“We have never before shown an entire exhibition from the French and Creole-speaking Caribbean,” said Cécile Fromont, M.A. ’04, Ph.D. ’08, faculty director of the Hutchins Center’s Alain Locke Gallery of African & African American Art.
The Biological Laboratories at 16 Divinity Avenue first opened in 1931. In the 95 years of its existence, the storied building has been home to the pioneering evolutionary biologist E.O. Wilson, a dozen eventual Nobel laureates, and even a self-described “zombiologist” or two.
Menstrual tracking apps have become all the rage, leading the growing field of “femtech” that claims to help women understand — and regulate — their bodies. But these apps may promise more than they deliver — and even be harmful to women.
The astrochemist traveled to Vatican City to accept the award in a September 24 ceremony.
The advance of artificial intelligence, we are told, is inevitable. Nothing can stop AI chatbots from entering classrooms, nursing homes, workplaces, even bedrooms.
Henry David Thoreau famously went to Walden Pond to live deliberately. But for far longer, he pursued a lesser-known obsession: observing scientifically.
Say political engagement could be increased in a certain society by the introduction of effective artificial intelligence tools — but those living there would have fewer in-person interactions. Should such tools be adopted?
The assistant professor in the Department of Art, Film, and Visual Studies has been named this year’s winner of a distinguished annual honor for artists with strong ties to New England.
This past summer, three Harvard students helped transport Manhattan audiences to Parisian rooftops, opera house dressing rooms, and a subterranean labyrinth in “Masquerade,” an immersive adaptation of Andrew Lloyd Webber’s “The Phantom of the Opera.”
For most of his life, Daniel Lieberman has dedicated his mind to studying the evolution of the human body. In his latest project, he also devoted his body — specifically his digestive tract — to science.
When Paul Giamatti was 7 years old, his mother told him the story of the Eugène Ionesco play “Rhinoceros.” Giamatti was a monster enthusiast at the time, and something about the idea of a man turning into a rhinoceros lodged in his brain.