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    School of Engineering welcomes new faculty

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    The School of Engineering welcomes 15 new faculty members across six of its academic departments. This new cohort of faculty members, who have either recently started their roles at MIT or will start within the next year, conduct research across a diverse range of disciplines.Many of these new faculty specialize in research that intersects with multiple fields. In addition to positions in the School of Engineering, a number of these faculty have positions at other units across MIT. Faculty with appointments in the Department of Electrical Engineering and Computer Science (EECS) report into both the School of Engineering and the MIT Stephen A. Schwarzman College of Computing. This year, new faculty also have joint appointments between the School of Engineering and the School of Humanities, Arts, and Social Sciences and the School of Science.“I am delighted to welcome this cohort of talented new faculty to the School of Engineering,” says Anantha Chandrakasan, chief innovation and strategy officer, dean of engineering, and Vannevar Bush Professor of Electrical Engineering and Computer Science. “I am particularly struck by the interdisciplinary approach many of these new faculty take in their research. They are working in areas that are poised to have tremendous impact. I look forward to seeing them grow as researchers and educators.”The new engineering faculty include:Stephen Bates joined the Department of Electrical Engineering and Computer Science as an assistant professor in September 2023. He is also a member of the Laboratory for Information and Decision Systems (LIDS). Bates uses data and AI for reliable decision-making in the presence of uncertainty. In particular, he develops tools for statistical inference with AI models, data impacted by strategic behavior, and settings with distribution shift. Bates also works on applications in life sciences and sustainability. He previously worked as a postdoc in the Statistics and EECS departments at the University of California at Berkeley (UC Berkeley). Bates received a BS in statistics and mathematics at Harvard University and a PhD from Stanford University.Abigail Bodner joined the Department of EECS and Department of Earth, Atmospheric and Planetary Sciences as an assistant professor in January. She is also a member of the LIDS. Bodner’s research interests span climate, physical oceanography, geophysical fluid dynamics, and turbulence. Previously, she worked as a Simons Junior Fellow at the Courant Institute of Mathematical Sciences at New York University. Bodner received her BS in geophysics and mathematics and MS in geophysics from Tel Aviv University, and her SM in applied mathematics and PhD from Brown University.Andreea Bobu ’17 will join the Department of Aeronautics and Astronautics as an assistant professor in July. Her research sits at the intersection of robotics, mathematical human modeling, and deep learning. Previously, she was a research scientist at the Boston Dynamics AI Institute, focusing on how robots and humans can efficiently arrive at shared representations of their tasks for more seamless and reliable interactions. Bobu earned a BS in computer science and engineering from MIT and a PhD in electrical engineering and computer science from UC Berkeley.Suraj Cheema will join the Department of Materials Science and Engineering, with a joint appointment in the Department of EECS, as an assistant professor in July. His research explores atomic-scale engineering of electronic materials to tackle challenges related to energy consumption, storage, and generation, aiming for more sustainable microelectronics. This spans computing and energy technologies via integrated ferroelectric devices. He previously worked as a postdoc at UC Berkeley. Cheema earned a BS in applied physics and applied mathematics from Columbia University and a PhD in materials science and engineering from UC Berkeley.Samantha Coday joins the Department of EECS as an assistant professor in July. She will also be a member of the MIT Research Laboratory of Electronics. Her research interests include ultra-dense power converters enabling renewable energy integration, hybrid electric aircraft and future space exploration. To enable high-performance converters for these critical applications her research focuses on the optimization, design, and control of hybrid switched-capacitor converters. Coday earned a BS in electrical engineering and mathematics from Southern Methodist University and an MS and a PhD in electrical engineering and computer science from UC Berkeley.Mitchell Gordon will join the Department of EECS as an assistant professor in July. He will also be a member of the MIT Computer Science and Artificial Intelligence Laboratory. In his research, Gordon designs interactive systems and evaluation approaches that bridge principles of human-computer interaction with the realities of machine learning. He currently works as a postdoc at the University of Washington. Gordon received a BS from the University of Rochester, and MS and PhD from Stanford University, all in computer science.Kaiming He joined the Department of EECS as an associate professor in February. He will also be a member of the MIT Computer Science and Artificial Intelligence Laboratory (CSAIL). His research interests cover a wide range of topics in computer vision and deep learning. He is currently focused on building computer models that can learn representations and develop intelligence from and for the complex world. Long term, he hopes to augment human intelligence with improved artificial intelligence. Before joining MIT, He was a research scientist at Facebook AI. He earned a BS from Tsinghua University and a PhD from the Chinese University of Hong Kong.Anna Huang SM ’08 will join the departments of EECS and Music and Theater Arts as assistant professor in September. She will help develop graduate programming focused on music technology. Previously, she spent eight years with Magenta at Google Brain and DeepMind, spearheading efforts in generative modeling, reinforcement learning, and human-computer interaction to support human-AI partnerships in music-making. She is the creator of Music Transformer and Coconet (which powered the Bach Google Doodle). She was a judge and organizer for the AI Song Contest. Anna holds a Canada CIFAR AI Chair at Mila, a BM in music composition, and BS in computer science from the University of Southern California, an MS from the MIT Media Lab, and a PhD from Harvard University.Yael Kalai PhD ’06 will join the Department of EECS as a professor in September. She is also a member of CSAIL. Her research interests include cryptography, the theory of computation, and security and privacy. Kalai currently focuses on both the theoretical and real-world applications of cryptography, including work on succinct and easily verifiable non-interactive proofs. She received her bachelor’s degree from the Hebrew University of Jerusalem, a master’s degree at the Weizmann Institute of Science, and a PhD from MIT.Sendhil Mullainathan will join the departments of EECS and Economics as a professor in July. His research uses machine learning to understand complex problems in human behavior, social policy, and medicine. Previously, Mullainathan spent five years at MIT before joining the faculty at Harvard in 2004, and then the University of Chicago in 2018. He received his BA in computer science, mathematics, and economics from Cornell University and his PhD from Harvard University.Alex Rives will join the Department of EECS as an assistant professor in September, with a core membership in the Broad Institute of MIT and Harvard. In his research, Rives is focused on AI for scientific understanding, discovery, and design for biology. Rives worked with Meta as a New York University graduate student, where he founded and led the Evolutionary Scale Modeling team that developed large language models for proteins. Rives received his BS in philosophy and biology from Yale University and is completing his PhD in computer science at NYU.Sungho Shin will join the Department of Chemical Engineering as an assistant professor in July. His research interests include control theory, optimization algorithms, high-performance computing, and their applications to decision-making in complex systems, such as energy infrastructures. Shin is a postdoc at the Mathematics and Computer Science Division at Argonne National Laboratory. He received a BS in mathematics and chemical engineering from Seoul National University and a PhD in chemical engineering from the University of Wisconsin-Madison.Jessica Stark joined the Department of Biological Engineering as an assistant professor in January. In her research, Stark is developing technologies to realize the largely untapped potential of cell-surface sugars, called glycans, for immunological discovery and immunotherapy. Previously, Stark was an American Cancer Society postdoc at Stanford University. She earned a BS in chemical and biomolecular engineering from Cornell University and a PhD in chemical and biological engineering at Northwestern University.Thomas John “T.J.” Wallin joined the Department of Materials Science and Engineering as an assistant professor in January. As a researcher, Wallin’s interests lay in advanced manufacturing of functional soft matter, with an emphasis on soft wearable technologies and their applications in human-computer interfaces. Previously, he was a research scientist at Meta’s Reality Labs Research working in their haptic interaction team. Wallin earned a BS in physics and chemistry from the College of William and Mary, and an MS and PhD in materials science and engineering from Cornell University.Gioele Zardini joined the Department of Civil and Environmental Engineering as an assistant professor in September. He will also join LIDS and the Institute for Data, Systems, and Society. Driven by societal challenges, Zardini’s research interests include the co-design of sociotechnical systems, compositionality in engineering, applied category theory, decision and control, optimization, and game theory, with society-critical applications to intelligent transportation systems, autonomy, and complex networks and infrastructures. He received his BS, MS, and PhD in mechanical engineering with a focus on robotics, systems, and control from ETH Zurich, and spent time at MIT, Stanford University, and Motional. 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.

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      “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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      Q&A: A high-tech take on Wagner’s “Parsifal” opera

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      The world-famous Bayreuth Festival in Germany, annually centered around the works of composer Richard Wagner, launched this summer on July 25 with a production that has been making headlines. Director Jay Scheib, an MIT faculty member, has created a version of Wagner’s celebrated opera “Parsifal” that is set in an apocalyptic future (rather than the original Medieval past), and uses augmented reality headset technology for a portion of the audience, among other visual effects. People using the headsets see hundreds of additional visuals, from fast-moving clouds to arrows being shot at them. The AR portion of the production was developed through a team led by designer and MIT Technical Instructor Joshua Higgason.

      The new “Parsifal” has engendered extensive media attention and discussion among opera followers and the viewing public. Five years in the making, it was developed with the encouragement of Bayreuth Festival general manager Katharina Wagner, Richard Wagner’s great-granddaughter. The production runs until Aug. 27, and can also be streamed on Stage+. Scheib, the Class of 1949 Professor in MIT’s Music and Theater Arts program, recently talked to MIT News about the project from Bayreuth.

      Q: Your production of “Parsifal” led off this year’s entire Bayreuth festival. How’s it going?

      A: From my point of view it’s going quite swimmingly. The leading German opera critics and the audiences have been super-supportive and Bayreuth makes it possible for a work to evolve … Given the complexity of the technical challenge of making an AR project function in an opera house, the bar was so high, it was a difficult challenge, and we’re really happy we found a way forward, a way to make it work, and a way to make it fit into an artistic process. I feel great.

      Q: You offer a new interpretation of “Parsifal,” and a new setting for it. What is it, and why did you choose to interpret it this way?

      A: One of the main themes in “Parsifal” is that the long-time king of this holy grail cult is wounded, and his wound will not heal. [With that in mind], we looked at what the world was like when the opera premiered in the late 19th century, around the time of what was known as the Great African Scramble, when Europe re-drew the map of Africa, largely based on resources, including mineral resources.

      Cobalt remains [the focus of] dirty mining practices in the Democratic Republic of Congo, and is a requirement for a lot of our electronic objects, in particular batteries. There are also these massive copper deposits discovered under a Buddhist temple in Afghanistan, and lithium under a sacred site in Nevada. We face an intense challenge in climate change, and the predictions are not good. Some of our solutions like electric cars require these materials, so they’re only solutions for some people, while others suffer [where minerals are being mined]. We started thinking about how wounds never heal, and when the prospect of creating a better world opens new wounds in other communities. … That became a theme. It also comes out of the time when we were making it, when Covid happened and George Floyd was murdered, which created an opportunity in the U.S. to start speaking very openly about wounds that have not healed.

      We set it in a largely post-human environment, where we didn’t succeed, and everything has collapsed. In the third act, there’s derelict mining equipment, and the holy water is this energy-giving force, but in fact it’s this lithium-ion pool, which gives us energy and then poisons us. That’s the theme we created.

      Q: What were your goals about integrating the AR technology into the opera, and how did you achieve that?

      A: First, I was working with my collaborator Joshua Higgason. No one had ever really done this before, so we just started researching whether it was possible. And most of the people we talked to said, “Don’t do it. It’s just not going to work.” Having always been a daredevil at heart, I was like, “Oh, come on, we can figure this out.”

      We were diligent in exploring the possibilities. We made multiple trips to Bayreuth and made these milimeter-accurate laser scans of the auditorium and the stage. We built a variety of models to see how to make AR work in a large environment, where 2,000 headsets could respond simultaneously. We built a team of animators and developers and programmers and designers, from Portugal to Cambridge to New York to Hungary, the UK, and a group in Germany. Josh led this team, and they got after it, but it took us the better part of two years to make it possible for an audience, some of whom don’t really use smartphones, to put on an AR headset and have it just work.

      I can’t even believe we did this. But it’s working.

      Q: In opera there’s hopefully a productive tension between tradition and innovation. How do you think about that when it comes to Wagner at Bayreuth?

      A: Innovation is the tradition at Bayreuth. Musically and scenographically. “Parsifal” was composed for this particular opera house, and I’m incredibly respectful of what this event is made for. We are trying to create a balanced and unified experience, between the scenic design and the AR and the lighting and the costume design, and create perfect moments of convergence where you really lose yourself in the environment. I believe wholly in the production and the performers are extraordinary. Truly, truly, truly extraordinary.

      Q: People have been focused on the issue of bringing AR to Bayreuth, but what has Bayreuth brought to you as a director?

      A: Working in Bayreuth has been an incredible experience. The level of intellectual integrity among the technicians is extraordinary. The amount of care and patience and curiosity and expertise in Bayreuth is off the charts. This community of artists is the greatest. … People come here because it’s an incredible meeting of the minds, and for that I’m immensely filled with gratitude every day I come into the rehearsal room. The conductor, Pablo Heras-Casado, and I have been working on this for several years. And the music is still first. We’re setting up technology not to overtake the music, but to support it, and visually amplify it.

      It must be said that Katharina Wagner has been one of the most powerfully supportive artistic directors I have ever worked with. I find it inspiring to witness her tenacity and vision in seeing all of this through, despite the hurdles. It’s been a great collaboration. That’s the essence: great collaboration. More