Last summer, not a week passed without reminding us that climate change is increasingly impacting the life and livelihood of millions of people worldwide, be it through flooding, forest fires, heat waves or droughts.

These catastrophic events often destroy already fragile ecosystems and trigger heartbreaking human migration. To limit further tragedy, there is a growing consensus that we need to transition towards a carbon neutral global economy by 2050. This means that the use of all fossil fuels – with exception of some very limited carbon capture offsets – must be ended. For MIT this means, that we must eliminate all greenhouse gases from operating out campus buildings and vehicles.

To address this titanic challenge, MIT has initiated a series of interconnected activities including plans to decisively reduce energy demand from our buildings and reimaging our on and off campus energy supply infrastructure. While MIT hired a consultant to study the technical and economic feasibility of a number of decarbonization pathways a Decarbonization Working Group made of students, faculty and staff with expertise in different low- and zero-carbon technology areas and related topics will also to evaluate and prioritize potential applications to campus.

This class will function as an extension of the activities of this working group.

Annexation, greenwashing, and destructive notions of progress have all but wiped out the memory of an indigenous mythology once deeply rooted in an embodied, balanced stewardship of nature. How can the merging of artistic methodologies with agricultural practices address this loss of cultural capital?

Common Ground is a transdisciplinary experiment in learning from the land, seeking to develop a new field of inquiry at the intersection of art, science and agriculture. The history of art is also a history of agriculture, marking humanity’s complex relationship with the environment. This course will examine historic typologies of indigenous architectural and agrarian technologies, bringing them into conversation with contemporary techno-scientific and artistic discourses. Through this synthesis, our class will explore artistic methods to decolonize the social, political, economic and narrative structures that govern our relationship to nature. Following the semester, project documentation and research developed over the semester will contribute to a publication.

Applicants from across artistic and scientific disciplines are highly encouraged. Interested students should attend the first class.

Undergraduates are welcome to enroll.

4.s34 Syllabus (MIT Certificate protected)

UG: 4.s30 | G: 4.s32

Students will learn the basics of capturing documentary footage and sounds in real world scenarios. Learn to navigate the ethics and complexities of capturing “reality” and depicting real people and representing “truth”.

Students will learn how to edit for the desired final product, be it a film or alternative medium such as interactive, web, installation, location intervention and more.

From Robert Flaherty (Silent Era) to John Grierson (British Model) to Morin & Rouch (Cinema Verite) to George Stoney (Community Engagement) to Errol Morris (Epistomological Interview) to Adam Curtis (Journalistic Essay), learn the history and context of documentary and the various ways people have attempted to represent the real world, including newer hybrid forms that mix fiction and non-fiction and non-linear interactive works.

Students will produce a documentary short on the subject and in the medium of their choice.

Introduces artistic practice and critical visual thinking through three studio-based projects using different scales and media, for instance, "Body Extension," "Shaping Time," "Public Making," and/or "Networked Cultures." Each project concludes with a final presentation and critique. Students explore sculptural, architectural, performative artistic methods; video and sound art; site interventions and strategies for artistic engagement in the public realm. Lectures, screenings, guest presentations, field trips, readings, and debates supplement studio practice. Also introduces students to the historic, cultural, and environmental forces affecting both the development of an artistic vision and the reception of a work of art.

4.314 U / 4.315 G

Examines artistic practice as a form of critical inquiry and knowledge production. Offers opportunity to develop art as a means for addressing the social, cultural, and ecological consequences of technology, to build bridges between industry and culture, and to challenge the boundaries between public and private, and human and non-human. Provides instruction in evaluating models of experimentation, individual research, and collaboration with other disciplines in the arts, culture, science, and technology. Supports the development of individual and collective artistic research projects. Additional work required of students taking the graduate version. 

Bioart is an interdisciplinary field that explores the intersection of art and biology, bridging the gap between science, technology, and artistic expression. This graduate-level course introduces students to the theoretical foundations and practical techniques of bioart, fostering creativity, critical thinking, and ethical considerations in the creation of bio-inspired artworks. Through a combination of theoretical discussions, hands-on bio lab work, studio practice, and guest lectures from experts in the field, students will gain a deep understanding of the historical context, ethical implications, and cutting-edge applications of bioart including DNA origami and Tissue printing. 

Course Objectives:

1. Understand the historical context and evolution of bioart as an art form.
2. Explore the ethical considerations and social implications of bioart.
3. Acquire practical skills and techniques for creating bio-inspired artworks.
4. Engage in critical discussions on the intersection of art and biology.
5. Collaborate with peers to develop innovative bioart projects.
6. Analyze and interpret bioartworks from various perspectives.
7. Develop a strong foundation for future research in bioart.

4.314/4.315 Syllabus (MIT Certificate protected)
 

Designed for students writing a thesis in Urban Studies and Planning or Architecture. Develop research topics, review relevant research and scholarship, frame research questions and arguments, choose an appropriate methodology for analysis, and draft introductory and methodology sections.

Program of research and writing of thesis; to be arranged by the student with supervising committee. 

Class meets in-person.

Program of thesis research leading to the writing of an SB thesis. Intended for seniors. Twelve units recommended.

Research and project activities, which cover the range represented by the various research interests and projects in the Department.