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.”
Boston Globe reporter Jeffrey Kelly spotlights the MIT Student Lending Art Program, which allows MIT students to borrow original works of art from the MIT List Visual Arts Center. “No artist wants their work to be collected by a museum and to sit in storage forever and come out once every 10 years,” says Natalie Bell, MIT List’s chief curator. “That’s not why they’re doing this. So it’s a really unique collection in that way, because the priority is for people to experience the work and to live with it.”
Graduate student Alex Kachkine speaks with New York Times reporter Ephrat Livni about his work creating a new AI technique for restoring paintings, and how his research on microchips helped inspire the development. Microchips “require very high degrees of precision,” Kachkine explains. “And it turns out a lot of the techniques we use to achieve that level of precision are applicable to art restoration.” Kachkine adds that he hopes conservators will be able to “leverage the benefits” of the techniques he gleaned from engineering to preserve “really valuable cultural heritage.”
Graduate student Alex Kachkine has developed a new technique that “uses AI-generated polymer films to physically restore damaged paintings in hours,” reports Benj Edwards for Ars Technica. “Kachkine's method works by printing a transparent ‘mask’ containing thousands of precisely color-matched regions that conservators can apply directly to an original artwork,” explains Edwards. “Unlike traditional restoration, which permanently alters the painting, these masks can reportedly be removed whenever needed. So it's a reversible process that does not permanently change a painting.”
Guardian reporter Ian Sample highlights how graduate student Alex Kachkine has developed a new approach to restoring age-damaged artwork in hours. “The technique draws on artificial intelligence and other computer tools to create a digital reconstruction of the damaged painting,” explains Sample. “This is then printed on to a transparent polymer sheet that is carefully laid over the work.”
Graduate student Alex Kachkine speaks with Nature reporter Amanda Heidt about his work developing a new restoration method for restoring damaged artwork. The method uses “digital tools to create a ‘mask’ of pigments that can be printed and varnished onto damaged paintings,” explains Heidt. The method “reduces both the cost and time associated with art restoration and could one day give new life to many of the paintings held in institutional collections — perhaps as many as 70% — that remain hidden from public view owing to damage.”
Nature spotlights graduate student Alex Kachkine – an engineer, art collector and art conservator – on his quest to develop a new AI-powered, art restoration method, reports Geoff Marsh for Nature. “My hope is that conservators around the planet will be able to use these techniques to restore paintings that have never been seen by the general public,” says Kachkine. “Many institutions have paintings that arrived at them a century ago, have never been shown because they are so damaged and there are no resources to restore them. And hopefully this technique means we will be able to see more of those publicly.”
Prof. Behnaz Farahi speaks with GBH’s The Culture Show host Jared Bowen about her new eye-catching work “Gaze to the Stars,” an exhibit that will transform the MIT Dome into a living canvas, showcasing video projections of eyes gazing at the stars, as part of the Artfinity art festival. “We are very excited about the possibility of bringing the community at MIT together and the question was how the community, MIT and beyond, can get the sense of community, the sense of unity, the sense of connectedness,” says Farahi on the inspiration behind her work.
New York Times Style Magazine reporter Susan Dominus spotlights the “maximalist, category-defying work” of MIT Prof. Emerita Joan Jonas, who is being honored with a retrospective at the MoMA. “Perception is something that really is an important part of my thinking,” Jonas explains. “How does the audience perceive my work? How does my work change their perception?” Michael Rakowitz SMVisS ’98 notes that Jonas, “is a foundational and transformative figure not just in the realm of video and performance and feminist art but in art that moves away from anthropocentrism.”
Herbert Kalmus ‘03 and former MIT Prof. Daniel Frost Comstock ‘04 co-founded Technicolor, the company that helped bring color to the movies. Boston Globe correspondent Scott Kirsner notes that the company’s name was “an homage to MIT, which publishes a yearbook called Technique.” Kirsner adds that Technicolor engineers “had to develop their own cameras, shooting and lighting techniques on set, film processing, and add-ons to the movie projector... Technicolor became one of the giants of 20th-century Hollywood.”
Writing for The Conversation, postdoc Ziv Epstein SM ’19, PhD ’23, graduate student Robert Mahari and Jessica Fjeld of Harvard Law School explore how the use of generative AI will impact creative work. “The ways in which existing laws are interpreted or reformed – and whether generative AI is appropriately treated as the tool it is – will have real consequences for the future of creative expression,” the authors note.
A new exhibit by Azza El Siddique, a sculptor and mixed media artist, will be on display at the MIT List Visual Arts Center this summer, reports Pamela Reynolds for WBUR. Reynolds notes that in this show, “viewers are invited to contemplate the transitory nature of everything.”
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.
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.”