Events Calendar

Writing Together Online offers the structured writing time to help you stay focused and productive during the busy fall months. Join our daily 90-minute writing sessions and become part of a community of scholars who connect online, set realistic goals, and write together in the spirit of accountability and camaraderie. We offer writing sessions every workday, Monday through Friday. The program is open to all MIT students, postdocs, faculty, staff, and affiliates who are working on papers, proposals, thesis/dissertation chapters, application materials, and other writing projects.Please register for any number of sessions:Monday, Wednesday, and Friday 9:00–10:30am (EST) Tuesday and Thursday, 8:00–9:30am and 9:30-11:00am (EST)For more information and to register, go to this link or check the WCC website. Please spread the word and join with colleagues and friends. MIT Students and postdocs who attend at least 5 sessions per challenge will be entered into a gift-card raffle.

The irony of artificial intelligence is that it often reveals more about human intelligence than machines themselves.From AI in the home to robots in the workplace, the presence of AI all around us compels us to question its potential and recognize the risks. What has become clear is that the more we advance AI technology and consider machine ability versus human ability, the more we need to mind the gap.Researchers at MIT have been at the forefront of this evolving field. The work presented in this exhibition builds on the pioneering contributions of figures such as Claude Shannon and Seymour Papert, while highlighting contemporary research that spans computer science, mechanical engineering, neuroscience, and the social sciences.As research probes the connections between human and machine intelligence, it also underscores the profound differences. With AI now embedded in everyday life — from smart assistants in our homes to robots in the workplace — we are challenged to ask critical questions about its potential, its risks, and the boundaries between machine ability and human capability.Join us in shining light on the tremendous promise, unforeseen impacts, and everyday misconceptions of AI in this riveting, interactive exhibition.Learn more about the exhibition.

Imagine different worlds in Cosmograph: Speculative Fictions for the New Space Age, an exhibition that brings art and science together to examine possible futures where outer space is both a frontier for human exploration and a new territory for exploitation and development by private enterprise.We are living at the dawn of a New Space Age. What will the future hold? Will space elevators bring humanity's space junk to turn it into useful material here on Earth? Will asteroid mining be the next frontier in prospecting? Will the promise of geo-engineering turn into a nightmare of unintended consequences?Explore these possibilities and more in our new exhibition that blurs the lines between fact and fantasy, and art and science.

MIT is not a place so much as it is a unique collection of exceptional people.What is essential at MIT is asking questions others may not ask, trying the unexpected in pursuit of a greater solution, and embracing distinctive skills and combinations of talents. Whether encompassing global issues, ventures into space, or efforts to improve our daily lives, stories told in this exhibit showcase the process of discovery that sits at the heart of MIT.Delve into the experimental culture and collaborative spirit of the MIT community in this dynamic and interactive exploration of groundbreaking projects and ongoing innovation."MIT’s greatest invention may be itself—an unusual concentration of unusual talent, forever reinventing itself on a mission to make a better world." — President L. Rafael ReifLocated in the Brit J. (1961) and Alex (1949) d'Arbeloff GallerySupported by the Biogen Foundation

How can code be used as a creative tool by artists and designers?This question motivates the work of the Future Sketches group at the MIT Media Lab. Led by artist and educator Zach Lieberman, the group aims to help us “see” code by using it to make artistically controlled, computer-generated visuals.Explore some of the latest research from the group that uses typography and digital tools to create interactive, creative, and immersive work.Located in our Martin J. (1959) and Eleanor C. Gruber Gallery.

Experience the captivating work of Arthur Ganson, where his perceptions of the world are choreographed into the subtle movements and gestures of his artistic machines."These machines are daydreams condensed into physical form, computer programs manifesting in three-dimensional space." - Arthur GansonArthur Ganson's medium is a feeling or idea inspired by the world he perceives around him – from the delicate fluttering of paper to the sheer scale of the universe. Combining engineering genius with whimsical choreography, he creates machines to encode those ideas into the physical world. But he invites everyone to draw their own conclusions on the meaning behind the subtle gestures of the machines.Currently on display are a select group of Arthur Ganson's works from our MIT Museum Collection. We expect to exhibit his work in large numbers in the future.

How can you investigate something you cannot see?The challenge of understanding the unknown motivates scientists today, just as it has inspired curious people for centuries.Using material from the Allen Forbes Collection, this exhibit traces the scientific process of observing, measuring, and describing that turned whales from monsters into mammals.Using prints from the sixteenth through the nineteenth centuries, Monsters of the Deep examines how European knowledge about the creatures of the sea was informed by new information from sailors, scholars, and beachcombers, and how that knowledge transformed what people understood about the natural world.Want a closer look at what we have on view? You can explore digitized versions of exhibition objects here.On view through January 2026.

Hiroshi Ishii and the Tangible Media Group at the MIT Media Lab have pioneered new ways for people to interact with computers, with the invention of the “tangible user interface.”It began with a vision of "Tangible Bits," where users can manipulate ordinary physical objects to access digital information. It evolved into a bolder vision of "Radical Atoms," where materials can change form and reconfigure themselves just as pixels can on a screen. This experimental exhibit of three iconic works — SandScape, inFORM, and TRANSFORM — is part of the MIT Museum's ongoing efforts to collect the physical machines as well as preserve the user experience of, in Ishii's words, making atoms dance.Learn more about the exhibits here, or watch the YouTube video of Hiroshi Ishii's talk at the MIT Museum below.This is an ongoing exhibition in our MIT Collects exhibition.

Janet Echelman's Remembering the Future widens our perspective in time, giving sculptural form to the history of the Earth's climate from the last ice age to the present moment, and then branching out to visualize multiple potential futures.Constructed from colored twines and ropes that are braided, knotted and hand-spliced to create a three-dimensional form, the immersive artwork greets you with its grand scale presiding over the MIT Museum lobby.This large-scale installation by 2022-2024 MIT Distinguished Visiting Artist Janet Echelman, was developed during her residency at the MIT Center for Art, Science & Technology (CAST). Architect, engineer and MIT Associate Professor Caitlin Mueller collaborated on the development of the piece.The title, Remembering the Future was inspired by the writings commonly attributed to Søren Kierkegaard: "The most painful state of being is remembering the future, particularly the one you'll never have."As the culmination of three years of dedicated research and collaboration, this site-specific installation explores Earth's climate timeline, translating historical records and possible futures into sculptural form.Echelman's climate research for this project was guided by Professor Raffaele Ferrari and the MIT Lorenz Center, creators of En-ROADS simulator which uses current climate data and modeling to visualize the impact of environmental policies and actions on energy systems.Learn more about Janet Echelman and the MIT Museum x CAST Collaboration.Learn more about the exhibition at the MIT Museum.

On view October 1 -- December 11, 2025This exhibition draws on archival materials from the Aga Khan Documentation Center at MIT (AKDC) to explore a century of cultural heritage preservation in Aleppo, Syria. It takes as its point of departure the work of Kamil al-Ghazzi (1853–1933), the pioneering Aleppine historian whose influential three-volume chronicle, Nahr al-Dhahab fī Tārīkh Ḥalab (The River of Gold in the History of Aleppo), was published between 1924 and 1926.Ink, Stone, and Silver Light presents three modes of documentation—manuscript, built form, and photography—through which Aleppo’s urban memory has been recorded and preserved. Featuring figures such as Michel Écochard and Yasser Tabbaa alongside al-Ghazzi, the exhibition traces overlapping efforts to capture the spirit of a city shaped by commerce, craft, and coexistence. At a time when Syria again confronts upheaval and displacement, these archival fragments offer models for preserving the past while envisioning futures rooted in dignity, knowledge, and place.

Congratulations—you’ve got research data! This session will walk you through the dos and don’ts associated with research data and artifacts, all of those associated bits of information necessary to understand research data. These can include structured data, images, unstructured data, metadata, analysis scripts, analysis environment, and much more. We’ll cover the tools and resources available to you for making decisions about your research data (and associated bits) with regard to use agreements, security requirements, and copyright and licensing. We’ll also explore some case studies and do a practical applications exercise.

Hoping to secure funding for international research in the social sciences or humanities? This skill-development seminar is designed to help you craft persuasive funding applications. Open to PhD students and anyone interested in international research funding, this seminar unpacks what makes proposals stand out—from aligning your project with funders’ priorities to clearly communicating your research goals and expected impact. Experienced MIT faculty will share their practical strategies and discuss how to avoid common pitfalls. Strengthen your proposal-writing toolkit and connect with others pursuing global research! This session will be particularly useful for PhD students considering applying for the CIS PhD research grants, with proposals due in March 2026.Gabriella Carolini is an Associate Professor of Urban Planning and International Development in DUSP at MIT, where she leads the City Infrastructure Equity Lab. Her research focuses on the governance and planning of infrastructure development across urban communities in the Americas and Africa. She has published a book on her research, and her articles appear in leading journals.Evan Lieberman is Professor of Political Science at MIT, where he holds the Total Chair on Contemporary African Politics. He is the director of MIT’s Center for International Studies, Global Diversity Lab, and MISTI. His research on South Africa, Brazil, and India has been published in three books and numerous journals.This seminar will be held in E53-482 (Millikan Room). Lunch will be available. Please RSVP here.Contact Kate Danahy at kdanahy@mit.edu with any questions.This event is part of the CIS Global Research & Policy Seminar Series. Join our mailing list here to learn about upcoming seminars in the series.

Date: Monday, October 20, 2025 Time: 12:00 pm – 1:00 pm Location: Seminar Room 3189Title: From Genes to Circuits: Spatial Learning and Decision Making In Fruit FliesAbstract: We study how genes and neural circuits control spatial learning and decision making in Drosophila. How animals navigate spatial learning tasks in environments lacking visual landmarks remains poorly understood. We use a high-throughput spatial learning task to investigate this question in Drosophila and found that Drosophila can simultaneously use self-generated olfactory cues and self-motion cues to learn a spatial goal under visually deprived conditions. We use Drosophila selection of egg laying site as a model to study how natural genetic variations shape the value-based decision making. While laboratory flies reject sucrose in favor of a plain substrate for laying eggs, a wild-caught African strain accepts sucrose. We identified the genes, neurons, and circuit that underlie the strain differences in behavior, illustrating how subtle gene regulatory polymorphisms reshape neural computations to drive adaptive variation in decision-making.Bio: Rebecca Yang is currently Associate Professor at Duke University in the Department of Neurobiology. She obtained her PhD from Stanford University studying mechanisms governing planar cell polarity in the Drosophila compound eye. She conducted her postdoctoral training in UCSF, where she used Drosophila egg-laying site selection as a system to study simple decision-making processes. In her own lab, she investigates how genes and circuits, including natural genetic variations, control learning and decision making combining various high-throughput behavioral assays with transcriptomic, optogenetic, and in vivo imaging approaches.

Speaker: Cheng Tang (Jazayeri Lab)Title: Position, Direction, and Time: Three-Way Factorization Underlies Vector Compositionality in the Dorsomedial Frontal CortexAbstract:The ability to flexibly combine elementary concepts into novel, complex ones—known as compositional generalization—is a hallmark of intelligence in both humans and non-human primates. Yet, the neural principles that enable such compositionality remain poorly understood. To probe this question, I trained two macaque monkeys on a 2D vector addition task that required adding spatial coordinates and dynamic flow-fields defined by direction and duration, in a vector arithmetic fashion. After learning a subset of combinations, the animals were tested on novel pairings to assess compositional generalization. Electrophysiological recordings from the dorsomedial frontal cortex (DMFC) revealed that successful generalization was consistently associated with factorized neural representations—independent encoding of coordinate and vector components. Conversely, error trials showed non-factorized, entangled representations. Moreover, within the flow-field representation, direction and time were factorized at the single-trial level. Together, these findings suggest that three-way factorization—of position, direction, and time—within the dorsomedial frontal cortex (DMFC) provides a neural basis for vector compositionality in the primate brain. More broadly, the capacity for compositional generalization may critically depend on which task variables are factorized within neural representations, highlighting the importance of representational structure in flexible cognitionSpeaker: Cyn Fang (Kanwisher Lab)Title: Is it food?Abstract: Three recent publications reported a component of the fMRI response in the human ventral visual pathway that responds selectively to images of food. However, all three studies were based on the same Natural Scenes Database (NSD), in which high-level categories like food are correlated in the image set with other properties of the image such as the color of objects or distance of the scene. To test whether the reported visual food selectivity might reflect these or other correlates of food images rather than (or in addition to) food per se, we constructed novel stimuli that manipulated these properties on both food and nonfood images. Our results indicate that the previously reported food component is not strictly food-selective, and that it is driven in part by contextual or material features unrelated to food.

Speaker: Kate Gilbert, Executive Director Boston Public Art TriennialRespondent: Garnette Cadogan, Tunney Lee Distinguished Lecturer in Urbanism, MITThis is part of the CDD / LCAU lunchtime lecture series. Lunch will be served

"Who bears climate change damages? Evidence from the gig economy"| Anna Papp (MIT) (joint with Development)

Anna Papp (MIT)

Ten minutes for your mind@2:50 every day at 2:50 pm in multiple time zones:Europa@2:50, EET, Athens, Helsinki (UTC+2) (7:50 am EST) https://us02web.zoom.us/j/88298032734Atlantica@2:50, EST, New York, Toronto (UTC-4) https://us02web.zoom.us/j/85349851047Pacifica@2:50, PST, Los Angeles, Vancouver (UTC=7) (5:50 pm EST) https://us02web.zoom.us/j/85743543699Almost everything works better again if you unplug it for a bit, including your mind. Stop by and unplug. Get the benefits of mindfulness without the fuss.@2:50 meets at the same time every single day for ten minutes of quiet together.No pre-requisite, no registration needed.Visit the website to view all @2:50 time zones each day.at250.org or at250.mit.edu

Since returning to MIT on April 1, Vice President for Energy and Climate Evelyn Wang has been engaging with students, faculty, staff, alumni, and partners across our campus and beyond and listening to ideas for how MIT can best rise to the challenges of energy and climate.As a framework is coming into focus, Professor Wang would like to share her plans with the MIT campus community. She will also introduce a new seed grant program designed to spur and accelerate research projects.To ensure that as many members of our community as possible can take part, we are offering two in-person and one virtual sessions this semester.Please note that all of the sessions are identical, and so you only need to sign up for one.The sessions are as follows:Session 1: In-personMonday, October 20 3:00-4:30 pm Building 55 AtriumSession 2: VirtualWednesday, November 12 10:30 am-12:00 pm Link will be sent to registered attendeesSession 3: In-personTuesday, December 2 3:30-5:00 pm Building 55 AtriumRegistration is required.