Babson Faculty Honored Among Best Undergraduate Professors

Babson Faculty Honored Among Best Undergraduate Professors

Anjali Bal and Erik Noyes have much in common. 

The two Babson College associate professors are innovative, popular teachers who stand at the forefront of important and emerging issues in society, incorporating their research into their classrooms. 

And, both were named Monday to Poets & Quants’ 50 Best Undergraduate Business Professors of 2023. Babson was one of 14 institutions with multiple faculty members selected from more than 650 nominations for the sixth edition of the list. 

Bal, associate professor of marketing, focuses her research on diversity, equity, and inclusion (DEI) in arts, entertainment, and sports marketing. “These industries significantly impact the world around us and make up much of what we think of as culture,” she said. Bal, at Babson since 2014, also is an inaugural Babson Presidential Research Scholar and a longtime advocate for DEI in higher education. She was awarded the Babson Pride Award in 2020 and the Martin Luther King Jr. Leadership Award in 2022. 

Noyes, associate professor of entrepreneurship, focuses his research on the potential of artificial intelligence (AI) to drive entrepreneurship and innovation. “AI can help entrepreneurs, educators and students innovate in entirely new ways – and we’ve only seen the beginning” he said. Noyes, who has been at Babson since 2007, also is the founding faculty director of the Weissman Foundry and recently was appointed The Michael London ’92 and Stephen H. Kramer ’92 Term Chair in Entrepreneurship. 

Both Bal and Noyes shared their thoughts on their work, its impact on students, and this prestigious recognition. 

Q&A with Anjali Bal 

Your research centers on arts, entertainment, and sports marketing. How do you incorporate subjects that drive popular culture into the classroom, and how does it resonate with students, fans and non-fans alike? 

Anjali Bal smiles for a portrait photo
Anjali Bal, associate professor of marketing, focuses her research on diversity, equity, and inclusion in arts, entertainment, and sports marketing.

“I always say, ‘I am a culture junkie.’ I have always been fascinated by learning about culture. Sports, arts, and entertainment are all at the forefront of culture. I have a rule that I don’t do any research that isn’t interesting. I find that if things are interesting to me, they tend to be interesting for students. Students tend to love when I bring research into the classroom. This year, that has meant looking at data from Disney, Simone Biles, Bud Light, Barbie, and more in my Principles of Marketing, Sports Marketing, and Brand Management courses. I tend to embed the data into classwork so that students are getting a more robust picture of the marketplace by doing their own research, reading articles, applying it, and, of course, seeing how I interpret what is going on in the market. I love bringing in data that shows fan behavior. Non-fans also seem to like to look at data because at the core it grants all of us the opportunity to examine phenomena in a more meaningful way. Plus, I love teasing New England fans; data just makes that teasing academically valuable.” 

Sports and entertainment often are at the forefront of diversity discussions. How has that influenced your research, your teaching, and your advocacy on campus? 

“Diversity, equity, inclusion, and accessibility (DEIA) are my passions. And, I would say that is true for every avenue of my life, from parenting and my private life to teaching and scholarship. Sports, arts, and entertainment are not only at the forefront of discussion but also the forefront of societal change. I am driven by seeing how we can do better as business leaders. I started my career in the arts because I believed the arts was the most powerful avenue to make change. I still believe that. Though I would add that sports and entertainment also have that power. Athletes like Serena Williams and Simone Biles are changing the world. But, so, too, are so many people who play sports for fun, on college campuses or at the national level. Accessibility has been a new area of learning for me. I have a cousin who worked for a civil rights organization for people who live with intellectual and developmental disabilities. And, I have learned so much about how we can do better as society for people with disabilities. As I have gotten older, come to terms with my own challenges, and become a mom, aunt, and professor, providing access to those who might not always have it, has become a driving force. Access is often the avenue to opportunity; when people have access and opportunity, they can drive the change our society desperately needs.” 

As an innovative professor, what motivates you? 

“Making the world a better place. Learning and connecting. And, having fun. Life is too short to be bored. You can quote me on that.” 

What does this recognition from Poets & Quants mean to you? 

“This is an amazing honor. I am humbled and grateful to my colleagues, alumni, and students for their unwavering support and kindness. I will endeavor to deserve it.” 

Read more on Anjali Bal from Poets & Quants. 

Q&A with Erik Noyes 

You have been a leading figure at the crossroads of entrepreneurship and AI, integrating AI activities into classes last spring and developing a new course, Entrepreneurial Opportunities in AI, this fall. How do you incorporate such a fast-developing technology into the classroom? And, what has the reaction of students been so far?  

Erik Noyes smiles for a portrait photo
Erik Noyes, associate professor of entrepreneurship, focuses his research on the potential of artificial intelligence to drive entrepreneurship and innovation. (Photo: Laurie Swope)

“The short answer is constant experimentation with AI. My background before Babson was in corporate innovation and corporate new ventures, specifically focused on futurism. So, for the past 25 years, I have been tracking and interrelating technology and market trends. Starting in 2019, I made significant investments in the generative AI space, realizing that this is going to create such fascinating opportunities for how we teach in higher ed. Specifically, AI is not just all of the modeling and insane math, but it’s a breakthrough in human-computer interaction—there’s a computing accessibility breakthrough. For example, ChatGPT finally made AI broadly usable such that it’s an asset for experiential teaching and learning—that was a critical moment. If ChatGPT hadn’t happened, it would have been much more cumbersome to attempt all these innovations and experiments in the classroom. A sizable portion of Babson’s students are futurists, and they are living on the technical edge and are theoretically and practically fascinated with where the world is going on every dimension. It’s not that I’m just leading the students. It’s that we’re both totally on fire, and I’m trying to create a forum where we can co-process and experiment together.” 

You also co-led the creation of The Generator, Babson’s new interdisciplinary AI lab at the Weissman Foundry. How has that evolved, and what are your hopes for the future?  

“Artificial intelligence as a field is interdisciplinary, but people don’t conceptualize it that way. They think it’s about models and algorithms and math, and just the realm of computer scientists. But the field by its nature is much broader than that. So, a team of faculty from different disciplines at Babson—IT, theater, strategy, writing, and prototyping—we’re putting our arms around the broader scope of the field. We’re trying to help lead the College into the AI age, building AI capabilities and community among the faculty, and trying to quickly scale AI offerings and capabilities to the students. It’s a tight, six-member faculty team, and we’re leaning on Babson’s deep history of interdisciplinary collaboration to interpret and process this AI moment. In time, The Generator will be a globally leading interdisciplinary AI lab—I have no doubt. It’s a vehicle for Babson to yet again define entrepreneurship education, but it’s not just that. It’s about creative expression. It’s about idea generation in all fields. It’s about performance and art and design. It’s about new forms of AI-enabled collaboration. We have an opportunity to show the world how to do an interdisciplinary AI lab built on Babson’s one-of-a-kind culture.” 

As an innovative professor, what motivates you?  

“I’m an optimist, and I believe strongly in the importance of entrepreneurs and innovators to make the world a better place.” 

What does this recognition from Poets & Quants mean to you? 

“Babson is a wonderfully open-minded, interdisciplinary place, which respects individual and intellectual freedom. Each day, I’m inspired by the creativity of Babson’s students. Babson has an entrepreneurial culture that values teaching excellence. I love what I do, and I’m excited each day to collaborate with my colleagues.” 

Read more on Erik Noyes from Poets & Quants. 

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How to build a meaningful art collection of lasting value

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The path to building an art collection of lasting value is seldom a clear one. Great collections are recognized as such because so few successfully navigate the pitfalls that can arise.

Collecting art has been a passion among successful individuals and families across the globe for centuries. Offering manifold benefits, an art collection can also acquire both financial and cultural value, empowering its owners to create a legacy and become influencers in the global art ecosystem.

However, it can be challenging to navigate the art market today to build a collection that:

  • Will be personally meaningful
  • Has the best chance of maintaining long-term value
  • Remains relevant over time
  • Allows a collector to create cultural impact

Guiding principles

Collections that meet these standards tend to be guided by a set of principles and hallmarks that set them apart from others. To start, great collections typically are personal and represent the individual collector’s intimate relationship with the art—mirroring their passions, interests and experiences.

Outstanding collections also adhere to standards of quality that keep them from becoming diluted. In addition, these standards foster respect and credibility for the collection and collector within the art community.

Over time, successful collectors develop a nuanced understanding of their chosen artworks and artists, enabling them to separate significant from insignificant works. As collectors acquire greater expertise, their collections in turn become more valuable.

Great collectors tend to be decisive risk-takers. Artworks of quality and rarity can be difficult to find and at times, collectors must make swift decisions to secure coveted pieces. This combination of decisiveness and risk-taking, backed by passion and expertise, make a collection an exciting reflection of artistic discoveries and personal exploration.

Collections in context

Art collecting, while intrinsically personal, is far from a solitary endeavor. Great collections often result from collaborative efforts fostered across a broad ecosystem of relationships, including:

  • Family members who, with their shared history and values, often influence a collection’s direction and spirit
  • Curators and historians who offer scholarly perspectives, helping to identify historically significant pieces.
  • Dealers and auction house representatives who provide insights into market trends and opportunities
  • Advisors who offer guidance on strategic acquisitions and collection management
  • Museum professionals who can facilitate access to a broader artistic narrative
  • Other collectors who provide camaraderie, competition and inspiration

And of course, the artists themselves, who are at the heart of it all, offer the most intimate connection to the artwork. Their thinking and ideas can significantly influence collection-building.

To learn more, see Art and collecting: Building a meaningful legacy .

To receive a copy of this comprehensive report, please contact your UBS Financial Advisor.

Main contributor: Matthew Newton, UBS Art Advisory, part of the UBS Family Office Solutions Group

Expiration: 11/30/2024

Review Code: IS2307047

Artworks at four SkyTrain stations celebrate contemporary Black-Canadian art and artists

Artworks at four SkyTrain stations celebrate contemporary Black-Canadian art and artists

Take an artful journey. We’ve partnered with local curator, writer, and artist Nya Lewis to produce Carry it Well, a series of public art installations that celebrate contemporary Black-Canadian art, artists, and the presence of African and Black communities in Metro Vancouver. Carry It Well features four large-scale artworks by contemporary Canadian artists Jan Wade, Natoya Ellis, Adeyemi Adegbesan, and Nya Lewis.

The artworks will be on display at Main Street–Science World Station, Granville Station (Dunsmuir exit), Stadium–Chinatown Station, and VCC–Clark Station for the next two years.

Working across a myriad of mediums, the four artworks peer into the traditions and ideologies of printmaking, quilting, Afro-futurism, and archival research to explore themes of stewardship, lineage, and tradition. The series “daylights” African and Black presence and history in Vancouver.

Here’s the story behind every piece:

Breathe by Jan Wade

Two columns wrap artwork 'Breathe' by Jan Wade at VCC–Clark Station

📍 VCC–Clark Station

Previously presented at the Vancouver Art Gallery in the solo exhibition Soul Power (July 2021 – March 2022) and reproduced for Carry It Well, Breathe is a large-scale embroidery work featuring over 70 hand-stitched panels. For Jan Wade, time and embodiment are necessary elements of creation. Created over an 11-year period between 2009 and 2020, the vibrant abstract work took on new meaning in 2014 following the killing of Eric Garner in a prohibited chokehold by a police officer in New York City. Breathe became a mantra, a spell, and a meditation to sustain the artist’s life. Wade explains, “Every stitch is a new breath, an acknowledgment of the unacknowledged, an honoring of the work of women makers, and a daily reminder that the miracle of breathing should never be taken for granted.” (Wade)

Jan Wade is a nationally renowned artist who works in mixed-media assemblage, painting, sculpture, and textiles. Wade draws inspiration from her personal history as a Black Canadian woman with a mixed cultural background.

Woven Consciousness by Natoya Ellis

📍 Stadium–Chinatown Station

Natoya Ellis has created a series of eight artworks that foreground the hybridity and connectivity of the Afro-diaspora living in the region. Foliage native to the Chinatown area is juxtaposed with a variety of fabric patterns in these cyanotype prints and digital illustrations. Woven Consciousness intricately blueprints the fabric of our lives, intimately mirroring diverse embodiments of Black presence, and communicating a visual language of familiarity and humanization. Bandana, Kente, Ankara, Lamba, Madras, and Netela prints move across the illustrations and silhouetted figures in a lively recognition of tradition, heritage, and modernity. Woven Consciousness invites viewers to explore the subtleties of identity, belonging, and the cultural richness that characterizes Vancouver’s Black community. The series fosters a greater appreciation for the layered tapestry of Black culture within the diverse social fabric of the city.

Natoya Ellis is a multidisciplinary mixed media and installation artist. Her work examines the Black figure, Black womanhood, and the Black gaze.

Look for Us in the Whirlwind by Adeyemi Adegbesan

Artwork 'Look For Us In The Whirlwind' by Adeyemi Adegbesan above the escalators at Granville Station, Dunsmuir exit

📍 Granville Station (Dunsmuir exit)

Inspired by a quote from the great Pan-African and Jamaican national hero, Marcus Garvey, Look for Us in the Whirlwind is an Afro-futuristic dreamscape and an ode to three leaders of the Black Vancouver Labour movement, Rosemary Brown, Frank Collins, and Emmitt Andrew Holmes. Like Garvey, Brown, Collins, and Holmes embraced a life of activism, shouldering the responsibility of advocacy in the hopes that future generations would prosper. They devoted their lives to fighting for fair treatment and equitable conditions for working people, and equality for people of African descent. Adeyemi Adegbesan boldly adorns Brown, Collins, and Holmes in Black contemporary and continental cultural signifiers that reflect their life narratives and characterize their leadership in Vancouver’s Black community. Among the adornments are Adinkra symbols, a porter hat, cowrie shells, railway porter and woodworkers’ union pendants, north star, and provincial flowers, reimagining these historical figures within a visual language of Black power and love.

Adeyemi Adegbesan is a Toronto-based multidisciplinary artist whose practice examines the intersectionality of Black identity. Adegbesan pulls from various elements of Black cultural ideologies to create Afro-futuristic portraits embodying themes of history, fantasy, speculative futures, and spirituality.

A History in Perpetual Motion by Nya Lewis

Artwork 'History in Perpetual Motion' by Nya Lewis wraps a wall at Main Street–Science World.

📍 Main Street–Science World Station

In its second iteration (first presented at The Museum of Anthropology in 2021-2022 as Writing Black Vancouver), A History in Perpetual Motion forges a visual timeline of call and response for Black Vancouver presence. Lewis’s text-based installation threads headlines from archival and contemporary newspapers Vancouver Herald, Georgia Straight, Vancouver Sun, The Tyee, North Shore News, and The Province. Transcribing over 100 clippings from 1940 to 2023, A History in Perpetual Motion is an embodied offering, readdressing the labour of placemaking, anti-colonial work, cultural production, and collective conceiving of Black communities in B.C. In bold, the phrases, ‘a call to action’, ‘a declaration of being’, and ‘a hope for what’s to come’. “Writing Black Vancouver Futures” and “Honoring Black Vancouver Histories”

Nya Lewis is a writer, curator, and artist who sees her work within a lineage of Black thought that blaze(d) a trail of discourse concerning Black experiences, love, question, heritage, and embrace. She currently serves as the Director of Artspeak Gallery and as the Vancouver Art Gallery research fellow.

Learn more about the artists and their art by reading through the didactic panels at the stations or by visiting translink.ca/carryitwell.

Through public art, TransLink provides a platform that amplifies artists’ voices, fostering meaningful dialogue on topical issues and telling stories that matter to our customers and the public.

TransLink acknowledges and thanks the project’s advisory panel, our community partner Hogan’s Alley Society, and Board Member and Chair of the Hogan’s Alley Society Community Land Trust, Amina Yasin, for their contributions to the project.

Use this map to discover all public art installations in our transit system.  

How a Photographer Missed Out on $8 Million For This Portrait of a Crypto Billionaire

How a Photographer Missed Out on $8 Million For This Portrait of a Crypto Billionaire
Vitalik Buterin
The portrait of Vitalik Buterin is technically worth $8 million today.

Being a freelance photographer is not easy. Chasing invoices, dealing with late payments, the list goes on, but very few have ever missed out on a payment of $8 million that was rightfully theirs.

But that’s what happened to photographer Andrew Miller after he took a portrait of Vitalik Buterin, who co-founded the cryptocurrency Ethereum and went on to become the world’s youngest crypto billionaire.

Long before Russian-Canadian programmer Buterin made the Forbes rich list, Miller, a self-confessed gamer geek, had taken a keen interest in the enigmatic programmer and approached him with a portrait idea around the same time Buterin was launching Ethereum. Buterin agreed, but back then he was cash-strapped so one of his investors came up with the idea of paying Miller in the upcoming Ethereum currency.

Miller paid for the shoot at his own expense — which included dinner, a photo assistant, and a makeup artist — and agreed to be paid in the initial coin offering so long as it was the equivalent of the $1,200 CAD ($886) that Miller deemed to be the value of his photo shoot.

This is Where it Gets Interesting

Miller tells PetaPixel that he was supposed to have been paid for the copyright of the photo during the initial coin offering when the price of Etherum was $0.31, meaning the photographer ought to have received somewhere between 3,225 and 3,600 Ether. Today, 3,600 Ether is worth nearly $8 million (10.8 million CAD).

Vitalik Buterin

“I said if they started using it commercially they could pay me in Ether at the initial coin offering amount. They agreed in principle and would investigate how to get the coins to me through their execution of the offering. It was still a new process for them and theoretical,” Miller says.

“I met them in Vancouver two weeks later at the 2014 Coinfest and hung around for lunch and other gatherings. I queried them on how payment would play out and Anthony [an investor] set me up with a Bitcoin wallet to demonstrate how one would send coins back and forth,” he continues.

“It was always my understanding that I would receive Ether at the initial coin offering. I just thought that in the end, they didn’t use the image commercially. Everything was not traditionally public and the Ethereum website was sparse for photos.”

Suffice it to say, Miller never received the cryptocurrency and after losing contact with Buterin, he was oblivious that his photo had been disseminated commercially. It was being used in news articles, memes, fan art, and even being sold as knock-off NFTs with zero credit given to Miller.

Despite numerous attempts to reach Buterin, Miller has not heard from the Ethereum co-founder and now says he is “trapped in a situation where there is no response from Vitalik or the Ethereum organization.”

“My portraits appear to have been instrumental in shaping the positive perception of Vitalik and contributed in some small part to Ethereum’s rise,” Miller writes in an article for DIY Photography.

“Today, I am battling to gain attribution and recognition after the portraits became famous, leaving my name unspoken. The history of what I did for Vitalik was untold, and anyone looking back can see its value given the timing and what transpired afterwards. Any joy I took in seeing my photos fulfilling the role I originally intended was quelled when I learned that they had been used commercially by the Ethereum co-founders, who never fulfilled their end of the negotiation.”

Miller stresses he has never issued an invoice, largely because if he does, Canadian law requires him to declare it as income immediately and pay income and sales tax on it regardless whether he’s received the payment or not.

PetaPixel has reached out to Vitalik Buterin and Ethereum for comment but did not hear back ahead of publication.

More of Miller’s work can be found on his website and Instagram.


Image credits: Photographs by Andrew Miller.

It’s time to cast your vote for People’s Choice Wildlife Photographer of 2023

It’s time to cast your vote for People’s Choice Wildlife Photographer of 2023

Twenty-five awe-inspiring photos make up the shortlist for this year’s Wildlife Photographer of the Year’s People’s Choice Award — and now it’s time to vote for your favourite.

The Natural History Museum in London, England, shared its list of images last week, narrowed down from almost 50,000 entries sent in from 95 countries.

“Wildlife Photographer of the Year’s People’s Choice Award always offers an astounding selection of images, and this year is no different,” said Douglas Gurr, director of the Natural History Museum, in a statement. “We invite the public to join the jury and vote for their favourite; whether breathtaking beauty or a powerful story, it’s sure to be a difficult decision!”

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This year’s shortlist includes a wide variety of images that are sure to delight, capture the imagination and, in some cases, make us consider the impact humans have on the natural world.

Among the most striking images is a photo of a clothing rack hanging with clothing fashioned out of the furs of the world’s most endangered big cats.


Confiscated coats in Hamburg made from the skins of some of the most endangered big cats.


Britta Jaschinski / Wildlife Photographer of the Year

A polar bear sleeping on an iceberg, a pair of hares that look as though they’re about to smooch, a rescued chimpanzee gazing out through the bars of a cage and a bull elephant kicking up garbage in a landfill, are just a few of the captivating animals caught on film.

The public is now able to vote online for their favourite image through Jan. 31.

The winner and the top four images will then be announced on Feb. 7. They will be displayed online, as well as in the in-person exhibition at the Natural History Museum.

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Last year’s winner was Sascha Fonesca, for his image of an elusive snow leopard on a snowy mountaintop in the Indian Himalayas.


‘World of the Snow Leopard’ won the 2022 Wildlife Photographer of the Year’s People’s Choice Award.


Sascha Fonseca / Wildlife Photographer of the Year

Fonesca said it took his bait-free camera trap three years to capture the shot.

His photo won the 2022 competition with a whopping 60,466 votes.

Check out some of the finalists for this year’s award below, and head over to Wildlife Photographer of the Year to see the full list and vote for your favourite.

‘The Grassland Geladas’


Taken during the August rainy season, with looming clouds threatening a downpour, a gelada suckles its baby alongside a companion at the edge of a plateau in the Simien Mountains of Ethiopia.


Marco Gaiotti / Wildlife Photographer of the Year

‘Troublemaker’


An Adelie penguin approaches an emperor penguin and its chick during feeding time in Antarctica’s Atka Bay.


Stefan Christmann / Wildlife Photographer of the Year

‘Swallow Over Meadow’


A barn swallow flies over a meadow of cornflowers in eastern Germany.


Hermann Hirsch / Jan Lessman / Wildlife Photographer of the Year

‘Starling Murmuration’


A murmuration of starlings makes shapes in the sky above Rome, Italy.


Daniel Dencescu / Wildlife Photographer of the Year

‘Bull In A Garbage Dump’


A bull elephant surrounded by stray dogs stomps through rubbish as it scavenges at a dump in Tissamaharama, Sri Lanka.


Brent Stirton / Wildlife Photographer of the Year

‘Neighbourhood Dispute’


A mudskipper fiercely defends its territory from a trespassing crab in Roebuck Bay, Australia.


Ofer Levy / Wildlife Photographer of the Year

‘Opportunity Fox’


A young red fox scavenges in a bin in London.


Matt Maran / Wildlife Photographer of the Year

‘Tough Negotiation’


A red fox cub eyes a shrew in the Judean foothills, Israel.


Ayala Fishaimer / Wildlife Photographer of the Year

‘Aurora Jellie’


Moon jellyfish swarm in the waters of a fjord outside Tromso in northern Norway illuminated by the aurora borealis.


Audun Rikardsen / Wildlife Photographer of the Year

‘Shared Parenting’


A lion cub gets lots of attention in Maasai Mara, Kenya.


Mark Boyd / Wildlife Photographer of the Year

‘Snowshoes’


A snowshoe hare pauses in the Rocky Mountain National Park, U.S.


Deena Sveinsson / Wildlife Photographer of the Year

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Edward S. Curtis’ ‘Unpublished Plains’ comes to Valley Fine Art on Friday and Saturday

Edward S. Curtis’ ‘Unpublished Plains’ comes to Valley Fine Art on Friday and Saturday
Edward S. Curtis (1868-1952), 1908.
Valley Fine Arts/Courtesy photo

Valley Fine Art in collaboration with The Curtis Legacy Foundation is holding an event on Friday and Saturday to premiere their new exhibit based on the book “Edward S. Curtis: Unpublished Plains: Photographs, Memoirs, Conversations with Native Friends.” The event includes a meet and greet with John Graybill, Edward Curtis’ great-grandson, and his wife Colleen.

When Edward Curtis began photographing Indigenous peoples in the early 1900s, he had only six years of classroom education and no formal training in art, history, science, or other academic disciplines. Despite this, he became one of the 20th century’s most famous photographers and ethnologists. Today he is remembered for his twenty-volume masterpiece, “The North American Indian,” a publication that took nearly three decades to complete.

It is speculated that Curtis took 40,000 images during his career; however, only 2,234 were included in his magnum opus. Thousands of photographs did not make it into Curtis’ books; many were never seen by anyone other than the photographer and his assistant. Many of these photographs were packed away; the boxes were stored in the back of closets or stashed in attics and basements as this innocuous piece of history was passed down through Curtis’ descendants. When Edward Curtis’ great-grandson, John Graybill, became the proprietor of those boxes of forgotten photographs, he recognized both their beauty and the history they contained. These unpublished images, encompassing both special events and everyday life and ranging from Alaska to Oklahoma, are featured in the upcoming exhibition and corresponding book, “Unpublished Plains: Photographs, Memoirs, Conversations with Native Friends”.



The exhibit, premiering at the Buena Vista Heritage Museum, will feature more than just a selection of photographs. While the photos remain at the heart of the project, the exhibit strives to blend aesthetic and educational experiences. Storyboards will accompany the photographs, offering both descriptions of the different tribes represented and commentary from various current Great Plains tribal citizens.

The exhibit will also include a sneak preview of CLF’s Descendant Project. What started as an attempt to track down descendants of the Native Americans documented initially by Edward Curtis has blossomed into an endeavor that blends Curtis’ 20th-century photography with current 21st-century technology to deliver the Native voices of today. Utilizing an app on their smartphone, visitors will scan the portraits of these descendants, giving them access to interview clips with those people. Through this, visitors will be able to hear stories directly from Native voices, even when speakers aren’t present in the museum.



Visit https://www.valleyfineart.com for the full schedule of events.

Google Pixel 8 has AI-enhanced photography

Google Pixel 8 has AI-enhanced photography

Google is trying anything it can to stand out with its smartphone, which looks more and more like an iPhone.  Their latest handset taps into AI-powered photography to make taking photos easier and allow people to manipulate an image to make it look better.

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The essentials of Google’s new Pixel 8 phone

The Google Pixel 8 is the latest smartphone from Google. The Pixel 7 was released in 2022. The Pixel 8 has a smoother 120Hz OLED panel that gets significantly brighter, faster hardware that’s ideal for gaming, and a larger battery that should last all day. 

Future-proofing the Pixel 8 will mean you will get seven years of software updates, according to Google, which is unprecedented for an Android smartphone. This means that the Pixel 8 will get the latest version of Android and the security patches until roughly 2030, which is longer historically than some iPhones. This puts the Pixel 8 in a league of its own, as it potentially offers a longer lifespan for your phone.

A standard shot of the dock and city with Google Pixel 8

Google Pixel 8 vs. Google Pixel 7

Feature Google Pixel 8 Google Pixel 7
Operating System Android 14 Android 12
Display 6.2-inch OLED, Smooth Display 6.0-inch OLED
Processor Google Tensor G3 Qualcomm Snapdragon 765G
Storage Options 128GB, 256GB 128GB, 256GB
Memory 8GB 6GB
Rear Cameras 50MP main, 12MP ultrawide 12.2MP main, 16MP ultrawide
Front Camera 10.5MP 8MP
Battery Life 24-hour+ battery life Up to 24 hours talk time
Wireless Charging Yes Yes
5G Support Yes Yes
Water Resistance IP68 IP68
Colors Hazel, Obsidian, Rose Just Black, Clearly White

Some of the main differences between the Google Pixel 8 vs. Google Pixel 7

  • The Google Pixel 8 has a newer and faster processor, the Google Tensor G3, which is designed by Google itself and optimized for AI and machine learning tasks.
  • The Google Pixel 8 has a larger and smoother display, with a 6.2-inch OLED screen that supports a 120Hz refresh rate, compared to the 6.0-inch OLED screen with a 90Hz refresh rate on the Google Pixel 7.
  • The Google Pixel 8 has more memory, with 8GB of RAM, compared to the 6GB of RAM on the Google Pixel 7. This means the Google Pixel 8 can handle more apps and multitasking without slowing down.
  • The Google Pixel 8 has better cameras, with a 50MP main camera and a 10.5MP front camera, compared to the 12.2MP main camera and the 8MP front camera on the Google Pixel 7.
  • The Google Pixel 8 also has improved features such as Night Sight, Portrait Mode, and Cinematic Pan.
  • The Google Pixel 8 has a newer operating system, Android 14, which offers more features and security updates than Android 12, which is the operating system on the Google Pixel 7.

Long exposure shot of the Dock with Google Pixel 8

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Revolutionizing photography with AI-powered camera system 

At the heart of the Pixel 8 lies its extraordinary AI-powered camera system, which promises to take your photography to new heights.

Innovative “Best Take” tool

Among its standout features is “Best Take.”  Here’s what I like about this innovative tool. It automatically selects the best shots from a series of similar photos, ensuring you never miss the perfect moment. Whether it’s a group photo or a candid shot, “Best Take” combines multiple frames into a single picture.

A standard shot of the Brooklyn Bridge with Google Pixel 8

“Magic Editor” feature

Another notable feature is the “Magic Editor” integrated into Google Photos. This tool allows users to add custom edits and studio-quality enhancements to any photo with ease. Improve lighting, adjust backgrounds, and even fix image blur from photos taken on your old iPhone or Android device. Pixel 8’s “Magic Editor” brings out the best in your pictures with just a few taps.

image

Audio Magic Eraser feature fixes bad sound

For those bothered by distracting background noises in their videos, the Pixel 8 introduces “Audio Magic Eraser.” Leveraging Google’s AI prowess, this feature reduces unwanted sounds like cars and wind, ensuring your audio remains crystal clear. It’s a revolutionary tool for content creators and anyone who values audio quality in their recordings.

Pixel 8 vs. Samsung Galaxy S23: A choice of preferences

In a world of abundant choices, choosing between the Pixel 8 and Samsung Galaxy S23 boils down to personal preferences. While both phones offer impressive camera systems, Pixel 8’s AI innovations stand out. It caters to photography enthusiasts who crave creative control and exceptional photo quality. On the other hand, the Samsung Galaxy S23 excels with its sleek design and the Dynamic AMOLED 2X display, offering stunning colors and contrast.

Comparing Google Pixel 8 vs. Samsung Galaxy S23 

  • The Google Pixel 8 has a newer and faster processor, the Google Tensor G3, which is designed by Google itself and optimized for AI and machine learning tasks.
  • The Samsung Galaxy S23 has a more powerful battery, with a 5000 mAh capacity, compared to the 4500 mAh battery on the Google Pixel 8. This means the Samsung Galaxy S23 can last longer on a single charge.
  • The Samsung Galaxy S23 has more storage options, with 128GB, 256GB, and 512GB variants, compared to the 128GB and 256GB variants on the Google Pixel 8. This means the Samsung Galaxy S23 can store more photos, videos, and apps on the phone.
  • The Samsung Galaxy S23 has a better zoom capability, with a 10x optical zoom and a 100x digital zoom, compared to the 4x optical zoom and the 20x digital zoom on the Google Pixel 8. This means the Samsung Galaxy S23 can capture more details from far away objects.
  • The Google Pixel 8 has a newer operating system, Android 14, which offers more features and security updates than Android 13, which is the operating system on the Samsung Galaxy S23.

Pricing

The Google Pixel 8 and the Samsung Galaxy S23 have different prices depending on the storage option.

For the 128GB storage option, the Google Pixel 8 costs $699, which is $100 less than the Samsung Galaxy S23, which costs $799.

This means that the Google Pixel 8 has a lower price per GB of storage than the Samsung Galaxy S23, as shown by the following calculation:

Therefore, the Google Pixel 8 offers a better value for money for the 128GB storage option than the Samsung Galaxy S23. However, there may be other factors that influence the choice of smartphone, such as design, features, performance, and brand preference.

Eco-friendly design: A step toward sustainability

Beyond its photographic prowess, the Pixel 8 sets a new standard for eco-conscious smartphones. Google has gone to great lengths to ensure this device is not only cutting-edge but also environmentally responsible, a trend being embraced industry-wide.

The phone is constructed using 100% recycled aircraft-grade aluminum, and even the glass and plastic used are 100% repurposed.

Zoom shot of Jane’s Carousel near the Brooklyn Bridge taken with Google Pixel 8

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Additional upgrades

Compared to its predecessor, the Pixel 7, the Pixel 8 brings improvements across the board. Its larger and more versatile display, coupled with a variable refresh rate, delivers smoother visuals. The Google Tensor G3 chip ensures robust performance, while Android 14 offers a highly customizable operating system. Moreover, the Pixel 8 boasts extended battery life, making it ideal for those who need a device that can keep up with their busy lives.

Safety features with AI intelligence

Google Pixel phones, including the Pixel 8, come equipped with personal safety features powered by AI intelligence. In case of a car accident, the phone can swiftly call emergency services and share your precise location for a faster response which was first introduced to the iPhone.

For nighttime runners and travelers, the Pixel offers peace of mind with safety check-ins. Furthermore, it provides Crisis Alerts for natural disasters and early earthquake warnings through the Android Earthquake Alert System for those in regions prone to shaky ground.

With its stellar camera innovations, sustainability focus, and user-friendly features, the Google Pixel 8 is poised to make waves in the world of smartphones. Whether you’re a photography enthusiast or simply value a sustainable lifestyle, the Pixel 8 is arguably Google’s best smartphone yet.

Kurt’s key takeaways

The Google Pixel 8 is making waves in the smartphone landscape, offering cutting-edge AI-powered photography and a strong commitment to sustainability. Its AI camera features, including “Best Take” and “Magic Editor,” redefine photography with seamless image enhancement and audio improvement. With a focus on sustainability, the Pixel 8 uses 100% recycled materials, setting new standards for eco-friendly smartphones.

When compared to the iPhone 15, the Pixel 8 excels in AI photography while offering versatility with a customizable Android 14 OS. It also prioritizes personal safety with features like automatic emergency service calls and earthquake warnings to play catch up with Apple. The Pixel 8 builds on the success of its predecessor, the Pixel 7, which introduced a radical redesign with a borderless screen and a rear fingerprint scanner. For photographers and those in search of a new cell phone, the Google Pixel 8 represents a compelling option, blending innovation, environmental responsibility, and user-centric features.

What would make you pick an Android phone over Apple iPhone? How important is the camera to you when you purchase a phone? Let us know in the comments below.

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