Cambridge, Boston and region

Prof. Tod Machover’s composition “already and not yet,” was performed by members of the Boston Symphony Orchestra along with an AI system that listens to musicians and adds improvisations, reports A.Z. Madonna for The Boston Globe. “Music is something that’s meant to plumb your soul, and have you discover things,” says Machover. The composition is “about my view of where we are, how to take a deep breath and figure out, gather strength to go somewhere else, and then what a possible future of democracy might be.”  

Prof. Tod Machover speaks to WBUR’s Andrea Shea about “already and not yet” an interactive composition he wrote for the Boston Symphony Orchestra and an AI instrument developed by Machover and graduate student Manaswi Mishra. Machover explains that they designed the AI tools so that they’re “always going to make a kind of variation, a coloration, an extension of what the musician's playing – but exactly what it's going to do I do not have complete control over. I'm trying to show that it [AI] can be integrated in a beautiful, provocative and interesting way in a serious piece of music.”  

Metropolis reporter Anthony Paletta details how MIT’s inaugural Future Fest “brought together visionary leaders across design, technology, and art to address the world’s most pressing problems,” and also featured the public debut of the redesigned Metropolitan Warehouse. The festival featured discussions, exhibits and demonstrations on architecture, design and technology, including a new technique that utilizes knitted fibers as a flexible formwork for concrete, a discussion on how AI could be used to increase sustainability in construction and exploration of how “reef legos” can rebuild beaches and combat costal erosion. “There are no shortage of things going wrong in the world, and others likely to follow,” writes Paletta, “but MIT’s Future Fest offered reassuring proof that we’ve not run out of means to address these problems.” 

Principal Research Scientist Deepjyoti Deka speaks to MassLive’s Tréa Lavery about the possibility of large data centers being located in greater Boston. “Anything, mostly, that you are using the computer for, that you are getting some information from, is housed in a data center,” says Deka. “When you talk about data centers in greater Boston, I doubt if we have any hyperscale, because there would need to be a gigantic factory that you could observe from a distance. But there are small ones.” 

Prof. Behnaz Farahi’s “Ocean of Dreams,” an interactive art installation currently on display in Kendall Square that features submissions from more than 400 international participants, is featured by Dezeen reporter Ben Dreith. “For me, design is ultimately a way of asking: what could be otherwise, and how might we help bring that possibility into being,” says Farahi. “That is also how I think about ‘Ocean of Dreams,’ as a space for collectively imagining and designing possible futures.”  

The newly renovated, historic Metropolitan Warehouse, home to MIT’s School of Architecture + Planning “has become a teaching tool” for students who can look up at features such as the “cutaways of the terra cotta subway arches vaulting across the old building’s ceilings” and “understand what structural engineers were thinking 130 years ago,” writes Bloomberg’s Anthony Flint. “The whole multiyear process for rehabbing the Met has been left delightfully legible.”  

Prof. Justin Reich speaks to The Boston Globe’s John Hilliard about the implementation of AI in the Boston Public Schools. “There’s a risk of not engaging with AI and being left behind. But there’s also a risk that this is going to be harmful,” says Reich. “There’s no evidence which clearly says that one of these pathways is better than the other.” 

For The Architectural Record, reporter Izzy Kornblatt details how the Metropolitan Warehouse was converted into the MIT School of Architecture + Planning’s signature building, a reimagining that “makes the case for the reconstituting of existing structures as a creative act of design.” Kornblatt notes: “The completion of this project also marks a repositioning of design within both MIT and Cambridge. The building gives the School of Architecture and Planning distinctness—a perceptible structure of its own. Yet one of the project’s aims...is to frame design as a set of practices and techniques that are as relevant for scientists and start-up founders as they are for architects.”   

Prof. Behnaz Farahi joins GBH’s, “The Curiosity Desk," to discuss “Ocean of Dreams,” a public art installation that projects participants’ collective hopes for the future into a “living ocean,” which is on display at Kendall Square Plaza as part of MIT Future Fest. “At the moment when we have so many conversations about the future that are shaped by uncertainty about AI, war, climate change, and displacements, I hope this work creates a space for something a little different,” says Farahi. “Before we can build a different future, we first have to be able to imagine one.” 

Star Trek’s original USS enterprise will be unveiled at MIT Future Fest this week, writes WBUR’s Nik DeCosta-Klipa for “Boston’s Morning Newsletter.” “The 33-inch model, which was used in the opening of each episode, has never been publicly displayed before on the East Coast. In fact, it was thought to be lost for decades before it popped up on eBay in 2023,” notes DeCosta-Klipa.  

The original USS Enterprise from the opening credits of the “Star Trek” series is making its debut at the MIT Museum from Sept. 30 to March 28, reports Andrew Paul for Popular Science. In the restoration process, “we were very careful not to erase her [the USS enterprise] age or the signs of wear that are part of her story,” says Roddenberry, son of the show’s creator, Gene Roddenberry. “It was important that we preserve her authenticity, so that she can continue her journey and inspire people once again.”

The 33-inch original model of the ‘Starship Enterprise,’ from the 1960s “Star Trek” series, will be on display at the MIT Museum from Sept. 30 to March 28, writes reporter Mark Feeney for The Boston Globe. “We are thrilled to have the opportunity to show this unique model,” says MIT Museum Director Michael John Gorman. The model “is not merely a prop; it’s a time capsule of human aspiration.”  

Jeffrey Riley, executive director of MIT RAISE’s “Day of AI” K-12 program, speaks to WBUR’s Suevon Lee about the importance of teaching school-aged children AI literacy skills. “Kids need to know about voice clones and deepfakes and plagiarism,” says Riley. “We need to teach kids so that they're healthy skeptics of this technology, that they mistrust and verify the information they're getting from it.”  

Emily Knight, President and CEO of The Engine  will serve as Boston’s next economic development chief, “bringing life back to empty downtown office spaces, supporting neighborhood business districts and keeping young workers in Boston as the cost-of-living soars,” writes WBUR’s Eve Zuckoff. “I want to help companies start here and grow here while making sure the jobs and industries they create are felt in every neighborhood across the City,” says Knight.  

Mayor Michelle Wu has appointed Emily Knight, president and CEO of The Engine as Boston’s next economic development chief, writes Shirley Leung for The Boston Globe. “Real estate and economic development are so deeply connected that building those relationships is absolutely a priority for me,” says Knight.