Lecturer Franco Rossi is spotlighted by National Geographic reporter Taylor Mitchell Brown for deciphering the name of ancient Maya mathematician, Sak Tahn Waax, or “White-Chested Fox,” found inscribed in the mural room at the Maya site of Xultún in Guatemala. “You can look at some of these texts forever, and it won't click,” says Rossi. “Then, one day you see it, and it just clicks.”
In a Science article by reporter Laura Martín Agudelo, Lecturer Franco Rossi delves into the discovery of the autograph of the ancient Maya mathematician, Sak Tahn Waax, or “White-Chested Fox” in Xultun, Guatemala. “[T]here’s good evidence for codex book production [at Xultun],” says Rossi. “So if there’s going to be a name … this would be the most logical place.”
Scientific American’s Joseph Howlett highlights how Lecturer Franco Rossi helped discover the name of ancient Maya mathematician, Sak Tahn Waax, or “White-Chested Fox,” which was inscribed in a 1,000-year-old chamber beneath Guatemala. “Rossi showed how the markings on a particular scrap of plaster could be seen as a sort of celestial chronology; the team then reconstructed how the scraps’ symbols tabulated the time it took for planets such as Mars and Venus to come back to the same position, relative to the sun,” writes Howlett.
WBUR’s Amelia Mason highlights the MIT Museum’s acquisition of the project archives of renowned architect I.M. Pei ’40, which includes details from some of Pei’s most famous works, such as the Louvre’s glass pyramid and the John F. Kennedy Presidential Library and Museum. “ It's an exciting moment for MIT,” says Jonathan Duval, MIT Museum assistant curator of architecture. “I.M. Pei's archive really belongs here. This is where he started his architectural career and education. It’s a homecoming.”
In a WBUR article, arts writer Maddie Browning names the new MIT List Visual Arts Center exhibit, “DEAD PIXEL,” by artist and comic book illustrator Pap Souleye Fall, as a highlight to check out this summer. The exhibition, inspired by the black spots that materialize on-screen from technological error, is an ongoing story depicted through performance, sculpture and video. Browning notes that “Fall visualizes the empty spaces as ‘portals to hidden realms of autonomy.’”
A new tool developed by MIT researchers could help violin designers test how an instrument might sound when certain dimensions or properties are changed without even pulling out a bow, reports Jennifer Ouellette for Ars Technica. The researchers crafted a virtual violin, “a computer simulation tool that can capture the precise physics of the instrument and even reproduce a realistic sound of a plucked string,” Ouellette explains.
Designboom reporter Kat Barandy spotlights how a new video “traces the technical process behind ‘Remembering the Future,’ the woven work by Janet Echelman at the MIT Museum.” The piece, which was developed during Echelman’s MIT Center for Art, Science and Technology (CAST) residency in collaboration with Prof. Caitlin Mueller, “uses braided fibers to translate climate data into a suspended artwork.” The MIT Museum operates, in the words of Museum Director Michael John Gorman, as “a playground for ideas, as a living lab.”
During his time as a visiting artist at the Media Lab, keyboardist Jordan Rudess worked with researchers from the Responsive Environments Group to develop “jam_bot, a machine learning model designed to emulate his playing style and improvise while performing alongside him,” reports Annie Sarlin for The Boston Globe.
Vogue editor Lisa Wong Macabasco spotlights “Lighten Up! On Biology and Time,” a new exhibit at the MIT Museum that “traces the rhythms of life itself: circadian patterns, light’s command over the body, and the delicate architecture of alertness and rest.” The exhibit features “18 works that blend science and art, from immersive soundscapes to visualizations of circadian patterns and reflective spaces where you observe your own heartbeat and alertness in new ways,” explains Macabasco.
Boston Globe reporter Annie Sarlin spotlights the MIT Museum’s digital collection “dedicated to the life and work of Harold ‘Doc’ Edgerton.” The collection is available for viewing online and “includes digitized copies of his notebooks, historical photographs, and informational text and videos about his industry-shaping role in the evolution of high-speed, flash photography,” explains Sarlin.
Aesthetica Magazine reporter Eleanor Sutherland spotlights “Freezing Time,” a new exhibit at the MIT Museum featuring the work of Harold “Doc” Edgerton, a “pioneer of high-speed imaging who made it possible to see what the human eye cannot.” This is “the first exhibition to really interrogate Edgerton’s experimental journey in developing his innovative image-making processes,” says Michael John Gorman, director of the MIT Museum.
"No photographer so clearly, or memorably, demonstrated the relationship between time and technology as did Harold ‘Doc' Edgerton,” writes Boston Globe reporter Mark Feeney. "The stroboscopic cameras he developed...could register almost-infinitesimal gradations of motion.” A new exhibit at the MIT Museum called “Freezing Time: Edgerton and the Beauty of the Machine Age,” showcases the breadth of Edgerton’s work, featuring “20 Edgerton photographs, some later works by others inspired by his example, a dozen pages from his notebooks, a selection of his photographic equipment."
Prof. Carlo Ratti speaks with Matt Fortin of NBC Boston about his work designing this year’s Olympic torch. “For us it’s very exciting to do this,” says Ratti, “because it’s a way you can actually push design beyond what you normally do.”
The torch for this year’s Winter Olympics was designed by Prof. Carlo Ratti, reports Laura Baisas for Popular Science. Dubbed “Essential,” the torch clocks in at just under 2.5 pounds, and "boasts a unique internal mechanism that can be seen through a vertical opening along its side. This means that audiences can peek inside and see the burner in action. From a design perspective, that reinforces Ratti’s desire to keep the emphasis on the flame itself and not the object.”
Surface reporter David Graver highlights “Lighten Up! On Biology and Time,” an MIT Museum exhibit exploring the “connection between living creatures and circadian rhythm through 18 contemporary artworks and experiential environments.” "The ‘Lighten Up!’ exhibition begins with awakening and ends with sleep,” says MIT Museum Director Michael John Gorman. “It is a whole-body experience and rewards those who take the time to linger.”