Jackson traces how Indian policymakers evaluated firms, both foreign and domestic, through what he calls "moral categories of capitalist legitimacy." Would a company invest in local technology? Provide good jobs? Or would it extract resources and leave little behind?

The book draws on archival research and fieldwork to show how these moral frameworks, rooted in the legacy of colonial-era exploitation, shaped some of India's most consequential economic policy decisions, including the expulsion of Coca-Cola and IBM in the 1970s for failing to comply with technology transfer requirements.

"India is an exemplary case of ways in which moral beliefs shape economic policy decisions," Jackson says. "But at the same time, I think it's representative of a general feature of capitalism."

The book contributes to ongoing debates about economic nationalism, industrial policy, and globalization, and arrives at a moment when governments around the world are once again weighing the costs and benefits of foreign investment.

🔗 More at the link in bio.

@mit @mitsap @mitdusp @harvardpress

When Indian policymakers decided which foreign companies could operate in their country, they were not just running economic calculations. They were making moral judgments.

That is the central argument of a new book by Jason Jackson, associate professor of political economy and urban planning in MIT's Department of Urban Studies and Planning (@mitdusp). In "Traders, Specculators, and Captains of Industry: How Capitalist Legitimacy Shaped Foreign Investment Policy in India," published by Harvard University Press (@harvardpress), Jackson traces how Indian policymakers evaluated firms, both foreign and domestic, through what he calls "moral categories of capitalist legitimacy." Would a company invest in local technology? Provide good jobs? Or would it extract resources and leave little behind?

The book draws on archival research and fieldwork to show how these moral frameworks, rooted in the legacy of colonial-era exploitation, shaped some of India's most consequential economic policy decisions, including the expulsion of Coca-Cola and IBM in the 1970s for failing to comply with technology transfer requirements.

"India is an exemplary case of ways in which moral beliefs shape economic policy decisions," Jackson says. "But at the same time, I think it's representative of a general feature of capitalism."

The book contributes to ongoing debates about economic nationalism, industrial policy, and globalization, and arrives at a moment when governments around the world are once again weighing the costs and benefits of foreign investment.

🔗 More at the link in bio.

@mit @mitsap @mitdusp @harvardpress

When Indian policymakers decided which foreign companies could operate in their country, they were not just running economic calculations. They were making moral judgments.

That is the central argument of a new book by Jason Jackson, associate professor of political economy and urban planning in MIT's Department of Urban Studies and Planning (@mitdusp). In "Traders, Specculators, and Captains of Industry: How Capitalist Legitimacy Shaped Foreign Investment Policy in India," published by Harvard University Press (@harvardpress), Jackson traces how Indian policymakers evaluated firms, both foreign and domestic, through what he calls "moral categories of capitalist legitimacy." Would a company invest in local technology? Provide good jobs? Or would it extract resources and leave little behind?

The book draws on archival research and fieldwork to show how these moral frameworks, rooted in the legacy of colonial-era exploitation, shaped some of India's most consequential economic policy decisions, including the expulsion of Coca-Cola and IBM in the 1970s for failing to comply with technology transfer requirements.

"India is an exemplary case of ways in which moral beliefs shape economic policy decisions," Jackson says. "But at the same time, I think it's representative of a general feature of capitalism."

The book contributes to ongoing debates about economic nationalism, industrial policy, and globalization, and arrives at a moment when governments around the world are once again weighing the costs and benefits of foreign investment.

🔗 More at the link in bio.

@mit @mitsap @mitdusp @harvardpress

New research from MIT's Center for Constructive Communication (@cccxmit), based at the MIT Media Lab (@mitmedialab), finds that leading AI chatbots may perform worse for the very users who stand to benefit from them most.

The study tested how state-of-the-art models responded to questions from users described as having lower English proficiency, less formal education, or origins outside the United States. Across all models and datasets, researchers found significant drops in accuracy for these users. The effects were most pronounced at the intersection of these traits, with users who were both non-native English speakers and less formally educated seeing the largest declines in response quality.

Models also refused to answer questions at higher rates for vulnerable users, and in some cases responded with condescending or patronizing language, or withheld correct answers that were provided to other users.

"The people who may rely on these tools the most could receive subpar, false, or even harmful information," says lead author Elinor Poole-Dayan SM '25.

The findings mirror documented patterns of human sociocognitive bias, and carry particular implications as AI personalization features become more widespread. As CCC Director and Professor of Media Arts and Sciences Deb Roy notes, the study is a reminder of how important it is to continually assess systematic biases that can quietly slip into these systems.

🔗 More at the link in bio.

@mit @mitsap @mitmedialab

New research from MIT's Center for Constructive Communication (@cccxmit), based at the MIT Media Lab (@mitmedialab), finds that leading AI chatbots may perform worse for the very users who stand to benefit from them most.

The study tested how state-of-the-art models responded to questions from users described as having lower English proficiency, less formal education, or origins outside the United States. Across all models and datasets, researchers found significant drops in accuracy for these users. The effects were most pronounced at the intersection of these traits, with users who were both non-native English speakers and less formally educated seeing the largest declines in response quality.

Models also refused to answer questions at higher rates for vulnerable users, and in some cases responded with condescending or patronizing language, or withheld correct answers that were provided to other users.

"The people who may rely on these tools the most could receive subpar, false, or even harmful information," says lead author Elinor Poole-Dayan SM '25.

The findings mirror documented patterns of human sociocognitive bias, and carry particular implications as AI personalization features become more widespread. As CCC Director and Professor of Media Arts and Sciences Deb Roy notes, the study is a reminder of how important it is to continually assess systematic biases that can quietly slip into these systems.

🔗 More at the link in bio.

@mit @mitsap @mitmedialab

New research from MIT's Center for Constructive Communication (@cccxmit), based at the MIT Media Lab (@mitmedialab), finds that leading AI chatbots may perform worse for the very users who stand to benefit from them most.

The study tested how state-of-the-art models responded to questions from users described as having lower English proficiency, less formal education, or origins outside the United States. Across all models and datasets, researchers found significant drops in accuracy for these users. The effects were most pronounced at the intersection of these traits, with users who were both non-native English speakers and less formally educated seeing the largest declines in response quality.

Models also refused to answer questions at higher rates for vulnerable users, and in some cases responded with condescending or patronizing language, or withheld correct answers that were provided to other users.

"The people who may rely on these tools the most could receive subpar, false, or even harmful information," says lead author Elinor Poole-Dayan SM '25.

The findings mirror documented patterns of human sociocognitive bias, and carry particular implications as AI personalization features become more widespread. As CCC Director and Professor of Media Arts and Sciences Deb Roy notes, the study is a reminder of how important it is to continually assess systematic biases that can quietly slip into these systems.

🔗 More at the link in bio.

@mit @mitsap @mitmedialab

New research from MIT's Center for Constructive Communication (@cccxmit), based at the MIT Media Lab (@mitmedialab), finds that leading AI chatbots may perform worse for the very users who stand to benefit from them most.

The study tested how state-of-the-art models responded to questions from users described as having lower English proficiency, less formal education, or origins outside the United States. Across all models and datasets, researchers found significant drops in accuracy for these users. The effects were most pronounced at the intersection of these traits, with users who were both non-native English speakers and less formally educated seeing the largest declines in response quality.

Models also refused to answer questions at higher rates for vulnerable users, and in some cases responded with condescending or patronizing language, or withheld correct answers that were provided to other users.

"The people who may rely on these tools the most could receive subpar, false, or even harmful information," says lead author Elinor Poole-Dayan SM '25.

The findings mirror documented patterns of human sociocognitive bias, and carry particular implications as AI personalization features become more widespread. As CCC Director and Professor of Media Arts and Sciences Deb Roy notes, the study is a reminder of how important it is to continually assess systematic biases that can quietly slip into these systems.

🔗 More at the link in bio.

@mit @mitsap @mitmedialab

New research from MIT's Center for Constructive Communication (@cccxmit), based at the MIT Media Lab (@mitmedialab), finds that leading AI chatbots may perform worse for the very users who stand to benefit from them most.

The study tested how state-of-the-art models responded to questions from users described as having lower English proficiency, less formal education, or origins outside the United States. Across all models and datasets, researchers found significant drops in accuracy for these users. The effects were most pronounced at the intersection of these traits, with users who were both non-native English speakers and less formally educated seeing the largest declines in response quality.

Models also refused to answer questions at higher rates for vulnerable users, and in some cases responded with condescending or patronizing language, or withheld correct answers that were provided to other users.

"The people who may rely on these tools the most could receive subpar, false, or even harmful information," says lead author Elinor Poole-Dayan SM '25.

The findings mirror documented patterns of human sociocognitive bias, and carry particular implications as AI personalization features become more widespread. As CCC Director and Professor of Media Arts and Sciences Deb Roy notes, the study is a reminder of how important it is to continually assess systematic biases that can quietly slip into these systems.

🔗 More at the link in bio.

@mit @mitsap @mitmedialab

New research from MIT's Center for Constructive Communication (@cccxmit), based at the MIT Media Lab (@mitmedialab), finds that leading AI chatbots may perform worse for the very users who stand to benefit from them most.

The study tested how state-of-the-art models responded to questions from users described as having lower English proficiency, less formal education, or origins outside the United States. Across all models and datasets, researchers found significant drops in accuracy for these users. The effects were most pronounced at the intersection of these traits, with users who were both non-native English speakers and less formally educated seeing the largest declines in response quality.

Models also refused to answer questions at higher rates for vulnerable users, and in some cases responded with condescending or patronizing language, or withheld correct answers that were provided to other users.

"The people who may rely on these tools the most could receive subpar, false, or even harmful information," says lead author Elinor Poole-Dayan SM '25.

The findings mirror documented patterns of human sociocognitive bias, and carry particular implications as AI personalization features become more widespread. As CCC Director and Professor of Media Arts and Sciences Deb Roy notes, the study is a reminder of how important it is to continually assess systematic biases that can quietly slip into these systems.

🔗 More at the link in bio.

@mit @mitsap @mitmedialab

New research from MIT's Center for Constructive Communication (@cccxmit), based at the MIT Media Lab (@mitmedialab), finds that leading AI chatbots may perform worse for the very users who stand to benefit from them most.

The study tested how state-of-the-art models responded to questions from users described as having lower English proficiency, less formal education, or origins outside the United States. Across all models and datasets, researchers found significant drops in accuracy for these users. The effects were most pronounced at the intersection of these traits, with users who were both non-native English speakers and less formally educated seeing the largest declines in response quality.

Models also refused to answer questions at higher rates for vulnerable users, and in some cases responded with condescending or patronizing language, or withheld correct answers that were provided to other users.

"The people who may rely on these tools the most could receive subpar, false, or even harmful information," says lead author Elinor Poole-Dayan SM '25.

The findings mirror documented patterns of human sociocognitive bias, and carry particular implications as AI personalization features become more widespread. As CCC Director and Professor of Media Arts and Sciences Deb Roy notes, the study is a reminder of how important it is to continually assess systematic biases that can quietly slip into these systems.

🔗 More at the link in bio.

@mit @mitsap @mitmedialab

Louise Yeung, MIT's Department of Urban Studies and Planning (@mitdusp) alumna, is New York City's new climate chief, appointed by Mayor Zohran Mamdani (@nycmayor) in January to lead the Mayor's Office of Climate and Environmental Justice.

For Yeung, the climate crisis and the affordability crisis are inseparable. Flooded basements, soaring energy bills, heat-related hospital visits: "The climate crisis is inextricably linked to the affordability crisis," she told The New York Times (@nytimes).

Her agenda spans immediate needs and long-term planning, from protecting rent-regulated apartments already at risk from flooding, to making utility rate cases more transparent and accessible for working New Yorkers, to neighborhood planning workshops that invite communities to shape a shared vision for the city's future.

Yeung's first job in New York, in 2016, was managing a multibillion-dollar project to protect Lower Manhattan from coastal flooding. Three mayoral administrations later, it is still years from completion.

"Working in climate change always has this tension of urgency and time scale," she says.

📰 Read the full profile in The New York Times at the link in bio.
📷 Vincent Alban / The New York Times

@mit @mitsap @mitdusp @nytimes @mitalumni

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

A big round of applause for MIT graduate students Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27, who are the 2026 recipients of the Harold and Arlene Schnitzer Prize in the Visual Arts! 🥳

Allred designs interactive environments that turn solitary acts like drawing and weaving into collaborative ones, with work featured at the Kaunas Biennale. Payne builds architectural models and culinary devices that draw on overlooked histories, including a model evoking the vanished world of Southern juke joints. Stringham creates real-time visuals through live coding, performing in venues around the world using Murrelet, an open-source framework they built. And White fabricates objects that subvert material expectations, like baseball bats finished in industrial lacquer and chairs made from steel strips destined for kitchen sinks.

The winners’ work will be featured in an upcoming Wiesner Student Art Gallery exhibition.

📸 Images courtesy of the artists
🔗 Read more about the winners at the link in bio

#artsatmit #thisismit #schnitzer #visualarts #studentart

What if the calmness of your mind could become visible through water, light, and vibration?🧘🏽‍♂️🧘🏽‍♀️✨ Grateful to Geshe Tenley from Kurukulla Center for Tibetan Buddhist Studies to be part of this project.

#meditation #vibration #mindandmatter #mindfulness #reflectiveart 📸 @yuxiang.step @realxdd44

What if the calmness of your mind could become visible through water, light, and vibration?🧘🏽‍♂️🧘🏽‍♀️✨ Grateful to Geshe Tenley from Kurukulla Center for Tibetan Buddhist Studies to be part of this project.

#meditation #vibration #mindandmatter #mindfulness #reflectiveart 📸 @yuxiang.step @realxdd44

What if the calmness of your mind could become visible through water, light, and vibration?🧘🏽‍♂️🧘🏽‍♀️✨ Grateful to Geshe Tenley from Kurukulla Center for Tibetan Buddhist Studies to be part of this project.

#meditation #vibration #mindandmatter #mindfulness #reflectiveart 📸 @yuxiang.step @realxdd44

What if the calmness of your mind could become visible through water, light, and vibration?🧘🏽‍♂️🧘🏽‍♀️✨ Grateful to Geshe Tenley from Kurukulla Center for Tibetan Buddhist Studies to be part of this project.

#meditation #vibration #mindandmatter #mindfulness #reflectiveart 📸 @yuxiang.step @realxdd44

What if the calmness of your mind could become visible through water, light, and vibration?🧘🏽‍♂️🧘🏽‍♀️✨ Grateful to Geshe Tenley from Kurukulla Center for Tibetan Buddhist Studies to be part of this project.

#meditation #vibration #mindandmatter #mindfulness #reflectiveart 📸 @yuxiang.step @realxdd44

What if the calmness of your mind could become visible through water, light, and vibration?🧘🏽‍♂️🧘🏽‍♀️✨ Grateful to Geshe Tenley from Kurukulla Center for Tibetan Buddhist Studies to be part of this project.

#meditation #vibration #mindandmatter #mindfulness #reflectiveart 📸 @yuxiang.step @realxdd44

What if the calmness of your mind could become visible through water, light, and vibration?🧘🏽‍♂️🧘🏽‍♀️✨ Grateful to Geshe Tenley from Kurukulla Center for Tibetan Buddhist Studies to be part of this project.

#meditation #vibration #mindandmatter #mindfulness #reflectiveart 📸 @yuxiang.step @realxdd44

Beneath the streets of Querétaro, a 16th-century water system has been buried and forgotten for centuries. Invisible Infrastructures, on view at the Regional Museum of Querétaro (@museoregionalqro) through May 2026, brings it back to the surface.

The exhibition is the work of Chucho Ocampo (SMACT '21, @chuchocampo), whose interdisciplinary research project used Ground Penetrating Radar to map the Acequia Madre, a hydraulic infrastructure that supplied the city with drinking water for hundreds of years before being abandoned and buried beneath the historic city center.

Working with dérive lab, the Geosystems Mechanics Laboratory and Rock Physics Laboratory of UNAM's Institute of Geosciences, and the Regional Museum of Querétaro, Ocampo combines geophysical fieldwork, archival research, and sculptural interfaces inspired by ancient measuring instruments to examine what lies beneath our cities and what it tells us about how we manage water today.

The ground we walk on is composed of layers of history. This project asks what happens when we look.

📸 Image credit: Chucho Ocampo, Invisible Infrastructures, 2025. Courtesy of the artist.
🔗 Digital interface accessible at the link in bio.

@mit @mitsap @artsatmit @actmit @mitalumni

Beneath the streets of Querétaro, a 16th-century water system has been buried and forgotten for centuries. Invisible Infrastructures, on view at the Regional Museum of Querétaro (@museoregionalqro) through May 2026, brings it back to the surface.

The exhibition is the work of Chucho Ocampo (SMACT '21, @chuchocampo), whose interdisciplinary research project used Ground Penetrating Radar to map the Acequia Madre, a hydraulic infrastructure that supplied the city with drinking water for hundreds of years before being abandoned and buried beneath the historic city center.

Working with dérive lab, the Geosystems Mechanics Laboratory and Rock Physics Laboratory of UNAM's Institute of Geosciences, and the Regional Museum of Querétaro, Ocampo combines geophysical fieldwork, archival research, and sculptural interfaces inspired by ancient measuring instruments to examine what lies beneath our cities and what it tells us about how we manage water today.

The ground we walk on is composed of layers of history. This project asks what happens when we look.

📸 Image credit: Chucho Ocampo, Invisible Infrastructures, 2025. Courtesy of the artist.
🔗 Digital interface accessible at the link in bio.

@mit @mitsap @artsatmit @actmit @mitalumni

Beneath the streets of Querétaro, a 16th-century water system has been buried and forgotten for centuries. Invisible Infrastructures, on view at the Regional Museum of Querétaro (@museoregionalqro) through May 2026, brings it back to the surface.

The exhibition is the work of Chucho Ocampo (SMACT '21, @chuchocampo), whose interdisciplinary research project used Ground Penetrating Radar to map the Acequia Madre, a hydraulic infrastructure that supplied the city with drinking water for hundreds of years before being abandoned and buried beneath the historic city center.

Working with dérive lab, the Geosystems Mechanics Laboratory and Rock Physics Laboratory of UNAM's Institute of Geosciences, and the Regional Museum of Querétaro, Ocampo combines geophysical fieldwork, archival research, and sculptural interfaces inspired by ancient measuring instruments to examine what lies beneath our cities and what it tells us about how we manage water today.

The ground we walk on is composed of layers of history. This project asks what happens when we look.

📸 Image credit: Chucho Ocampo, Invisible Infrastructures, 2025. Courtesy of the artist.
🔗 Digital interface accessible at the link in bio.

@mit @mitsap @artsatmit @actmit @mitalumni

Beneath the streets of Querétaro, a 16th-century water system has been buried and forgotten for centuries. Invisible Infrastructures, on view at the Regional Museum of Querétaro (@museoregionalqro) through May 2026, brings it back to the surface.

The exhibition is the work of Chucho Ocampo (SMACT '21, @chuchocampo), whose interdisciplinary research project used Ground Penetrating Radar to map the Acequia Madre, a hydraulic infrastructure that supplied the city with drinking water for hundreds of years before being abandoned and buried beneath the historic city center.

Working with dérive lab, the Geosystems Mechanics Laboratory and Rock Physics Laboratory of UNAM's Institute of Geosciences, and the Regional Museum of Querétaro, Ocampo combines geophysical fieldwork, archival research, and sculptural interfaces inspired by ancient measuring instruments to examine what lies beneath our cities and what it tells us about how we manage water today.

The ground we walk on is composed of layers of history. This project asks what happens when we look.

📸 Image credit: Chucho Ocampo, Invisible Infrastructures, 2025. Courtesy of the artist.
🔗 Digital interface accessible at the link in bio.

@mit @mitsap @artsatmit @actmit @mitalumni

Beneath the streets of Querétaro, a 16th-century water system has been buried and forgotten for centuries. Invisible Infrastructures, on view at the Regional Museum of Querétaro (@museoregionalqro) through May 2026, brings it back to the surface.

The exhibition is the work of Chucho Ocampo (SMACT '21, @chuchocampo), whose interdisciplinary research project used Ground Penetrating Radar to map the Acequia Madre, a hydraulic infrastructure that supplied the city with drinking water for hundreds of years before being abandoned and buried beneath the historic city center.

Working with dérive lab, the Geosystems Mechanics Laboratory and Rock Physics Laboratory of UNAM's Institute of Geosciences, and the Regional Museum of Querétaro, Ocampo combines geophysical fieldwork, archival research, and sculptural interfaces inspired by ancient measuring instruments to examine what lies beneath our cities and what it tells us about how we manage water today.

The ground we walk on is composed of layers of history. This project asks what happens when we look.

📸 Image credit: Chucho Ocampo, Invisible Infrastructures, 2025. Courtesy of the artist.
🔗 Digital interface accessible at the link in bio.

@mit @mitsap @artsatmit @actmit @mitalumni

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Mohamad Nahleh (SMArchS AD ’21) @mohamadn8
The Litani Basin in Lebanon: a metabolic conversion of politics into cancer

4.228Proseminar in Contemporary Urbanism
Instructor: @_rghosn
Teaching Assistant: @melgts_

An investigation into the Litani Basin as a contested, trans-scalar landscape where politics, infrastructure, ecology, and displacement are metabolized into spatial and bodily violence. Through drawings that move across river, aquifer, field, and settlement, the project plots territory as a living system shaped by extraction, contamination, corruption, and uneven development—forces that register as environmental and bodily harm, and as profoundly unequal conditions of survival.

Six technology sectors. One urgent question: Where does the U.S. need to invest to remain competitive, secure, and prosperous?

"Priority Technologies: Ensuring U.S. Security and Shared Prosperity" brings together MIT faculty to examine semiconductors, biotechnology, critical minerals, drones, quantum computing, and advanced manufacturing. The book, edited by Elisabeth Reynolds, Professor of the Practice in MIT's Department of Urban Studies and Planning (@mitdusp), grew out of a seminar she has taught with economist and Nobel laureate Simon Johnson, who wrote the foreword.

Contributors include Elsa Olivetti on critical minerals, J. Christopher Love on biomanufacturing, Fiona Murray on drones, and Jesús A. del Alamo on semiconductors, alongside Reynolds on advanced manufacturing and William D. Oliver and Jonathan Ruane on quantum computing.

Across each sector, a shared set of challenges emerges: Supply chain vulnerabilities, gaps between U.S. research leadership and domestic manufacturing capacity, and the need for sustained federal investment in the university research ecosystem that has long driven American innovation.

"In each of these areas, there are breakthroughs to be had, where the U.S. can leapfrog competitors and gain an advantage," Reynolds says. "These areas are front and center for U.S. national economic and security policy."

Published recently by MIT Press (@mitpress).

🔗 More at the link in bio.

@mit @mitsap

Six technology sectors. One urgent question: Where does the U.S. need to invest to remain competitive, secure, and prosperous?

"Priority Technologies: Ensuring U.S. Security and Shared Prosperity" brings together MIT faculty to examine semiconductors, biotechnology, critical minerals, drones, quantum computing, and advanced manufacturing. The book, edited by Elisabeth Reynolds, Professor of the Practice in MIT's Department of Urban Studies and Planning (@mitdusp), grew out of a seminar she has taught with economist and Nobel laureate Simon Johnson, who wrote the foreword.

Contributors include Elsa Olivetti on critical minerals, J. Christopher Love on biomanufacturing, Fiona Murray on drones, and Jesús A. del Alamo on semiconductors, alongside Reynolds on advanced manufacturing and William D. Oliver and Jonathan Ruane on quantum computing.

Across each sector, a shared set of challenges emerges: Supply chain vulnerabilities, gaps between U.S. research leadership and domestic manufacturing capacity, and the need for sustained federal investment in the university research ecosystem that has long driven American innovation.

"In each of these areas, there are breakthroughs to be had, where the U.S. can leapfrog competitors and gain an advantage," Reynolds says. "These areas are front and center for U.S. national economic and security policy."

Published recently by MIT Press (@mitpress).

🔗 More at the link in bio.

@mit @mitsap

The 2026 Student Art Awards celebrate nine artists whose work spans lighting design, live coding, fabrication, film scoring, vocal jazz, and more. ✨

Xinyu Xu ‘26 (@xinyuxu_) takes home the Louis Sudler Prize for her transformative lighting design in MIT Theater Arts productions. The Laya and Jerome B. Wiesner Student Art Awards go to Clay Lewis ‘26 (@_claylewis_), Andrea Marcano-Delgado PhD ‘26 (@andreanmarcano), Perry Naseck SM ‘25 (@perrynaseck), and Gloria Zhu ‘26 (@riazh_) for their wide-ranging contributions to MIT’s creative life. And the Harold and Arlene Schnitzer Prize in the Visual Arts honors Coco Allred SMACT ‘26 (@coco_allred), C Jacob Payne MArch ‘27 (@cjacobpayne), Jessica Stringham SM ‘26 (@_thisxorthat), and Harrison White MArch ‘27 for distinguished bodies of work in visual art, design, and interactive media.

🔗 Read more about all the winners at the link in bio

#artsatmit #thisismit #studentart #mitarts #studentartawards

Robots that can see through walls. Researchers at the MIT Media Lab have developed a new system that uses generative AI to reconstruct hidden 3D objects and entire indoor scenes from reflected wireless signals — the same type used in Wi-Fi.

The work, led by Fadel Adib (@fadeladib), associate professor in the Department of Electrical Engineering and Computer Science and director of the Signal Kinetics group (@mit_sk_lab) in the MIT Media Lab (@mitmedialab), addresses a longstanding limitation in wireless vision: because signals tend to reflect in a single direction, large portions of a hidden object's surface are effectively invisible to sensors. The new system, called Wave-Former, builds a partial reconstruction from those reflections and uses a specially trained generative AI model to fill in the rest, boosting accuracy by nearly 20 percent over existing approaches.

The team also developed an expanded system, called RISE, that reconstructs entire indoor scenes using reflections off humans moving through a room. A single stationary radar captures the signals, with no need for a mobile robot to scan the space, and without the privacy concerns associated with camera-based methods.

The applications are wide-ranging: from warehouse robots verifying packed items before shipping, to smart home systems that can locate someone in a room to improve safety and efficiency in human-robot interaction.

🔗 More at the link in bio.

@mit @mitsap

Robots that can see through walls. Researchers at the MIT Media Lab have developed a new system that uses generative AI to reconstruct hidden 3D objects and entire indoor scenes from reflected wireless signals — the same type used in Wi-Fi.

The work, led by Fadel Adib (@fadeladib), associate professor in the Department of Electrical Engineering and Computer Science and director of the Signal Kinetics group (@mit_sk_lab) in the MIT Media Lab (@mitmedialab), addresses a longstanding limitation in wireless vision: because signals tend to reflect in a single direction, large portions of a hidden object's surface are effectively invisible to sensors. The new system, called Wave-Former, builds a partial reconstruction from those reflections and uses a specially trained generative AI model to fill in the rest, boosting accuracy by nearly 20 percent over existing approaches.

The team also developed an expanded system, called RISE, that reconstructs entire indoor scenes using reflections off humans moving through a room. A single stationary radar captures the signals, with no need for a mobile robot to scan the space, and without the privacy concerns associated with camera-based methods.

The applications are wide-ranging: from warehouse robots verifying packed items before shipping, to smart home systems that can locate someone in a room to improve safety and efficiency in human-robot interaction.

🔗 More at the link in bio.

@mit @mitsap

Did your invite to the MET Gala get lost in the mail?

Don’t worry! Sunday, May 10, is your chance to join us for the MIT Gala—a fashion show of student-created looks!

Where fashion meets fabrication, the MIT Gala (@the_mitgala) returns as a one-of-a-kind celebration of creativity at the intersection of art, science, and design.

This event is open to the MIT community, and is sponsored by the Council for the Arts at MIT, the Department of Architecture, and the MIT Morningside Academy for Design (MAD).

🗓️ Sunday, May 10 | Runway 8–10pm
📍MIT Media Lab, 6th Floor
🎟️ Tickets $8
🔗 Learn more & Register: link in bio
(registration requires MIT login)

slide 1: The battery-operated Blade Bird designed by Robin Liu and modeled by Miho Koda. 2024 MIT Gala. Image: Daka

slide 2: Emily Pan’s rib skirt, modeled by Anna Chan, closely resembles human ribs, with a sternum and spine. 2024 MIT Gala. Image: Michelle Xiang

slide 3: Ball gown, modeled by Yihong Amy Chen, presented by Chris Schmidt-Hong on the runway at the 2024 MIT Gala. Image: Michelle Xiang

slide 4: Corset designed by Layla Stanton and sleeveless black dress by Aarushi Mehrotra at the 2024 MIT Gala. Image: Michelle Xiang

@the_mitgala | @mitsap | @artsatmit

Did your invite to the MET Gala get lost in the mail?

Don’t worry! Sunday, May 10, is your chance to join us for the MIT Gala—a fashion show of student-created looks!

Where fashion meets fabrication, the MIT Gala (@the_mitgala) returns as a one-of-a-kind celebration of creativity at the intersection of art, science, and design.

This event is open to the MIT community, and is sponsored by the Council for the Arts at MIT, the Department of Architecture, and the MIT Morningside Academy for Design (MAD).

🗓️ Sunday, May 10 | Runway 8–10pm
📍MIT Media Lab, 6th Floor
🎟️ Tickets $8
🔗 Learn more & Register: link in bio
(registration requires MIT login)

slide 1: The battery-operated Blade Bird designed by Robin Liu and modeled by Miho Koda. 2024 MIT Gala. Image: Daka

slide 2: Emily Pan’s rib skirt, modeled by Anna Chan, closely resembles human ribs, with a sternum and spine. 2024 MIT Gala. Image: Michelle Xiang

slide 3: Ball gown, modeled by Yihong Amy Chen, presented by Chris Schmidt-Hong on the runway at the 2024 MIT Gala. Image: Michelle Xiang

slide 4: Corset designed by Layla Stanton and sleeveless black dress by Aarushi Mehrotra at the 2024 MIT Gala. Image: Michelle Xiang

@the_mitgala | @mitsap | @artsatmit

Did your invite to the MET Gala get lost in the mail?

Don’t worry! Sunday, May 10, is your chance to join us for the MIT Gala—a fashion show of student-created looks!

Where fashion meets fabrication, the MIT Gala (@the_mitgala) returns as a one-of-a-kind celebration of creativity at the intersection of art, science, and design.

This event is open to the MIT community, and is sponsored by the Council for the Arts at MIT, the Department of Architecture, and the MIT Morningside Academy for Design (MAD).

🗓️ Sunday, May 10 | Runway 8–10pm
📍MIT Media Lab, 6th Floor
🎟️ Tickets $8
🔗 Learn more & Register: link in bio
(registration requires MIT login)

slide 1: The battery-operated Blade Bird designed by Robin Liu and modeled by Miho Koda. 2024 MIT Gala. Image: Daka

slide 2: Emily Pan’s rib skirt, modeled by Anna Chan, closely resembles human ribs, with a sternum and spine. 2024 MIT Gala. Image: Michelle Xiang

slide 3: Ball gown, modeled by Yihong Amy Chen, presented by Chris Schmidt-Hong on the runway at the 2024 MIT Gala. Image: Michelle Xiang

slide 4: Corset designed by Layla Stanton and sleeveless black dress by Aarushi Mehrotra at the 2024 MIT Gala. Image: Michelle Xiang

@the_mitgala | @mitsap | @artsatmit

Did your invite to the MET Gala get lost in the mail?

Don’t worry! Sunday, May 10, is your chance to join us for the MIT Gala—a fashion show of student-created looks!

Where fashion meets fabrication, the MIT Gala (@the_mitgala) returns as a one-of-a-kind celebration of creativity at the intersection of art, science, and design.

This event is open to the MIT community, and is sponsored by the Council for the Arts at MIT, the Department of Architecture, and the MIT Morningside Academy for Design (MAD).

🗓️ Sunday, May 10 | Runway 8–10pm
📍MIT Media Lab, 6th Floor
🎟️ Tickets $8
🔗 Learn more & Register: link in bio
(registration requires MIT login)

slide 1: The battery-operated Blade Bird designed by Robin Liu and modeled by Miho Koda. 2024 MIT Gala. Image: Daka

slide 2: Emily Pan’s rib skirt, modeled by Anna Chan, closely resembles human ribs, with a sternum and spine. 2024 MIT Gala. Image: Michelle Xiang

slide 3: Ball gown, modeled by Yihong Amy Chen, presented by Chris Schmidt-Hong on the runway at the 2024 MIT Gala. Image: Michelle Xiang

slide 4: Corset designed by Layla Stanton and sleeveless black dress by Aarushi Mehrotra at the 2024 MIT Gala. Image: Michelle Xiang

@the_mitgala | @mitsap | @artsatmit

Congratulations to Katerina Cizek on her appointment to Canada’s National Advisory Group on the modernization of the country’s audiovisual sector.

At MIT, Cizek is artistic director, research scientist, and co-founder of the Co-Creation Studio at the MIT Open Documentary Lab (@opendoclab, @mitdusp), where her work explores new forms of documentary storytelling grounded in collaboration with communities. Her practice spans photography, film, and digital media, and focuses on the relationship between media, place, and lived experience.

She is currently directing a short social history film on the Metropolitan Storage Warehouse (the “MET”), to be released in February 2027 following the School of Architecture and Planning’s move to the building.

“I am honoured by this invitation to consider Future Media in Canada… We do this work at a critical moment globally for media, place and culture in the public interest.”

🔗 More at the link in bio.
📷 Photo: Jamie Hogge and Kat Cizek

@mitsap @mitdusp

Congratulations to Katerina Cizek on her appointment to Canada’s National Advisory Group on the modernization of the country’s audiovisual sector.

At MIT, Cizek is artistic director, research scientist, and co-founder of the Co-Creation Studio at the MIT Open Documentary Lab (@opendoclab, @mitdusp), where her work explores new forms of documentary storytelling grounded in collaboration with communities. Her practice spans photography, film, and digital media, and focuses on the relationship between media, place, and lived experience.

She is currently directing a short social history film on the Metropolitan Storage Warehouse (the “MET”), to be released in February 2027 following the School of Architecture and Planning’s move to the building.

“I am honoured by this invitation to consider Future Media in Canada… We do this work at a critical moment globally for media, place and culture in the public interest.”

🔗 More at the link in bio.
📷 Photo: Jamie Hogge and Kat Cizek

@mitsap @mitdusp

Congratulations to Katerina Cizek on her appointment to Canada’s National Advisory Group on the modernization of the country’s audiovisual sector.

At MIT, Cizek is artistic director, research scientist, and co-founder of the Co-Creation Studio at the MIT Open Documentary Lab (@opendoclab, @mitdusp), where her work explores new forms of documentary storytelling grounded in collaboration with communities. Her practice spans photography, film, and digital media, and focuses on the relationship between media, place, and lived experience.

She is currently directing a short social history film on the Metropolitan Storage Warehouse (the “MET”), to be released in February 2027 following the School of Architecture and Planning’s move to the building.

“I am honoured by this invitation to consider Future Media in Canada… We do this work at a critical moment globally for media, place and culture in the public interest.”

🔗 More at the link in bio.
📷 Photo: Jamie Hogge and Kat Cizek

@mitsap @mitdusp

Congratulations to Katerina Cizek on her appointment to Canada’s National Advisory Group on the modernization of the country’s audiovisual sector.

At MIT, Cizek is artistic director, research scientist, and co-founder of the Co-Creation Studio at the MIT Open Documentary Lab (@opendoclab, @mitdusp), where her work explores new forms of documentary storytelling grounded in collaboration with communities. Her practice spans photography, film, and digital media, and focuses on the relationship between media, place, and lived experience.

She is currently directing a short social history film on the Metropolitan Storage Warehouse (the “MET”), to be released in February 2027 following the School of Architecture and Planning’s move to the building.

“I am honoured by this invitation to consider Future Media in Canada… We do this work at a critical moment globally for media, place and culture in the public interest.”

🔗 More at the link in bio.
📷 Photo: Jamie Hogge and Kat Cizek

@mitsap @mitdusp