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    Two MIT films nominated for New England Emmy Awards

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    Two films produced by MIT were honored with Emmy nominations by the National Academy of Television Arts & Sciences Boston/New England Chapter. Both “We Are the Forest” and “No Drop to Spare” illustrate international conversations the MIT community is having about the environment and climate change.“We Are the Forest,” produced by MIT Video Productions (MVP) at MIT Open Learning, was one of six nominees in the Education/Schools category. The documentary highlights the cultural and scientific exchange of the MIT Festival Jazz Ensemble, MIT Wind Ensemble, and MIT Vocal Jazz Ensemble in the Brazilian Amazon. The excursion depicted in the film was part of the ongoing work of Frederick Harris Jr., MIT director of wind and jazz ensembles and senior lecturer in music, to combine Brazilian music and environmental research.“No Drop to Spare,” created by the Department of Mechanical Engineering (MechE), was nominated in the Environment/Science and Video Essayist categories. The film, produced by John Freidah, MechE senior producer and creative lead, follows a team of researchers from the K. Lisa Yang Global Engineering and Research (GEAR) Center working in Kenya, Morocco, and Jordan to deploy affordable, user-driven smart irrigation technology.“We Are the Forest” tells the story of 80 MIT student musicians who traveled to Manaus, Brazil in March 2023. Together with Indigenous Brazilian musicians and activists, the students played music, created instruments with found objects from the rainforest, and connected their musical practice to nature and culture. The trip and the documentary culminated with the concert “Hearing Amazônia: Art and Resistance.”“We have an amazing team who are excited to tell the stories of so many great things that happen at MIT,” says Clayton Hainsworth, director for MVP. “It’s a true pleasure when we get to partner with the Institute’s community on these video projects — from Fred [Harris], with his desire for outreach of the music curriculum, giving students new perspectives and getting beyond the lab; to students getting to experience the world and seeing how that affects their next steps as they go out and make an impact.”The documentary was produced by Hainsworth, directed by Jean Dunoyer, staff editor at MVP, and filmed by Myles Lowery, field production videographer at MVP. Hainsworth credits Dunoyer with refining the story’s main themes: the universality of music as a common human language, and the ways that Indigenous communities can teach and inform the rest of the globe about the environment and the challenges we are all facing.“The film highlights the reach of how MIT touches the world and, more importantly, how the world touches MIT,” says Hainsworth, adding that the work was generously supported by A. Neil Pappalardo ’64 and Jane Pappalardo. “No Drop to Spare” evoked a similar sentiment from Freidah. “What I liked about this story was the potential for great impact,” says Freidah, discussing the MechE film’s production process. “It was global, it was being piloted in three different places in the world, with three different end users, and had three different applications. You sort of go in with an idea in mind of what the story might be, then things bubble up. In this story, as with so many stories, what rose to the top was the students and the impact they were having on the real world and end users.” Freidah has worked with Amos Winter SM ’05, PhD ’11, associate professor of mechanical engineering and MIT GEAR Center principal investigator, to highlight other impact global projects in the past, including producing a video in 2016. That film, “Water is Life,” explores the development of low-cost desalination systems in India. While the phrase “it’s an honor to be nominated” might seem cliched, it remains often used because the sentiment almost always rings true. Although neither film triumphed at this year’s awards ceremony, Freidah says there’s much to be celebrated in the final product. “Seeing the effect this piece had, and how it highlighted our students, that’s the success story — but it’s always nice also to receive recognition from outside.”The 47th Boston/New England Emmy Awards Ceremony took place on June 8 at the Marriott Boston Copley Place. A list of nominees and winners can be found on the National Academy of Television Arts and Sciences Boston/New England Chapter website.  More

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      in Environment

      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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      in Environment

      Using game engines and “twins” to co-create stories of climate futures

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      Imagine entering a 3D virtual story world that’s a digital twin of an existing physical space but also doubles as a vessel to dream up speculative climate stories and collective designs. Then, those imagined worlds are translated back into concrete plans for our physical spaces.

      Five multidisciplinary teams recently convened at MIT — virtually — for the inaugural WORLDING workshop. In a weeklong series of research and development gatherings, the teams met with MIT scientists, staff, fellows, students and graduates as well as other leading figures in the field. The theme of the gathering was “story, space, climate, and game engines.”

      “WORLDING illustrates the emergence of an entirely new field that fuses urban planning, climate science, real-time 3D engines, nonfiction storytelling, and speculative fiction,” says Katerina Cizek, lead designer of the workshop at Co-Creation Studio, MIT Open Documentary Lab. “And co-creation is at the core of this field that allows for collective, democratic, scientific and artistic processes.” The research workshop was organized by the studio in partnership with Unity Software.

      The WORLDING teams met with MIT scholars to discuss diverse domains, from the decolonization of board games, to urban planning as acts of democracy, to behind the scenes of a flagship MIT Climate Challenge project.

      “Climate is really a whole-world initiative,” said Noelle Selin, an MIT atmospheric chemistry professor, in a talk at WORLDING. Selin co-leads an MIT initiative that is digitally twinning the Earth to harness enormous volumes of data for improved climate projections and put these models into the hands of diverse communities and stakeholders.

      “Digital twinning” is a growth market for the game engine industry, in verticals such as manufacturing, architecture, finance, and medicine. “Digital twinning gives teams the power to ideate,” said Elizabeth Baron, a senior manager of enterprise solutions at Unity in her talk at WORLDING. “You can look at many things that maybe aren’t even possible to produce. But you’re the resource. Impact is very low, but the creativity aspect is very high.”

      That’s where the story and media experts come in. “Now, more than ever, we need to forge shared narratives about the world that we live in today and the world that we want to build for the future. Technology can help us visualize and communicate those worlds,” says Marina Psaros MCP ’06, head of sustainability at Unity, lead on WORLDING at Unity, and a graduate of the MIT Department of Urban Studies and Planning.

      In his talk on the short history of WORLDING, media scholar William Uricchio, MIT professor of comparative media studies and founder of the Open Documentary Lab, suggested that story and space come together in these projects that create new ways of knowing. “Story is always a representation,” he says. “It’s got a fixity and coherence to it, and play is — and, I would argue, worlds are —  all about simulation. Simulation in the case of digital twinning is capable of generating countless stories. It’s play as a story-generator, but in the service of envisioning a pluralistic and malleable future.”

      Fixed dominant narratives and game mechanics that underpin board games have been historically violent and unjust, says MIT Game Lab scholar Mikael Jakkobson, who shared findings for his upcoming book on the subject with the cohort. He argues that board games are built on underlying ideas of  “exploration, expansion, exploitation, and extermination. And, as it happens, those are also good ways of thinking about the mechanics of Western colonialism.”

      To counter these hegemonic mechanics and come up with new systems, community is vital, and urban planning is a discipline that plays a huge role in the translation of space, story, and democracy. Ceasar MacDowell, an MIT professor of the practice of civic design, told the WORLDING cohort that urban planning needs to expand its notion of authorship. He is working on systems (from his current position at the Media Lab) that not only engage the community in conversations but also prompt “the people who have been in conversations to actually make sense of them, do the meaning-making themselves, not to have external people interpret them.” These become dynamic layers of both representation and simulation that are not, as Uricchio suggests, fixed. 

      USAID Chief Climate Officer Gillian Calwell visited the group with both sharp warnings and warm enthusiasm: “When it comes to climate, this world isn’t working so well for us; we better start envisioning the new ones, and fast … We don’t have time to convince people that this is happening anymore. Nor do we need to. I think most of the world is having the hands-on, up-close-and-personal experience with the fact that these impacts are coming faster and more furiously than even the scientists had predicted. But one thing we do need help with on a more hopeful note is visualizing how the world could be different.”

      The WORLDING workshop is designed and inspired by the ideas and practices charted in the Co-Creation Studio’s new MIT Press book, “Collective Wisdom: Co-Creation Media for Equity and Justice,” which insists that “No one person, organization, or discipline can determine all the answers alone.”

      The five multidisciplinary teams in this first WORLDING cohort were diverse in approach, technology, and geography. For example, one is an Indigenous-led, land-based, site-specific digital installation that seeks to envision a future in which, once again, the great herds of buffalo walk freely. Another team is creating 3D-modeled biome kits of the water systems in the drought-stricken American West, animated by interviews and data from the communities living there. Yet another team is digitally twinning and then re-imagining a sustainable future in the year 2180 for a multi-player virtual reality game in a Yawanawà Shukuvena Village in the rainforests of Brazil.

      “While our workshop design was focused on developing and researching these incredible, interdisciplinary projects, we also hope that WORLDING can set an example for similar initiatives across global sectors where distances and varied expertise are not limitations but opportunities to learn from one another,” says Srushti Kamat, WORLDING producer and MIT creative media studies/writing grad.

      Most of the talks and presentations from the WORLDING workshop are available as archived videos at cocreationstudio.mit.edu/worlding-videos. More