All events

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.

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.

MIT Collects features objects and other media from the museum's vast collection, arranged in areas that tell stories, explore themes, and dive into subject areas.Modeling Everything:Models and model-making, both the objects and the action, are vital to every research area at MIT and to the life of the Institute itself. Explore a wide array of models for teaching, discovery, research, and documentation, from ships to crystal structures to architectural design.Radical Atoms: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.A Sequence of Actions:Developed and operated at MIT, the Differential Analyzer, Whirlwind Computer, and Apollo Guidance Computer were massive and complex projects that involved thousands of people. See historical components and artifacts from this critical era in programming during the mid-20th century and explore how these early programmers influenced today’s digital culture.Technology and the Dream:Through recordings of students, staff, researchers, and community members, listen to personal reflections and gain a sense of the Black experience at MIT. This dynamic audio installation is co-curated with the MIT Black History Project.Totally Useless Things:Toys, puzzles, and play are a significant part of the creative process. Playful activity can shape a research agenda or an entire discipline. Extracurricular play — like MIT's famous hacks — enhances creativity and community. And play itself is a rich field for scientific research. Jump in and learn how curiosity is the fuel that discovery runs on.Located in the Edward O. Thorp Gallery

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.

"Social Norms and Worker Productivity" | Laura Boudreau (Columbia)

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

Speaker: Peter Hintz (Pennsylvania State University)

RSVP for the Zoom webinar here.Speaker:Fiona Hill is a senior fellow at the Center on the United States and Europe at Brookings Institution and Chancellor of Durham University. Hill served as deputy assistant to the president and senior director for European and Russian affairs on the US National Security Council from 2017 to 2019, as well as national intelligence officer for Russia and Eurasia at the US National Intelligence Council from 2006 to 2009. She has researched and published extensively on issues related to Russia, the Caucasus, regional conflicts, and strategic issues, as well as the link between deindustrialization and political populism. She is the author of the bestselling memoir "There Is Nothing for You Here: Finding Opportunity in the 21st Century" and co-author of "Mr. Putin: Operative in the Kremlin." In December 2023, Hill was recognized by the United Kingdom as a Companion of the Order of St Michael and St George, for services to international relations and in July 2024, she was appointed by Prime Minister Keir Starmer to be an external reviewer for a Strategic Defense Review for the Ministry of Defense of the United Kingdom.Discussants:Carol Saivetz is a senior fellow in the MIT Security Studies Program at the Center for International Studies (CIS). She is the author and contributing co-editor of books and articles on Soviet and now Russian foreign policy issues.Elizabeth Wood is Ford International Professor of History at MIT. She is the author most recently of Roots of Russia’s War in Ukraine as well as articles on Vladimir Putin, the political cult of WWII, right-wing populism in Russia and Turkey, and U.S.-Russian Partnerships in Science. She is director of the MIT-Ukraine Program at CIS.This event is co-sponsored by the Center for International Studies, the MIT-Eurasia program, and the MIT Security Studies Program (SSP).

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 10:30-11:30 am Link will be sent to registered attendeesSession 3: In-personTuesday, December 2 3:30-5:00 pm Building 55 AtriumRegistration is required.

Speaker: Elcin Unal, University of California - BerkeleyHost: Yadira Soto-FelicianoTitle: "Meiotic Differentiation: How to Create Life out of Programmed Destruction"The Biology Colloquium is a weekly seminar held throughout the academic year — featuring distinguished speakers in many areas of the biological sciences from universities and institutions worldwide. More information on speakers, their affiliations, and titles of their talks will be added as available. Unless otherwise stated, the Colloquium will be held live in Stata 32-123 (Kirsch auditorium) Contact Margaret Cabral with questions.

Xavier Gabaix (Harvard Univ,)

Presented by: Sarah Olsen (Associate Professor of Classics at Williams College) and Naomi Weiss (Professor of the Classics at Harvard University)Euripides’ Orestes, first produced in 408 BCE, was one of the most popular tragedies in the ancient Greek and Byzantine worlds. It is also a play suited to a range of current scholarly and cultural interests, from ancient music to queer reimaginations of antiquity to the construction of race in ancient Greece, while the ways it pushes the boundaries of form and genre look increasingly at home among today’s postmodern and experimental theater. At present, however, work on Orestes is hampered by the absence of a modern English commentary. In this talk, we will discuss our approach to creating such a commentary, as well as broader questions about the purpose, audience, and unexamined assumptions of the commentary as a scholarly genre in the 21st century.The commentary, a vital resource in the study of any ancient Greek drama, is considered the most traditional and conservative form of scholarship in Classics. It is typically presented as objective, with a single answer for each apparent problem with the text, from confusing syntax to questions about performance. Yet in fact the commentary is a significant scholarly intervention into the text, interpretation, and reception of a particular play—and one that can set the agenda for many years to come. In this talk, we challenge the myth of the commentary’s objectivity by exposing some of the interpretative work that goes into writing one. We focus on three examples from Orestes: the editorial excision of lines; inferences made from the text about performance; and the glossing of unusual words or difficult phrases. We show how these are important sites of interpretation within the commentary genre, and that the questions they raise have especially high stakes for our reception of this extraordinary tragedy.Naomi Weiss is Professor of the Classics at Harvard University. She is the author of Seeing Theater: The Phenomenology of Classical Greek Drama (2023) and The Music of Tragedy: Performance and Imagination in Euripidean Theater (2018). She has also co-edited Genre in Archaic and Classical Greek Poetry: Theories and Models (2019) and Music and Memory in the Ancient Greek and Roman Worlds (2021), and is the series co-editor for Cambridge Elements in Greek and Roman Drama and Performance.Sarah Olsen is Associate Professor of Classics at Williams College. She is the author of Solo Dance in Archaic and Classical Greek Literature: Representing the Unruly Body (2021), as well as various articles and book chapters on ancient Greek literature, art, and culture. She has also co-edited Queer Euripides (2023) and Imprints of Dance in Ancient Greece and Rome (2024; Spanish edition 2025).

AI promises to change what type of job you'll land, how you'll spend your workday, and how you'll get ahead.Join two MIT scholars at the cutting edge of AI research - David Autor and Neil Thompson - to understand how AI is reshaping employment. Moderated by Kara Miller and presented with the support of CSAIL Alliances.A reception will follow the event.

Time: 12:00 PMLocation: Rochester, NY