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    In a unique research collaboration, students make the case for less e-waste

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    Brought together as part of the Social and Ethical Responsibilities of Computing (SERC) initiative within the MIT Schwarzman College of Computing, a community of students known as SERC Scholars is collaborating to examine the most urgent problems humans face in the digital landscape.Each semester, students from all levels from across MIT are invited to join a different topical working group led by a SERC postdoctoral associate. Each group delves into a specific issue — such as surveillance or data ownership — culminating in a final project presented at the end of the term.Typically, students complete the program with hands-on experience conducting research in a new cross-disciplinary field. However, one group of undergraduate and graduate students recently had the unique opportunity to enhance their resume by becoming published authors of a case study about the environmental and climate justice implications of the electronics hardware life cycle.Although it’s not uncommon for graduate students to co-author case studies, it’s unusual for undergraduates to earn this opportunity — and for their audience to be other undergraduates around the world.“Our team was insanely interdisciplinary,” says Anastasia Dunca, a junior studying computer science and one of the co-authors. “I joined the SERC Scholars Program because I liked the idea of being part of a cohort from across MIT working on a project that utilized all of our skillsets. It also helps [undergraduates] learn the ins and outs of computing ethics research.”Case study co-author Jasmin Liu, an MBA student in the MIT Sloan School of Management, sees the program as a platform to learn about the intersection of technology, society, and ethics: “I met team members spanning computer science, urban planning, to art/culture/technology. I was excited to work with a diverse team because I know complex problems must be approached with many different perspectives. Combining my background in humanities and business with the expertise of others allowed us to be more innovative and comprehensive.”Christopher Rabe, a former SERC postdoc who facilitated the group, says, “I let the students take the lead on identifying the topic and conducting the research.” His goal for the group was to challenge students across disciplines to develop a working definition of climate justice.From mining to e-wasteThe SERC Scholars’ case study, “From Mining to E-waste: The Environmental and Climate Justice Implications of the Electronics Hardware Life Cycle,” was published by the MIT Case Studies in Social and Ethical Responsibilities of Computing.The ongoing case studies series, which releases new issues twice a year on an open-source platform, is enabling undergraduate instructors worldwide to incorporate research-based education materials on computing ethics into their existing class syllabi.This particular case study broke down the electronics life cycle from mining to manufacturing, usage, and disposal. It offered an in-depth look at how this cycle promotes inequity in the Global South. Mining for the average of 60 minerals that power everyday devices lead to illegal deforestation, compromising air quality in the Amazon, and triggering armed conflict in Congo. Manufacturing leads to proven health risks for both formal and informal workers, some of whom are child laborers.Life cycle assessment and circular economy are proposed as mechanisms for analyzing environmental and climate justice issues in the electronics life cycle. Rather than posing solutions, the case study offers readers entry points for further discussion and for assessing their own individual responsibility as producers of e-waste.Crufting and crafting a case studyDunca joined Rabe’s working group, intrigued by the invitation to conduct a rigorous literature review examining issues like data center resource and energy use, manufacturing waste, ethical issues with AI, and climate change. Rabe quickly realized that a common thread among all participants was an interest in understanding and reducing e-waste and its impact on the environment.“I came in with the idea of us co-authoring a case study,” Rabe said. However, the writing-intensive process was initially daunting to those students who were used to conducting applied research. Once Rabe created sub-groups with discrete tasks, the steps for researching, writing, and iterating a case study became more approachable.For Ellie Bultena, an undergraduate student studying linguistics and philosophy and a contributor to the study, that meant conducting field research on the loading dock of MIT’s Stata Center, where students and faculty go “crufting” through piles of clunky printers, broken computers, and used lab equipment discarded by the Institute’s labs, departments, and individual users.Although not a formally sanctioned activity on-campus, “crufting” is the act of gleaning usable parts from these junk piles to be repurposed into new equipment or art. Bultena’s respondents, who opted to be anonymous, said that MIT could do better when it comes to the amount of e-waste generated and suggested that formal strategies could be implemented to encourage community members to repair equipment more easily or recycle more formally.Rabe, now an education program director at the MIT Environmental Solutions Initiative, is hopeful that through the Zero-Carbon Campus Initiative, which commits MIT to eliminating all direct emissions by 2050, MIT will ultimately become a model for other higher education institutions.Although the group lacked the time and resources to travel to communities in the Global South that they profiled in their case study, members leaned into exhaustive secondary research, collecting data on how some countries are irresponsibly dumping e-waste. In contrast, others have developed alternative solutions that can be duplicated elsewhere and scaled.“We source materials, manufacture them, and then throw them away,” Lelia Hampton says. A PhD candidate in electrical engineering and computer science and another co-author, Hampton jumped at the opportunity to serve in a writing role, bringing together the sub-groups research findings. “I’d never written a case study, and it was exciting. Now I want to write 10 more.”The content directly informed Hampton’s dissertation research, which “looks at applying machine learning to climate justice issues such as urban heat islands.” She said that writing a case study that is accessible to general audiences upskilled her for the non-profit organization she’s determined to start. “It’s going to provide communities with free resources and data needed to understand how they are impacted by climate change and begin to advocate against injustice,” Hampton explains.Dunca, Liu, Rabe, Bultena, and Hampton are joined on the case study by fellow authors Mrinalini Singha, a graduate student in the Art, Culture, and Technology program; Sungmoon Lim, a graduate student in urban studies and planning and EECS; Lauren Higgins, an undergraduate majoring in political science; and Madeline Schlegal, a Northeastern University co-op student.Taking the case study to classrooms around the worldAlthough PhD candidates have contributed to previous case studies in the series, this publication is the first to be co-authored with MIT undergraduates. Like any other peer-reviewed journal, before publication, the SERC Scholars’ case study was anonymously reviewed by senior scholars drawn from various fields.The series editor, David Kaiser, also served as one of SERC’s inaugural associate deans and helped shape the program. “The case studies, by design, are short, easy to read, and don’t take up lots of time,” Kaiser explained. “They are gateways for students to explore, and instructors can cover a topic that has likely already been on their mind.” This semester, Kaiser, the Germeshausen Professor of the History of Science and a professor of physics, is teaching STS.004 (Intersections: Science, Technology, and the World), an undergraduate introduction to the field of science, technology, and society. The last month of the semester has been dedicated wholly to SERC case studies, one of which is: “From Mining to E-Waste.”Hampton was visibly moved to hear that the case study is being used at MIT but also by some of the 250,000 visitors to the SERC platform, many of whom are based in the Global South and directly impacted by the issues she and her cohort researched. “Many students are focused on climate, whether through computer science, data science, or mechanical engineering. I hope that this case study educates them on environmental and climate aspects of e-waste and computing.” More

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      Illustrating India’s complex environmental crises

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      Abhijit Banerjee, the Ford Foundation International Professor of Economics at MIT, and Sarnath Banerjee (no relation), an MIT Center for Art, Science, and Technology (CAST) visiting artist share a similar background, but have very different ways of thinking. Both were raised for a time in Kolkata before leaving India to pursue divergent careers, Abhijit as an economist who went on to win the 2019 Nobel Memorial Prize in Economic Sciences (an award he shares with MIT Professor Esther Duflo and Harvard University Professor Michael Kremer), and Sarnath as a visual artist and graphic novelist. 

      The two collaborated on a pair of short films, “The Land of Good Intentions” and “The Eternal Swamp,” that blend their expertise in a unique and captivating form. Each film addresses a particular environmental crisis facing present-day India by tracing its origins back through the centuries. The films are presented in a kind of lecture style, with Abhijit appearing as the narrator, unraveling historical details, as graphics by Sarnath visualize the story with an often wry and easy wit. The results apply logic and narrative coherence to problems with complex roots in the forces of nature, economics, and local culture. 

      “The Land of Good Intentions” explores the conditions and policies that led to mass protests by farmers, in Punjab and elsewhere, following the passage of farming legislation in September 2020. The film begins by providing historical context from multiple angles, including the significance of rice to regional culture, its growing conditions (which require a lot of water), the region’s climate (which produces very little), and previous government subsidies that led to its overproduction. The 2020 Farm Bills were intended to address rice overproduction and its consequences, including the depletion of Punjab’s groundwater supply, pollution from the burning of rice stalks, and a surplus going to waste. But farmers considered that they were being asked to shoulder the costs of a problem the government created. 

      “The arguments in the film don’t necessarily align with popular liberal arguments, but it gives subtler shape and layers to them,” Sarnath says. “That dialectical way of thinking is important to the liberal movement, which is driven by passion and a sense of justice. Abhijit is driven by factual analysis, which sometimes makes the argument more complex.”

      Their second film, “The Eternal Swamp,” addresses the crisis of flooding in Kolkata and its causes in the geographical and economic development of the city from the start. Because Kolkata was built on very wet land, and real estate has long been one of the only viable industries in the city, it has been developed without regard to proper drainage in a climate that produces more rainfall than it can handle. There is a pervading sense that Kolkata will eventually be entirely below water.

      “It was a good collaboration from the beginning,” Sarnath says of working with Abhijit on the CAST Visiting Artist project, a process which began just before Abhijit was awarded the Nobel Prize in 2019 and continued through the pandemic. “Both of us work on instinct, but the way he shapes an argument is very different from me,” Sarnath says. “My work does not follow a linear approach to telling a story; it’s fragmentary, driven by mood and emotion more than narrative, like composing a piece of music.”

      Since they first met at a literary conference years ago, Abhijit and Sarnath have been close friends and intellectual sparring partners. Though Sarnath is based in Berlin and Abhijit in Boston, the two often cross paths in different locales and have long, ambling discussions that traverse a wide array of topics. “We spend a lot of time walking together wherever we find ourselves, whether it’s down the Longfellow Bridge in Boston or through Delhi or Kolkata,” Sarnath says. The idea for this project was born out of such conversations, in response to pressing events in their home country. 

      Abhijit wrote a proposal to MIT CAST, and the questions they received through the process helped them further shape the project. “It’s important, when you have the luxury, just to spend time together. Thanks to MIT, we managed to do that across continents,” Sarnath says of their creative process. “It’s more than just telling a story; Abhijit unpacked what was in his head, and I drew and wrote a bit as well,” Sarnath says. And they worked with the editor and animator Niusha Ramzani, whom Sarnath says lent an Iranian aesthetic to the film’s animations. 

      As for the format of the films, they wanted to capture the sense of a serene Bengali afternoon, with Abhijit seated in his home in Kolkata speaking in a relaxed tone. “We wanted it to be a bit like a Royal Society lecture,” Sarnath says, somewhat like a TED Talk but more personable and intimate. The aim was to make their complicated subjects more easily comprehensible, through the language of Abhijit’s narration and with the help of visual metaphors. Still, they did not want to sacrifice complexity.

      “Economists are fabulists,” says Abhijit Banerjee. “We tell stories, simple stories, but that tends to get obscured in the telling, often because we like to be very careful about not overstating our case. Irony and the kind of playful humor that Sarnath brings to narration seemed to offer a different way to avoid being too emphatic, while allowing the story to be told in a way that it reaches a much larger audience. What is brilliant about Sarnath’s work is the play between reliable and the unreliable — the readers are happy to be misdirected because they know that it will ultimately lead them where they want to be. I was hoping we could bring a little of that into economics.” 

      “You have to emancipate yourself from any one definitive answer,” Sarnath Banerjee says, describing Abhijit’s expansive way of thinking, through which he follows multiple thought processes to their logical conclusions. The result allows for ambiguity and contradiction, though the pathways of thinking are clear. The films illustrate the situations facing farmers in Punjab and the waterlogged streets of Kolkata by tracing their roots and examining the history of cause and effect. The results provide clarity, but no simple answers.

      The process was an enriching one for both of them, the kind of advancement in understanding that can only come in dialogue. “With each collaboration, you learn, and learning to me is an artistic form,” Sarnath says. “We are always learning.” More

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      Hearing Amazônia: MIT musicians in Manaus, Brazil

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      On Dec. 13, the MIT community came together for the premiere of “We Are The Forest,” a documentary by MIT Video Productions that tells the story of the MIT musicians who traveled to the Brazilian Amazon seeking culture and scientific exchange.

      The film features performances by Djuena Tikuna, Luciana Souza, Anat Cohen, and Evan Ziporyn, with music by Antônio Carlos Jobim. Fred Harris conducts the MIT Festival Jazz Ensemble and MIT Wind Ensemble and Laura Grill Jaye conducts the MIT Vocal Jazz Ensemble.

      Play video

      “We Are The Forest”Video: MIT Video Productions

      The impact of ecological devastation in the Amazon reflects the climate crisis worldwide. During the Institute’s spring break in March 2023, nearly 80 student musicians became only the second student group from MIT to travel to the Brazilian Amazon. Inspired by the research and activism of Talia Khan ’20, who is currently a PhD candidate in MIT’s Department of Mechanical Engineering, the trip built upon experiences of the 2020-21 academic year when virtual visiting artists Luciana Souza and Anat Cohen lectured on Brazilian music and culture before joining the November 2021 launch of Hearing Amazônia — The Responsibility of Existence.

      This consciousness-raising project at MIT, sponsored by the Center for Art, Science and Technology (CAST), began with a concert featuring Brazilian and Amazonian music influenced by the natural world. The project was created and led by MIT director of wind and jazz ensembles and senior lecturer in music Frederick Harris Jr.

      The performance was part eulogy and part praise song: a way of bearing witness to loss, while celebrating the living and evolving cultural heritage of Amazonia. The event included short talks, one of which was by Khan. As the first MIT student to study in the Brazilian Amazonia (via MISTI-Brazil), she spoke of her research on natural botanical resins and traditional carimbó music in Santarém, Pará, Brazil. Soon after, as a Fulbright Scholar, Khan continued her research in Manaus, setting the stage for the most complex trip in the history of MIT Music and Theater Arts.“My experiences in the Brazilian Amazon changed my life,” enthuses Khan. “Getting to know Indigenous musicians and immersing myself in the culture of this part of the world helped me realize how we are all so connected.”

      “Talia’s experiences in Brazil convinced me that the Hearing Amazônia project needed to take a next essential step,” explains Harris. “I wanted to provide as many students as possible with a similar opportunity to bring their musical and scientific talents together in a deep and spiritual manner. She provided a blueprint for our trip to Manaus.”

      An experience of a lifetime

      A multitude of musicians from three MTA ensembles traveled to Manaus, located in the middle of the world’s largest rainforest and home to the National Institute of Amazonian Research (Instituto Nacional de Pesquisas da Amazônia, or INPA), the most important center for scientific studies in the Amazon region for international sustainability issues.

      Tour experiences included cultural/scientific exchanges with Indigenous Amazonians through Nobre Academia de Robótica and the São Sebastião community on the Tarumã Açu River, INPA, the Cultural Center of the Peoples of the Amazon, and the Museu da Amazônia. Musically, students connected with local Indigenous instrument builders and performed with the Amazonas State Jazz Orchestra and renowned vocalist and Indigenous activist Djuena Tikuna.

      “Hearing Amazônia: Arte ê Resistência,” a major concert in the famed 19th century opera house Teatro Amazonas, concluded the trip on March 31. The packed event featured the MIT Wind Ensemble, MIT Festival Jazz Ensemble, MIT Vocal Jazz Ensemble, vocalist Luciana Souza, clarinetist Anat Cohen, MIT professor and composer-clarinetist Evan Ziporyn, and local musicians from Manaus. The program ended with “Nós Somos A Floresta (We Are The Forest) — Eware (Sacred Land) — Reflections on Amazonia,” a large-scale collaborative performance with Djuena Tikuna. The two songs were composed by Tikuna, with Eware newly arranged by Israeli composer-bassist Nadav Erlich for the occasion. It concluded with all musicians and audience members coming together in song: a moving and beautiful moment of mediation on the sacredness of the earth.

      “It was humbling to see the grand display of beauty and diversity that nature developed in the Amazon rainforest,” reflects bass clarinetist and MIT sophomore Richard Chen. “By seeing the bird life, sloths, and other species and the flora, and eating the fruits of the region, I received lessons on my harmony and connection to the natural world around us. I developed a deeper awareness of the urgency of resolving conflicts and stopping the destruction of the Amazon rainforest, and to listening to and celebrating the stories and experiences of those around me.”

      Indigenous musicians embodying the natural world

      “The trip expanded the scope of what music means,” MIT Vocal Jazz Ensemble member and biomedical researcher Autumn Geil explains. “It’s living the music, and you can’t feel that unless you put yourself in new experiences and get yourself out of your comfort zone.”

      Over two Indigenous music immersion days, students spent time listening to, and playing and singing with, musicians who broadened their scope of music’s relationship to nature and cultural sustainability. Indigenous percussionist and instrument builder Eliberto Barroncas and music producer-arranger César Lima presented contrasting approaches with a shared objective — connecting people to the natural world through Indigenous instruments.

      Barroncas played instruments built from materials from the rainforest and from found objects in Manaus that others might consider trash, creating ethereal tones bespeaking his life as one with nature. Students had the opportunity to play his instruments and create a spontaneous composition playing their own instruments and singing with him in a kind of “Amazonia jam session.”

      “Eliberto expressed that making music is visceral; it’s best when it comes from the gut and is tangible and coming from one’s natural environment. When we cannot understand each other using language, using words, logic and thinking, we go back to the body,” notes oboist and ocean engineer Michelle Kornberg ’20. “There’s a difference between teaching music as a skill you learn and teaching music as something you feel, that you experience and give — as a gift.”

      Over the pandemic, César Lima developed an app, “The Roots VR,” as a vehicle for people to discover over 100 Amazonia instruments. Users choose settings to interact with instruments and create pieces using a variety of instrumental combinations; a novel melding of technology with nature to expand the reach of these Indigenous instruments and their cultural significance.

      At the Cultural Center of the Peoples of the Amazon, students gathered around a tree, hand-in-hand singing with Djuena Tikuna, accompanied by percussionist Diego Janatã. “She spoke about being one of the first Indigenous musicians ever to sing in the Teatro Amazonas, which was built on the labor and blood of Indigenous people,” recalls flutist and atmospheric engineer Phoebe Lin, an MIT junior. “And then to hold hands and close our eyes and step back and forth; a rare moment of connection in a tumultuous world — it felt like we were all one.”

      Bringing the forest back to MIT

      On April 29, Djuena Tikuna made her MIT debut at “We Are the Forest — Music of Resilience and Activism,” a special concert for MIT President Sally Kornbluth’s inauguration, presenting music from the Teatro Amazonas event. Led and curated by Harris, the performance included new assistant professor in jazz and saxophonist-composer Miguel Zenón, director of the MIT Vocal Jazz Ensemble; Laura Grill Jaye; and vocalist Sara Serpa, among others. 

      “Music unites people and through art we can draw the world’s attention to the most urgent global challenges such as climate change,” says Djuena Tikuna. “My songs bring the message that every seed will one day germinate to reforest hearts, because we are all from the same village.”

      Hearing Amazônia has set the stage for the blossoming of artistic and scientific collaborations in the Amazon and beyond.

      “The struggle of Indigenous peoples to keep their territories alive should concern us all, and it will take more than science and research to help find solutions for climate change,” notes President Kornbluth. “It will take artists, too, to unite us and raise awareness across all communities. The inclusivity and expressive power of music can help get us all rowing in the same direction — it’s a great way to encourage us all to care and act!” More

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      in Environment

      MIT at the 2023 Venice Biennale

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      The Venice Architecture Biennale, the world’s largest and most visited exhibition focusing on architecture, is once again featuring work by many MIT faculty, students, and alumni. On view through Nov. 26, the 2023 biennale, curated by Ghanaian-Scottish architect, academic, and novelist Lesley Lokko, is showcasing projects responding to the theme of “The Laboratory of Change.”

      Architecture and Planning and curator of the previous Venice Biennale. “Our students, faculty, and alumni have responded to the speculative theme with innovative projects at a range of scales and in varied media.”

      Below are descriptions of MIT-related projects and activities.

      MIT faculty participants

      Xavi Laida Aguirre, assistant professor of architecture

      Project: Everlasting Plastics

      Project description: SPACES, a nonprofit alternative art organization based in Cleveland, Ohio, and the U.S. Department of State’s Bureau of Educational and Cultural Affairs are behind the U.S. Pavilion’s exhibition at this year’s biennale. The theme, Everlasting Plastics, provides a platform for artists and designers to engage audiences in reframing the overabundance of plastic detritus in our waterways, landfills, and streets as a rich resource. Aguirre’s installation covers two rooms and holds a series of partial scenographies examining indoor proofing materials such as coatings, rubbers, gaskets, bent aluminum, silicone, foam, cement board, and beveled edges.

      Yolande Daniels, associate professor of architecture

      Project: The BLACK City Astrolabe: A Constellation of African Diasporic Women

      Project description: From the multiple displacements of race and gender, enter “The BLACK City Astrolabe,” a space-time field comprised of a 3D map and a 24-hour cycle of narratives that reorder the forces of subjugation, devaluation, and displacement through the spaces and events of African diasporic women. The diaspora map traces the flows of descendants of Africa (whether voluntary or forced) atop the visible tension between the mathematical regularity of meridians of longitude and the biases of international date lines.

      In this moment we are running out of time. The meridians and timeline decades are indexed to an infinite conical projection metered in decades. It structures both the diaspora map and timeline and serves as a threshold to project future structures and events. “The BLACK City Astrolabe” is a vehicle to proactively contemplate things that have happened, that are happening, and that will happen. Yesterday, a “Black” woman went to the future, and here she is.

      Mark Jarzombek, professor of architecture

      Project: Kishkindha NY

      Project description: “Kishkindha NY (Office of (Un)Certainty Research: Mark Jarzombek and Vikramaditya Parakash)” is inspired by an imagined forest-city as described in the ancient Indian text the Ramayana. It comes into being not through the limitations of human agency, but through a multi-species creature that destroys and rebuilds. It is exhibited as a video (Space, Time, Existence) and as a special dance performance.

      Ana Miljački, professor of architecture

      Team: Ana Miljački, professor of architecture and director of Critical Broadcasting Lab, MIT; Ous Abou Ras, MArch candidate; Julian Geltman, MArch; Recording and Design, faculty of Dramatic Arts, Belgrade; Calvin Zhong, MArch candidate. Sound design and production: Pavle Dinulović, assistant professor, Department of Sound Recording and Design, University of Arts in Belgrade.

      Collaborators: Melika Konjičanin, researcher, faculty of architecture, Sarajevo; Ana Martina Bakić, assistant professor, head of department of drawing and visual design, faculty of architecture, Zagreb; Jelica Jovanović, Grupa Arhitekata, Belgrade; Andrew Lawler, Belgrade; Sandro Đukić, CCN Images, Zagreb; Other Tomorrows, Boston.

      Project: The Pilgrimage/Pionirsko hodočašće

      Project description:  The artifacts that constitute Yugoslavia’s socialist architectural heritage, and especially those instrumental in the ideological wiring of several postwar generations for anti-fascism and inclusive living, have been subject to many forms of local and global political investment in forgetting their meaning, as well as to vandalism. The “Pilgrimage” synthesizes “memories” from Yugoslavian childhood visits to myriad postwar anti-fascist memorial monuments and offers them in a shifting and spatial multi-channel video presentation accompanied by a nonlinear documentary soundscape, presenting thus anti-fascism and unity as political and activist positions available (and necessary) today, for the sake of the future. Supported by: MIT Center for Art, Science, and Technology (CAST) Mellon Faculty Grant.

      Adèle Naudé Santos, professor of architecture, planning, and urban design; and Mohamad Nahleh, lecturer in architecture and urbanism; in collaboration with the Beirut Urban Lab at the American University of Beirut

      MIT research team: Ghida El Bsat, Joude Mabsout, Sarin Gacia Vosgerichian, Lasse Rau

      Project: Housing as Infrastructure

      Project description: On Aug. 4, 2020, an estimated 2,750 tons of ammonium nitrate stored at the Port of Beirut exploded, resulting in the deaths of more than 200 people and the devastation of port-adjacent neighborhoods. With over 200,000 housing units in disrepair, exploitative real estate ventures, and the lack of equitable housing policies, we viewed the port blast as a potential escalation of the mechanisms that have produced the ongoing affordable housing crisis across the city. 

      The Dar Group requested proposals to rethink the affected part of the city, through MIT’s Norman B. Leventhal Center for Advanced Urbanism. To best ground our design proposal, we invited the Beirut Urban Lab at the American University of Beirut to join us. We chose to work on the heavily impacted low-rise and high-density neighborhood of Mar Mikhael. Our resultant urban strategy anchors housing within a corridor of shared open spaces. Housing is inscribed within this network and sustained through an adaptive system defined by energy-efficiency and climate responsiveness. Cross-ventilation sweeps through the project on all sides, with solar panel lined roofs integrated to always provide adequate levels of electricity for habitation. These strategies are coupled with an array of modular units designed to echo the neighborhood’s intimate quality — all accessible through shared ramps and staircases. Within this context, housing itself becomes the infrastructure, guiding circulation, managing slopes, integrating green spaces, and providing solar energy across the community. 

      Rafi Segal, associate professor of architecture and urbanism, director of the Future Urban Collectives Lab, director of the SMArchS program; and Susannah Drake.

      Contributors: Olivia Serra, William Minghao Du

      Project:  From Redlining to Blue Zoning: Equity and Environmental Risk, Miami 2100 (2021)

      Project description: As part of Susannah Drake and Rafi Segal’s ongoing work on “Coastal Urbanism,” this project examines the legacy of racial segregation in South Florida and the existential threat that climate change poses to communities in Miami. Through models of coops and community-owned urban blocks, this project seeks to empower formerly disenfranchised communities with new methods of equity capture, allowing residents whose parents and grandparents suffered from racial discrimination to build wealth and benefit from increased real estate value and development.

      Nomeda Urbonas, Art, Culture, and Technology research affiliate; and Gediminas Urbonas, ACT associate professor

      Project: The Swamp Observatory

      Project description: “The Swamp Observatory” augmented reality app is a result of two-year collaboration with a school in Gotland Island in the Baltic Sea, arguably the most polluted sea in the world. Developed as a conceptual playground and a digital tool to augment reality with imaginaries for new climate commons, the app offers new perspective to the planning process, suggesting eco-monsters as emergent ecology for the planned stormwater ponds in the new sustainable city. 

      Sarah Williams, associate professor, technology and urban planning

      Team members: listed here.

      Project: DISTANCE UNKNOWN: RISKS AND OPPORTUNITIES OF MIGRATION IN THE AMERICAS 

      Project description: On view are visualizations made by the MIT Civic Data Design Lab and the United Nations World Food Program that helped to shape U.S. migration policy. The exhibition is built from a unique dataset collected from 4,998 households surveyed in El Salvador, Guatemala, and Honduras. A tapestry woven out of money and constructed by the hands of Central America migrants illustrates that migrants spent $2.2 billion to migrate from Central America in 2021.

      MIT student curators

      Carmelo Ignaccolo, PhD candidate, Department of Urban Studies and Planning (DUSP)

      Curator: Carmelo Ignaccolo; advisor: Sarah Williams; researchers: Emily Levenson (DUSP), Melody Phu (MIT), Leo Saenger (Harvard University), Yuke Zheng (Harvard); digital animation designer: Ting Zhang

      Exhibition Design Assistant: Dila Ozberkman (architecture and DUSP)

      Project: The Consumed City 

      Project description: “The Consumed City” narrates a spatial investigation of “overtourism” in the historic city of Venice by harnessing granular data on lodging, dining, and shopping. The exhibition presents two large maps and digital animations to showcase the complexity of urban tourism and to reveal the spatial interplay between urban tourism and urban features, such as landmarks, bridges, and street patterns. By leveraging by-product geospatial datasets and advancing visualization techniques, “The Consumed City” acts as a prototype to call for novel policymaking tools in cities “consumed” by “overtourism.”

      MIT-affiliated auxiliary events

      Rania Ghosn, associate professor of architecture and urbanism, El Hadi Jazairy, Anhong Li, and Emma Jurczynski, with initial contributions from Marco Nieto and Zhifei Xu. Graphic design: Office of Luke Bulman.

      Project: Climate Inheritance

      Project description: “Climate Inheritance” is a speculative design research publication that reckons with the complexity of “heritage” and “world” in the Anthropocene Epoch. The impacts of climate change on heritage sites — from Venice flooding to extinction in the Galapagos Islands — have garnered empathetic attention in a media landscape that has otherwise mostly failed to communicate the urgency of the climate crisis. In a strategic subversion of the media aura of heritage, the project casts World Heritage sites as narrative figures to visualize pervasive climate risks all while situating the present emergency within the wreckage of other ends of worlds, replete with the salvages of extractivism, racism, and settler colonialism.   

      Rebuilding Beirut: Using Data to Co-Design a New Future

      SA+P faculty, researchers, and students are participating in the sixth biennial architecture exhibition “Time Space Existence,” presented by the European Cultural Center. The exhibit showcases three collaborative research and design proposals that support the rebuilding efforts in Beirut following the catastrophic explosion at the Port of Beirut in August 2020.

      “Living Heritage Atlas” captures the significance and vulnerability of Beirut’s cultural heritage. 

      “City Scanner” tracks the environmental impacts of the explosion and the subsequent rebuilding efforts. “Community Streets” supports the redesign of streets and public space. 

      The work is supported by the Dar Group Urban Seed Grant Fund at MIT’s Norman B. Leventhal Center for Advanced Urbanism.

      Team members:Living Heritage AtlasCivic Data Design Lab and Future Heritage Lab at MITAssociate Professor Sarah Williams, co-principal investigator (PI)Associate Professor Azra Aksamija, co-PICity Scanner Senseable City Lab at MIT with the American University of Beirut and FAE Technology Professor Carlo Ratti, co-PIFábio Duarte, co-PISimone Mora, research and project leadCommunity Streets City Form Lab at MIT with the American University of BeirutAssociate Professor Andres Sevtsuk, co-PIProfessor Maya Abou-Zeid, co-PISchool of Architecture and Planning alumni participants   Rodrigo Escandón Cesarman SMArchS Design ’20 (co-curator, Mexican Pavilion)Felecia Davis PhD ’17 Design and Computation, SOFTLAB@PSU (Penn State University)Jaekyung Jung SM ’10, (with the team for the Korean pavilion)Vijay Rajkumar MArch ’22 (with the team for the Bahrain Pavilion)

      Other MIT alumni participants

      Basis with GKZ

      Team: Emily Mackevicius PhD ’18, brain and cognitive sciences, with Zenna Tavares, Kibwe Tavares, Gaika Tavares, and Eli Bingham

      Project description: The nonprofit research group works on rethinking AI as a “reasoning machine.” Their two goals are to develop advanced technological models and to make society able to tackle “intractable problems.” Their approach to technology is founded less on pattern elaboration than on the Bayes’ hypothesis, the ability of machines to work on abductive reasoning, which is the same used by the human mind. Two city-making projects model cities after interaction between experts and stakeholders, and representation is at the heart of the dialogue. More

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      in Environment

      Taking the long view: The Deep Time Project

      by

      How would we design and build differently if we learned to live at multiple time scales? How would human communities respond to global challenges if the short-term mindset of contemporary life was expanded to encompass new dimensions of past and future — diving into the depths of geological history and projecting forward to imagine the consequences of our actions today?

      These are questions that Cristina Parreño Alonso addresses in her practice as an architect, artist, and senior lecturer in the MIT Department of Architecture. Her field of research, which she has termed “Transtectonics,” explores the cultural and environmental implications of expanded temporal sensibilities in architectural material practice. A building, Parreño argues, is a “material event,” part of a process of construction and deconstruction that is shaped by the past and directly impacts the future — an impact that has become all the more apparent in the epoch of the Anthropocene, in which humans have become the dominant force influencing the physical composition and regulating systems of the planet.

      Parreño’s classes at MIT have included design studios that position architecture in relation to geological processes, and historical surveys of building practices that embrace traces of time and rhythms of maintenance. She recently devised a new class, 4.181 (The Deep Time Project), which launched in fall 2022 with the support of a 2022 Cross Disciplinary Class Grant from the MIT Center for Art, Science and Technology (CAST), in addition to the d’Arbeloff Fund for Excellence in Education.

      Learning deep time literacy

      “The course proposes that architects must develop deep-time literacy if we are to become true planetary stewards,” says Parreño. “Rather than attempting to identify solutions, the course is intended to provoke new ways of thinking that lead to greater accountability — a recognition that we, as architects, are intervening in something larger than ourselves, and that the consequences of our actions extend far beyond the timescales of our human lives and civilizations.” The class, which was offered to master’s students in the School of Architecture and Planning and the Harvard Graduate School of Design, culminated in a series of “material essays” that seek to bring deep time into contemporary consciousness. These multimedia projects — which include physical prototypes, text components, sound, and video  — are on display until March 24 at the Wiesner Student Art Gallery.

      “Being part of the exhibition has made me realize the advantages of belonging to a collective that recognizes the urgency of addressing the idea of time at different scales,” says architecture master’s student Christina Battikha, whose material essay “Plastic Time” imagines a future when plastic is integral to the geological structure of the Earth. Envisioned as a jagged plastic “rock,” the sculpture interprets the ubiquitous synthetic material as a natural phenomenon, a human-made product that far outlasts a human lifespan.

      Taking the form of a clay “Rosetta Stone” inscribed with multiple languages, architecture student Tatiana Victorovna Estrina’s material essay explores how the evolution of language impacts the built environment. “My project identifies a gap of imagination in deep time research,” she explains. “The installation became a futuristic exploration of opportunities for the adaptive relationship between the human body and its prosthetic additions of language and architecture.”

      Provocative perspectives

      “Developing the class here at MIT grants us the capacity to hold conversations across disciplines,” says Parreño. “That’s all the more necessary, because deep time literacy requires a very holistic way of thinking; it raises awareness of the fact that we are inherently interconnected, and makes it clear that we can’t afford to operate in compartments.”

      This attention to interdisciplinarity is exemplified by the guest speakers invited to share their ideas with the class, each providing a new way of accessing the deep time paradigm. Among the speakers were Marcia Bjornerud, a structural geologist and educator who argues that a geologist’s temporal perspective can empower us to make decisions for a more sustainable future. Richard Fisher, a senior journalist at the BBC, and Bina Venkataraman, journalist and author of “The Optimist’s Telescope: Thinking Ahead in a Reckless Age,” both shared their experiences of engaging the public in the perils of short-term-ism and the positive effects of taking the long view in daily life. The historian of science Jimena Canales provided a philosophical background to the conundrums of time perception, citing the renowned debate between Albert Einstein and the philosopher Henri Bergson.

      Alongside these large-scale thinkers and academic researchers were practitioners who directly apply planetary perspectives at a local level. Joseph Bagley is Boston’s city architect, investigating the layers of time that constitute the urban fabric. Faries Gray, the sagamore of the Massachusett Tribe at Ponkapoag, advocates for Indigenous ways of knowing that recognize the continuity between human cultures and the living history of the land. Together, these different ways of relating to deep time offer a toolkit for contemplating a concept too large to be held in the human mind.

      Thinking through art

      Parreño’s own way of conceptualizing deep time is informed by her artistic and philosophical inquiry into the paradoxes of time, tectonics, and materiality. Exhibited at the Schusev State Museum of Architecture in Moscow, her installation Tectonics of Wisdom focused on the typology of the library as a way of demonstrating how architecture is intertwined with geological and civilizational history. Carbon to Rock, shown at the 2021 Venice Architecture Biennale, explores new artificial manipulations of the geological timescales of the carbon cycle, rethinking igneous rocks as a resilient material for high-carbon-capture architecture. In addition, Parreño has published several essays on the subject of deep time for journals including Strelka Magazine, Log, and JAE Journal of Architectural Education. Her work as a writer and theorist is complemented by her art installations — or material essays — that serve as a research methodology and a means of communication.

      Likewise, the exhibition component of the Deep Time Project is a way of giving thoughts physical form. Estrina’s installation was initially prompted by the need to communicate the presence of buried nuclear waste to future generations — or even future species. Battikha’s sculpture is a response to the vast buildup of plastic generated by cycles of supply and demand. However, rather than making value judgements or condemning human actions, these works are intended to disrupt conventional patterns of perception, experimenting with longer-term perspectives that have the potential to change ingrained assumptions and daily habits. “There needs to be a paradigm shift before we can effectively address the enormity of the challenges ahead,” says Parreño. “The Deep Time Project is about taking a step back, reframing these problems in ways that will allow us to ask the right questions.” More