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MMA Global India concludes IMPACT India 2023; unveils the Modern Marketing Reckoner 2023

MMA Global India concludes IMPACT India 2023; unveils the Modern Marketing Reckoner 2023

MMA Global India, successfully concluded the highly anticipated MMA IMPACT India 2023 event on May 30, 2023. This immersive marketing conference brought together the brightest marketing minds in India. The event showcased a series of engaging panel discussions, thought-provoking keynotes, and enlightening masterclass session, making it a true banger in the marketing industry.

MMA IMPACT India 2023 was held at the Taj Santacruz in Mumbai. The event witnessed an incredible turnout of industry professionals, marketers, and stakeholders, all eager to explore and navigate the evolving digital landscape. The venue provided a fitting backdrop for a day filled with stimulating discussions and insights that resonated with attendees.

The much-awaited Modern Marketing Reckoner 2023- an MMA & GroupM initiative: Transform to Thrive, was officially launched at MMA IMPACT India 2023. The event featured insightful keynote sessions that explored emerging technologies, the impact of Generative AI on marketing, the digitisation of commerce, and the evolving landscape of media. These sessions provided attendees with valuable insights and knowledge, shaping their understanding of current and future marketing trends.

In the session on Emerging Tech, attendees gained valuable insights into the role of artificial intelligence, data tech, ad tech, and immersive innovations such as the Metaverse, AR/VR, and their potential to enhance customer engagement and drive business results.

The keynote session titled “Marketing in the Era of Generative AI: Challenges & Opportunities” explored the paradigm shift in the role of humans and AI in marketing. It discussed the transformational opportunities and formidable challenges that arise as AI surpasses humans in storytelling, image creation, melody composition, conversations, and virtual world creation.

The Digitizing Commerce session focused on crucial topics like O2O (online-to-offline) strategies, omnichannel approaches, and the power of exceptional customer experiences. The keynote session, “Creating A Seamless Omni-Commerce Experience,” delved into meeting consumer expectations of a seamless hybrid experience while rethinking omnichannel strategies. It provided insights on driving online and offline sales in the world of Digital x Physical convergence.

In the Media session, industry experts discussed new opportunities in connected TV (CTV), e-commerce advertising, voice and audio marketing, content marketing, influencer marketing, brand safety, and effective measurement techniques. The keynote session titled “Think CTV: What do we know about changing viewership & how does that redefine our marketing choices” highlighted the rapid growth of CTV as the fastest-growing screen on YouTube. It explored the changing viewership contexts and how brands need to redefine their media mix to meaningfully connect with premium audiences.

The combination of these keynote sessions and the comprehensive online primary study provided attendees with valuable knowledge about the industry’s perspective on ONDC, emerging technologies, digitising commerce, and media trends.

Moneka-Khurana-Country-Head-MMA-India-scaled.jpg
Moneka Khurana

Moneka Khurana, Country Head & Board Member, MMA Global – India, emphasised the need for empowered marketers who can drive performance, leverage data and technology, and build brand reputation. She said, “While you are familiar with the theme, I would like to contextualise the theme differently, saying ‘Past vessels fail to contain the future’ and I truly believe so because this is really where we are, that too because of four key shifts that have happened across the board:

“Technology shifts (AI, 5G, Blockchain and more), Power shifts (From Center to Edge; from institution to an individual; from consolidated to fragmented), Boundary shifts (Be it office/home boundaries, be it hierarchy changes or blurring of roles) and Mind shifts (Due to Generational Differences and change in consumer behaviour) because there are generational differences, in the light of which we are living in a way more empowered world than before hence it needs empowered marketers with a greater voice, I would like to call them full-stack marketers who can drive performance, and leverage data and technology while building brand and reputation.

“Hence its key to upgrade skills and capabilities for a world where marketing is not a sidecar attached to a motorcycle but the engine that drives it. With that context, it was a no-brainer which was Rethink, Rebuild and Relearn to create winning marketing organizations 2.0,” Khurana added.

Image - Amit Jain - MD L'Oreal India -MediaBrief
Amit Jain

Amit Jain, MMA India Board Chair and Chairman of L’Oréal India highlighted MMA’s commitment to creating an ecosystem that empowers teams to anticipate the future of marketing. He said, “MMA is emerging as a credible platform for a lot of marketers and stakeholders. MMA is an organisation making an impact on the modern marketing community in the country and it believes in helping marketers and their partners solve their impediments to growth.

“The kind of work being done here is cutting edge and I can assure you that you will be seeing some state-of-the-art marketing which you will have access to in the months to come. MMA is not going to be about just creating good content, but much more beyond that and this is an important commitment the board has made to itself. The approach it is taking is creating an ecosystem that empowers the teams to anticipate what is beyond the corners,” Jain said.

During the event, three highlights stood out, captivating the attention of the audience:

Highlight 1: Annual Report Launch: Modern Marketing Reckoner

The much-awaited Modern Marketing Reckoner 2023- an MMA & GroupM initiative: Transform to Thrive was officially launched at MMA IMPACT India 2023. In the past few years, the annual report has come to be relied upon for key perspectives on growth, trends and forecasts in the Indian advertising and media industry. This year’s report again reveals several exciting, emerging trends for 2023 that are transforming the way we interact and consume information.

Filled with rich insights, this report is a 360-degree tool for marketers to take on challenges and get acquainted with adaptation techniques to navigate various uncertainties in 2023!

Highlight 2: Report Launch: Winning with DATA – The CXO’s Handbook

MMA India has recently unveiled the CXO Handbook titled “Winning With Data,” recognising the pivotal role of digital data in achieving success. This comprehensive guide is the result of a collaborative effort involving esteemed contributors such as Accenture, Google, Unilever, Flipkart Ads, and Vserv AudiencePro.

It represents an extraordinary endeavour, uniting our data partners and data council to present a cutting-edge resource for thriving in the data-first era. The handbook delves into the three primary categories of data: 1st, 2nd, and 3rd party data, offering valuable insights for firms to comprehend their customers, decipher their intents, make informed inferences, and refine their strategies accordingly.

Moreover, it highlights the escalating demand and vast opportunities for digitalisation while emphasising the importance of online privacy and the necessity for actionable measures by marketers. The handbook further emphasises the significant potential for campaign performance enhancement through the harmonious combination of human expertise and advanced machine learning technology.

Highlight 3: Decoding MMA India Survey: Industry’s Outlook on ONDC

A comprehensive online primary study was conducted in which 175 respondents participated. The objective of the study was to gauge the industry’s perspective on ONDC (Open Network for Digital Commerce) regarding the level of awareness, challenges and opportunities to be a part of the ONDC ecosystem.

The study aimed to explore the potential benefits and challenges associated with ONDC and its potential influence on the future of digital commerce. Additionally, the survey sought to assess the likelihood of companies adopting ONDC and identified the key factors that could sway their decision in favour of or against its implementation.

The study received feedback and valuable insights from over 175 respondents across the industry, whose perspectives were further discussed during a panel discussion. Attendees of the discussion gained valuable knowledge about the survey findings, shedding light on the impact and potential opportunities that ONDC presents within the digital commerce landscape.

Noteworthy highlights from the data include:

  • An impressive 90% of respondents expressed their likelihood to adopt ONDC in some form within their companies.
  • A significant 73% of respondents believed that ONDC could effectively level the playing field for small and medium-sized businesses in the digital commerce space.
  • According to the respondents, ONDC holds the potential to transform digital commerce through market expansion, interoperability, and cost reduction.
  • The majority of respondents, comprising 51%, expressed a strong belief in their company’s high likelihood of adopting ONDC in the future, while 39% considered it somewhat likely.
  • A notable 54% of respondents believed that consumers would greatly benefit from the implementation of ONDC, gaining access to a wider range of products and services.

NM breweries feted at World Beer Cup, Craft Beer Marketing Awards

NM breweries feted at World Beer Cup, Craft Beer Marketing Awards
Second Street Brewery received the Global Crushie for Best Bottle Design/7-21 oz. for its Dubstep Donuts Bourbon Barrel Aged Pastry Stout collaboration with Jubilation Wine & Spirits at the Craft Beer Marketing Awards. (Courtesy of the Craft Beer Marketing Awards)

New Mexico breweries keep crushing it at national and international competitions with their craft beer creations and branding concepts.

Recently, four local breweries took home medals from the World Beer Cup held May 10 in Nashville, Tennessee. Quarter Celtic Brewpub won gold for its Capri-derhosen in the German-Style Maerzen or Franconian-Style Rotbier category. Silver medals went to Canteen Brewhouse for Work of Heart in the Sweet Stout or Cream Stout category, and to Starr Brothers Brewing Company for its Lampshade Porter in the Strong Porter category. Corrales’ Ex Novo Brewing Company was awarded bronze for its V for Vienna in the Vienna-Style Lager category.

The World Beer Cup is one of the most prestigious beer competitions on the globe. It was developed in 1996 to celebrate the art and science of brewing as well as create consumer awareness about different beer styles and flavor profiles. The event is organized by the Brewers Association, a not-for-profit trade association dedicated to small and independent American brewers, their beers, and the community of brewing enthusiasts, according to the World Beer Cup website.

This year, there were 10,213 entries from 2,376 breweries representing 51 countries. Entries in 103 categories were evaluated by 272 judges from 26 countries. A list of winners and more information can be found at worldbeercup.org.

On the branding side, Steel Bender Brewyard won two Crushies and Second Street Brewery won three Crushies in the 2023 Craft Beer Marketing Awards.

Santa Fe’s Second Street Brewery received the Global Crushie for Best Bottle Design/7-21 oz. for its Dubstep Donuts Bourbon Barrel Aged Pastry Stout collaboration with Jubilation Wine & Spirits.

Second Street Brewery also received a Gold Crushie for Best Can Design/16-20 oz. for its Rod’s Best Bitter (RBB). The design was created by award-winning artist Mariah Cameron Scee, who is director of art and branding for Second Street Brewery. A Global Crushie was also awarded to Second Street Brewery for Best Can Design/Collaboration (all sizes) for the One for 5 IPA collaboration with Sierra Blanca Brewing Company, Steel Bender Brewyard, Albertsons Market and Admiral Beverage. The design also was created by Cameron Scee. Proceeds from the collaboration beer benefited The Storehouse New Mexico.

Steel Bender Brewyard received a Platinum Crushie in the Bigger Than Beer: Cause Related Beer Project or Campaign category for its part in the One for 5 IPA collaboration. Steel Bender also received a Gold Crushie for Best Can Design/Printed Cans (all sizes) for its Mañana Hazy IPA design created by Jamie Gross, Ethan Chant and Shelby Chant.

The Craft Beer Marketing Awards is a worldwide competition that focuses on excellence in the artistic and creative marketing and packaging efforts of breweries, designers and agencies. This year, there were 304 awards presented to brewers, designers, and marketing agencies from around the world with 89 Platinum Crushie wins, 160 Gold Crushie wins and 56 Global Crushie wins. More information about the competition is available at craftbeermarketingawards.com.

• • •

Beer enthusiasts can head down south to Las Cruces for an opportunity to sample offerings from 18 New Mexico breweries at Blazin’ Brewfest. The event takes place from 5 to 9 p.m. Saturday, June 3, at Plaza de Las Cruces, 100 North Main St. Ticketholders will receive a commemorative pint glass for sampling or for a full pint purchase. Food trucks and live music also will be part of the event. Advance general admission is $30, $35 at the gate day of the event, and $10 for designated driver entry. For tickets and information, visit nmbeer.org/events.

Stock exchange for art opens with $55mn Francis Bacon

Stock exchange for art opens with $55mn Francis Bacon

A stock exchange for art announced its launch in London this week, aiming to make art a more accessible investment prospect. Called Artex, the new exchange — regulated by the Liechtenstein Financial Market Authority with an EU licence — opens with the listing of Francis Bacon’s “Three Studies for a Portrait of George Dyer” (1963), which Artex has valued at about $55mn. The work has been consigned by a private collector who bought it from Christie’s for $51.8mn with fees in 2017.

Artex will initially offer 70 per cent of the work (worth $38.5mn) in shares equivalent to $100 each, though more will come as its owner can only keep up to 10 per cent, confirms Yassir Benjelloun-Touimi, co-founder and chief executive of Artex and a former investment banker. Pre-marketing is set to begin officially on June 19 and public trading starts on July 21. Artex will take 3 per cent of the work’s valuation and will also make a “small fee” from each trade, Benjelloun-Touimi says. Other works will come to market, with their frequency “depending on the response”, he says.

This is not the first attempt to divide art into tradeable chunks — and so far the jury is still out on such projects, which have yet to attract enough liquidity to succeed and can invite shortlived speculation. Benjelloun-Touimi says that Artex’s regulated framework dictates “transparency and non-discrimination”, making it a viable option for institutional investors. He accepts that “art is not oil, it is not a commodity” and is committed to having the works Artex offers on view in public museums, rather than, for example, kept in a freeport. When it comes to speculation, he says, “you can limit it but you can’t stop it in any asset — it is ingrained in human nature”.


Painting on off-white background of a man’s head wit a blue cloud above and red and white striped jersey
Untitled (Pablo Picasso) (1984) by Jean-Michel Basquiat, est £4.5mn-£6.5mn © Christie’s Images

Christie’s will offer a Jean-Michel Basquiat painting of Picasso, estimated at between £4.5mn and £6.5mn, in London on June 28. The 1984 work is painted on metal with “Pablo Picasso” written in capital letters seven times, “almost like a mantra”, says Tessa Lord, Christie’s senior specialist. “There’s a continuing fascination about an artist painting an artist, particularly cross-generationally, and Basquiat and Picasso are two big ticks for us,” Lord says. The work sold at Christie’s for £1mn with fees in 2007 and was last seen in public at the Barbican’s Basquiat: Boom for Real exhibition in 2017-18, on loan from an Italian private collection.

Christie’s scored a hit with Basquiat in Hong Kong last weekend when his three-dimensional painting “Black” (1986) made HK$51.5mn (HK$62.6mn with fees, about $8mn). The work, which had a third-party guarantee, was the top lot of its healthy 20th/21st-century evening sale on May 28, though its final price was just below its presale estimate and the amount made at its previous sale in 2020 ($8.1mn, not accounting for inflation).


Small birdhouses in bright colours
‘I Would Name My House The Swallow’s Nest’ by Kateřina Šedá; sculptures at Bosse & Baum, £10,000-£30,000 © Courtesy the artist/Bosse & Baum

The third London Gallery Weekend runs between June 2 and June 4 and, with 123 galleries participating in 135 venues across town this year, is the biggest free-to-visit gallery event in the world. Train strikes planned on Friday and Saturday might deter those from outside the capital, but for those in London already, there is a boosted programme of more than 100 public events, performances and expert-led live tours.

The event is grouped across four areas of London — Central, West, East and South — with the Central area by far the largest (87 venues). For those outside the city, this makes the event more vital. “Galleries in Mayfair almost operate as a different industry from those elsewhere, especially in Peckham, for example, and the gap is getting bigger,” says Alexandra Warder, co-founder of south London’s Bosse & Baum. “But London Gallery Weekend is designed and built by galleries, so they are sensitive about who it is for.” Warder’s gallery opens a solo show of the Czech artist Kateřina Šedá, who brings an extension of a series made for care homes in Austria and Slovakia (2019-21). This turns residents’ former homes into wooden sculptures that are also birdhouses (priced between £10,000 and £30,000).


Black and white photo of a man in a jacket sitting among large white biomorphic sculptures
Hans Arp in Clamart, France, in 1957 © Andr Villiers, ArchivStiftung Arp eV, Berlin

The estate of the German-French artist Hans Arp (1886-1966) has given 200 plaster sculptures to 10 museums worldwide, including the Nasher Sculpture Center in Dallas, the Hepworth Wakefield in the UK and Vienna’s Albertina. The donation also includes two bronzes for each institution, the foundation confirms. The plasters, which Arp finalised before handing them over to foundries for fabrication, are “invaluable resources” towards understanding the artist’s process, says Engelbert Büning, director of the foundation. The gift and associated collaboration, which targets institutions that don’t have Arp works, stretches to Melbourne’s National Gallery of Victoria, while Büning says plans are afoot to add museums in Asia and Africa.

Arp was a co-founder of the Dada movement, which rejected traditional definitions of art after the horrors of the first world war, and his often amorphous work reflects the fluidity of national and cultural identity. Born in Alsace, Arp was originally German but, after the war, became French with the region. He used two first names — Hans and Jean — to reflect his mixed nationality.


Sculpture of a blue cow under tall green plants in a park
‘Donkey with Flowers’ (2022) by Austin Lee, at Chart in Tivoli, 2022 © Courtesy Gallery Carl Kostyál/Chart in Tivoli 2022

Copenhagen’s Chart Art Fair has extended its outdoor sculpture show in the city’s Tivoli Gardens amusement park to run a month every year until 2026. This year it has 15 works on the slate for August 24-September 24, all of which are for sale via galleries with artists including Sylvie Fleury and Jonathan Meese. “The feedback from the first year was so good, people saw it as a bit of a treasure hunt,” says the fair’s new director, Julie Quottrup Silbermann.

This year, she has organised for the 37 galleries in the coinciding fair (August 24-27) to select one work each priced below DKr20,000 ($2,900), for a group show at the entrance of the Kunsthal Charlottenborg. “Collecting art supports the wider ecosystem but we don’t talk about it in that way so much. At the same time, people often ask how to start collecting,” Silbermann says, adding that the talks programme will addresses first-time art-buyers too.

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Why now is the golden age of marketing measurement

Why now is the golden age of marketing measurement

What can the blend of science and art in marketing mix modelling offer the wider industry? By Jamie Parks-Taylor.

Measuring the effectiveness of marketing spend and the best allocation of media investment regularly ranks as one of marketers’ top objectives – not least when budgets are under ever more scrutiny. Marketing mix modelling (MMM) has become the go-to method of measuring the individual, and combined, impact of multiple marketing channels on business objectives – and intriguing developments in MMM are making it more accessible and powerful than ever before.

For much of the past 20 years industry attention has been focused on user-level digital attribution – driven by the emerging dominance of digital advertising and the comfort and interpretability that this deterministic form of measurement offers. There were limitations, namely that it only works with online channels, allows for duplicate conversions across digital channels and has a propensity to over-attribute conversions to digital channels, especially those lower down the purchase funnel like retargeting display and paid search.

But the positives were seen to outweigh the negatives, leading to a near hegemony for digital attribution in the 2010s. But in recent years it has been undermined by the deterioration of the data signals that it relies upon. The introduction of Apple’s app tracking transparency (ATT) in 2021, alongside other initiatives aimed at giving people more control over their personal data, have resulted in digital campaigns achieving fewer conversions, and marketers increasingly becoming uncertain about the effectiveness of digital channels.

This uncertainty has led to a renaissance in alternative measurements – in particular, econometrics (see Figure 1 ). Renewed interest in MMM has also been aided by exciting recent developments, which have significantly lowered the barrier to entry. Today, anyone – or team – with a decent understanding of the R or python programming languages and a good grasp of marketing effectiveness theory can run an end-to-end MMM project.

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Figure 1: Google Search Trends

The recent release of several open-source (free to use) libraries, including those developed by tech giants like Meta, Google and Uber, has revolutionised MMM. The algorithms underpinning these solutions sit at the cutting edge of data science and machine learning, helping deliver reliable models with a high predictive accuracy.

MMM isn’t perfect; detractors label it more of an art than a science because the process requires human involvement. MMMs often produce multiple candidate models, and analysts must evaluate the models through the lens of past experience, to select the ‘best’ model for a given project. But the same criticisms can be levelled at all modelling, from government use to plan pandemic responses to those employed in the finance industry. This blend of science and art is invaluable in the explanation of complex systems underpinning critical decision making.

In comparison, digital attribution is less open to interpretation and more directional – once settings are selected (for example, attribution window) the metrics are simply provided and often treated thereafter as fact. Both digital attribution and MMM can suffer from a lack of causality. MMM’s can uncover relationships between marketing deployment and incremental uplifts in sales, but they don’t automatically prove a cause-and-effect relationship between media spend and sales. Compared to digital attribution, causality tends to be more explicitly stated within MMM, and the evaluation of the models via experiments can do a good job of resolving this dilemma.

The holistic approach of MMMs generally make them more insightful, actionable and impactful than digital attribution, especially for advertisers investing in offline and online channels. It remains the only marketing measurement tool that allows advertisers to compare all channels like-for-like on business-critical metrics like return on investment.

MMM is now evolving into unified marketing measurement (UMM). The biggest providers’ proponents of MMM, including Kantar and Google, are introducing UMM in 2023. Rather than referring to one specific framework, each firm has its own definition of UMM, the one unifier is that MMM lies at the heart of any UMM project. It’s the synthesis of MMM with a combination of other measurement solutions like digital attribution, experimental results and brand equity studies that makes UMM unified. The glue that holds these disparate measurement solutions together is typically Bayesian inference – a statistical model itself. In effect, UMM is an ‘ensemble’ approach – a collection of sub-models interacting within a grand model.

While UMM’s development is fascinating, it’s an incredibly nascent technology. There is no one best approach, and UMM projects are often expensive to deliver. Any advertiser looking to improve campaign impact measurement should begin with MMM and build from there. And with more paths to MMM than ever before, it’s a fantastic time to start.

Jamie Parks-Taylor is director of insight and analytics at Cream

Analysis | AI’s Age of Mimicry Will Make Human Mimes Cry

Analysis | AI’s Age of Mimicry Will Make Human Mimes Cry
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“Shut the doors, please.” The director of a video production studio in London is wearing headphones and holding a clipboard as he prepares for our first take. He looks me up and down.

“The avatar is going to be wearing whatever you’re wearing,” he says. “You’re okay to have it like this?”

“Yep,” I nod, eager and ready.

He takes another look. “If you can take off the watch that’d be nice.”

Oh. I set it on the table.

“Thank you.”

As if we’re in Hollywood, an engineer in jeans snaps a clapper board. Behind me is a green screen. Above me are large lights radiating heat. In front is a camera with a teleprompter, the sort used by TV news anchors, and it’s showing some of the strangest dialogue I’ve ever seen.

I read the single sentence in front of me: “All the boys ate a fish.” 

At the director’s instructions, I roll my eyes from top to bottom and left to right, before reading a one-minute script with cringey sentences like, “You can see the positivity shine through as I’m friendly and warm as I speak.” I’m asked to read it several times.

The goal is to train an AI model to create a digital clone of myself. The “fish” statement covers all possible mouth movements, and the rest is just enough to train the model on a cheerful version of my face, body and gestures. The company creating my avatar, Synthesia, has made similar versions for more than 15,000 companies including McDonald’s Corporation, Accenture Plc and Amazon Inc. Want to make a marketing video? There’s a buffet of more than 150 avatars to choose from that speak in more than 120 languages, all based on real humans. There’s no need to rent studio space, cameras or lighting — just type a script and your avatar will say it. One manufacturer says they’ve saved 70% in video production costs with the method.  

Deepfakes used to be a scourge of the internet. Now they’re a legitimate tool for getting a human on video more cheaply and at scale. Instead of hiring an actor to present a corporate training video and paying for their travel and time, a company can use an avatar for a fraction of the price. You can expect to see more digital clones like these in the coming years, of celebrities in TV ads or of ageing bands like ABBA in whizzy new concerts. The proprietor of one virtual concert company tells me he’s been solicited by the families of several dead singers, eager to cash in on their abiding fame with clones that could revive them on the stage. Speculating on his avatar’s ability to act in the afterlife, movie megastar Tom Hanks recently half-joked, “If I wanted to, I could get together and pitch a series of seven movies that would star me in them in which I would be 32 years old from now until kingdom come.”

Synthesia says its videos are technically not deepfakes since they are generated from scratch, and deepfakes manipulate a pre-existing video of someone. But the spread of these avatars is surely one of the most head-spinning impacts of the rapid advances in so-called generative AI, which can now conjure artwork, mimic voices in music, clone entire faces and bodies, generate pop songs, screenplays, short stories and news articles. It hammers a virtual nail in the coffin of the creative process we know today, accelerating a transformation that is seeing humans outsource the work of their imagination and even their own likenesses.

Like those before it, this technological revolution will come at a price. The introduction of the printing press in the 16th and 17th centuries allowed us to spread ideas and literacy, but it also lost us the oral tradition of storytelling. In our own century, social media connected us but also inadvertently made us more disconnected. In the case of generative AI, there’s a chance it will gradually erode our creative skills and lead to soulless, increasingly derivative content on our computer screens, phones and TVs, a cribbed amalgamation of the content on which AI models have been trained. Art and writing will increasingly become “content.” We’ll see a lot more of what the recently deceased novelist Martin Amis decried as “herd writing,” clichéd phrases like “the heat was stifling.” What’s even more likely is that we’ll lose the experience of connecting with a human artist through their work.

Notwithstanding those potential consequences, a new generation of creators is understandably keen to exploit generative AI’s commercial potential and jumping into the fray. Consider Sydney Faith, an author who self-publishes young adult fiction on Amazon. In January she used ChatGPT to write Legends of the Shadow Woods, a collection of short stories based on Greek mythology.

She left most of the writing in the hands of the AI, asking it at the start, “What kind of fantasy world should I write about?” When the software gave several suggestions, she picked one, then got it to generate chapter outlines, and then to generate three paragraphs at a time, which she then copied and pasted into a document. It was a repetitive process, she says, but eventually she had a rough draft of each short story. The book, which discloses that it was written by ChatGPT, now has a four-star review on Amazon. “Passable,” says one reviewer, who says they were expecting worse. Faith says she’s sold a few dozen copies so far.

Those pitching generative AI to the creative classes argue that it makes getting content down on the page so much easier. Natalie Monbiot, who runs Hour One, a company that makes avatars like mine, says these new AI tools can solve “blank page syndrome.” She refers me to one of her clients, an entrepreneur named Ian Beacraft, who has been producing videos where an avatar of himself reads out technology news. He’s been using ChatGPT to write his scripts, making it quicker and easier to produce his videos. The blank page used to be a sticking point, Monbiot says, before invoking Silicon Valley lingo: These new tools are “removing friction” from the whole process.

Devin Finley is another artist who’s been using generative AI to replace himself on the screen. A New York-based actor, Finley has put his baritone voice to characters in video games and audio plays for about 10 years, but in the fall of 2022, an industry friend told him that Hour One was looking for actors who would “go virtual” by creating avatars of themselves, digital clones that could be automated to work on their behalf. The gig could be lucrative, the friend said.

Finley welcomed the chance to make some passive income and created a clone of himself, becoming one of the first of more than 150 other actors to have a deepfake made by Hour One. Many of them weren’t professional actors, but students, waiters, paralegals and a range of gig workers, according to Monbiot. Finley, who now has “multilingual synthetic actor” on his resume, earned an upfront fee for his time, and a few months after creating his avatar, it starred in the marketing videos of a media company, Monbiot said, declining to reveal the client’s name.

If these few examples point to a broader adoption of artificial “artistic” content, a mimicry of the real thing, then we can’t blame machines for everything. Humans have been laying the groundwork for this shift over the past decade or so, with Hollywood churning out sequels and re-imagined classics, formulaic TV shows like NCIS, and a Netflix diet of addictive television designed to keep you watching the next episode. News sites have become aggregators of other articles. Much of the content we see on screens today, in other words, is already a rehash of someone else’s work.

For now, most AI-generated video content is being pioneered on YouTube, but down the line, a television producer could use generative AI tools like ChatGPT to create a rough draft of a script that then gets polished by humans. They could, for instance, take a human-written rough draft and use ChatGPT to repurpose it in the style of Nora Ephron, Aaron Sorkin or other storied screenwriters. That prospect has given Hollywood executives unexpected leverage against screenwriters who are currently striking over financial security. One of the demands of the Writers Guild of America has been for studios to ban the use of AI to write scripts, shifting a job with a steady salary to a form of gig work. So far, the studios have rejected those requests.

What that likely means is that our TV consumption will have fewer human stories, and more AI-sourced derivative content that helps studios and streaming companies protect their bottom lines. Some of the most notable recent films have come from the personal experiences of their creators, from Steven Spielberg’s childhood in The Fabelmans, to Daniel Kwan’s Asian-American upbringing in Everything Everywhere All at Once. Perhaps movies like this, borne out of real-world, personal experience will narrow in reach to niche audiences, while the general public will lap up artificially designed concoctions of previous films that sold lots of tickets.         

In that sense, we’ll lose more of the ingredients that make artwork great. The story behind how a movie or piece of art is created is critical to how we end up judging it as good or bad, says Agustín Fuentes, a Princeton University anthropologist and author of The Creative Spark: How Imagination Made Humans Exceptional.  A work of art has value because of the process of creating it — the care and thought and even the errors contribute to its beauty.  “Think of the Mona Lisa,” says Fuentes. “I’m not impressed by it, but it is hugely important in the history of art, and seeing it matters because of the story behind its making and its historical context. None of that is replicable by AI. An AI model can make a perfect image copy of the Mona Lisa, but it cannot produce the Mona Lisa.”

In March, the New York-based poet and novelist Joseph Fasano tweeted a letter from a schoolteacher, asking if he’d take part in an experiment: “Would you be willing to come into our classroom and go head to head with ChatGPT: human poet versus AI poet?” Fasano and the chatbot would each have five minutes to come up with a poem for three different topics. The problem with this is that ChatGPT can generate poems in seconds because it’s been trained on poems that humans have spent countless hours on. What it spits out isn’t poetry; it’s content. 

Rick Rubin, the famed record producer who worked with music artists from Johnny Cash to Run-D.M.C., was recently asked in a podcast hosted by Bloomberg Opinion columnist Tyler Cowen about generative AI’s impact on art. His response was that for now, art from generative AI was mostly “decorative,” because it lacked humanity. “It’s the soul in it that makes it good,” he said.

What do soul, humanity and historical context mean anyway? It is hard even for the experts to define creativity, just as it is hard to put into words exactly what we will lose when AI-made content takes up more of what we read and see. But that loss will probably have something to do with the invisible force of human connection to which people like Rubin allude, and the act of feeling “moved” by created work. Twenty years ago, when I got my first reporting job at a local radio station, I learned an open secret among news readers: The best way to get people to perk up and listen to a news bulletin was not for the news reader to deepen their voice or to copy the mannerisms of other news readers, but simply to pay careful attention to the meaning of each word as they said it. The difference between reading with meaning and reading mindlessly was technically indistinguishable and difficult to articulate. But it worked. To this day, I only have to pay close attention to the words in a book I’m reading to my kids, and they’re enraptured.

Does that allude to the soul that Rubin described? It’s hard to know. But machines are not sentient, and they have no relatable struggle or backstory to move us when we encounter their created work. As AI researchers make generative AI models more sophisticated, with billions more parameters and datasets to draw from, art created by AI will probably also appear more inventive. That will only reinforce how little we know about what creativity is, and even erode our sense of exceptionalism among animals and machines. One of the reasons Sam Altman came to believe in the possibility of artificial super intelligence before co-founding OpenAI was his realization that if human intelligence could be simulated, humans weren’t all that unique to begin with.

Little wonder that AI scientists wrangle over whether AI is, or ever will be, creative. Melanie Mitchell, a computer science professor at Portland State University, says in her 2020 book, Artificial Intelligence: A Guide for Thinking Humans, that computers can be creative but they’re not quite there yet. When I emailed her in May 2023 to ask if she still believed that, she said “yes.”

Demis Hassabis disagrees. The British scientist who leads Google’s AI efforts was claiming eight years ago that AlphaGo, the Go-playing AI program developed by his unit DeepMind, was displaying remarkable signs of creativity. In its 2016 match against Lee Sedol, the program made a highly unconventional play known as “move 37,” surprising both Lee and the game’s commentators. The move, in which AlphaGo sacrificed a group of stones in the corner of the board to gain a positional advantage elsewhere, was so unexpected that experts thought it was a mistake, and Lee took an unprecedented 15 minutes to consider his response.

AlphaGo went on to win the game decisively. Hassabis and many other AI scientists put that down to the system’s creative prowess, posing a tantalizing possibility, that software had managed to create something totally unique from seemingly nothing.

It’s also possible that believing that makes us suckers. For Hassabis, Altman and other entrepreneurs who want us to buy into a vision of unfathomably smart AI systems, selling a story of software whose abilities are as unpredictable and mysterious as humans makes good business sense. In April 2023 for instance, Google CEO Sundar Pichai appeared on an episode of 60 Minutes to talk about Google’s ChatGPT competitor, known as Bard, where he mentioned a phenomenon he called “emergent properties.”

“Some AI systems are teaching themselves skills that they weren’t expected to have,” Pichai said on the program, explaining that one of the company’s AI models was able to translate Bengali even though it had only ever seen a few words of Bengali. Yet the company’s own research paper showed its leading AI model had been trained on Bengali. The system wasn’t being creative or intuitive. Its creators were exaggerating its capabilities.   

I am not downplaying the awe-inspiring potential of these machines. I’m also keen to avoid grasping for vague justifications for our exceptionalism as humans. With the exception of those who can’t wait for the Singularity to happen, we all want to distinguish ourselves from AI systems that seem to be rapidly on course to surpass us. But as more people use generative AI to write books and screenplays or conjure videos that could go viral on TikTok — a phenomenon that is undoubtedly coming thanks simply to the economics — it’s hard to deny that our creative skillsets will grow flabbier, and another avenue for human connection will narrow. The mysterious AI models with their “emergent properties” will seep further into our creative fields, working their magic while reinforcing the power and influence of the technology companies that created them.           

For now, my digital doppelganger is still sitting on some Synthesia server somewhere, waiting to be dusted off and used for a presentation, a TikTok video or a message to someone. As strange as it may sound, some staff members at the consultancy EY, previously known as Ernst & Young, have started sending talking avatars of themselves to clients instead of emails. I have yet to find a good reason to use it other than to promote this story, though. 

The actor Devin Finley, meanwhile, seems to have settled into a new career pattern, where his digital clone can earn a little extra money on the side. He recalls that when he was first asked about creating an avatar of himself, he hesitated. “Originally I thought this might be something that could take away from who I am,” he tells me. “Then I realized I am a unique, living being.”

In a future world of artificial content, that might well become a novelty.

More From Bloomberg Opinion:

• Don’t Go Down That AI Longtermism Rabbit Hole: Parmy Olson

• Will Chatbots Replace Money Managers?: Timothy L. O’Brien

• AI Experts Aren’t Always Right About AI: Tyler Cowen

This column does not necessarily reflect the opinion of the editorial board or Bloomberg LP and its owners.

Parmy Olson is a Bloomberg Opinion columnist covering technology. A former reporter for the Wall Street Journal and Forbes, she is author of “We Are Anonymous.”

More stories like this are available on bloomberg.com/opinion

©2023 Bloomberg L.P.

Fertile ground? Owner puts Braddock plant up for sale seven months after vertical farm closed

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SPECTRUM PARTNERS WITH OVATION TV TO SUPPORT DULUTH ART INSTITUTE WITH $10,000 STAND FOR THE ARTS AWARD

SPECTRUM PARTNERS WITH OVATION TV TO SUPPORT DULUTH ART INSTITUTE WITH $10,000 STAND FOR THE ARTS AWARD

DULUTH, Minn., May 31, 2023 /PRNewswire/ — Spectrum is proud to announce the Duluth Art Institute is the recipient of $10,000 through the 2022-2023 Stand For The Arts Awards in partnership with Ovation TV that recognizes local arts, cultural and educational organizations and programs.

The award was presented at the Institute’s Annual Member Show, a traditional showcase of local, regional, and national artists that also serves as a fundraiser for the Institute, which has been a part of the Duluth community for 116 years.

“Our partnership with Ovation TV will enable these organizations to continue to serve as vital arts and cultural resources in their communities – which complements our focus on investing in and strengthening the towns and cities we serve,” said Adam Falk, Senior Vice President, State Government Affairs for Charter Communications, Inc., which operates the Spectrum brand of Internet, TV, Mobile and Voice services. “We congratulate the Duluth Art Institute for its commitment to supporting Duluth-area artists and celebrate its long history of providing access to the arts to the community.”

In its vision statement, the Duluth Art Institute strives to “bring art to, and inspire art in, everyone.” This year’s award is honoring that work to promote equity and local access to the arts. In addition to its main gallery, the Duluth Art Institute also has a space where artists can rent studio spaces, host art classes for youth and adults, and offer summer art camps.

“The Duluth Art Institute is an enthusiastic advocate for the arts, championing innovative exhibits and promoting community participation,” said Christina Woods, Executive Director of the Duluth Art Institute. “This award that comes with $10,000 supports the work it takes to deliver on advocacy and access to the visual arts for all.”

Duluth Art Institute is one of 10 organizations receiving support in Spectrum markets across the country. Select arts organizations are awarded $10,000 Stand For The Arts contributions based on the following criteria: support of creatives and artists via community-driven programming; as advocates for equity and access to the arts; and for providing accessible spaces for creative expression.

“We are pleased to continue our work with Charter as we enter a sixth year of our Stand For The Arts initiative partnership,” stated Sol Doten, Senior Vice President, Head of Marketing & Communications for Ovation TV. “It remains our priority to champion community-driven arts organizations as they support artists and creatives on a local level.”

Since the initiative started in 2017, Ovation TV and Spectrum have given out 60 awards totaling $600,000 towards arts education. More information about Stand For The Arts and the Stand For The Arts Awards is available at: www.standforthearts.com.

About Spectrum
Spectrum is a suite of advanced communications services offered by Charter Communications, Inc. (NASDAQ: CHTR), a leading broadband connectivity company and cable operator serving more than 32 million customers in 41 states. Over an advanced communications network, the company offers a full range of state-of-the-art residential and business services including Spectrum Internet®, TV, Mobile and Voice.

For small and medium-sized companies, Spectrum Business® delivers the same suite of broadband products and services coupled with special features and applications to enhance productivity, while for larger businesses and government entities, Spectrum Enterprise provides highly customized, fiber-based solutions. Spectrum Reach® delivers tailored advertising and production for the modern media landscape. The company also distributes award-winning news coverage and sports programming to its customers through Spectrum Networks. More information about Charter can be found at corporate.charter.com.

About OVATION TV America’s Premier Arts Network
As an independent television, production, and digital media company, OVATION TV has an unparalleled commitment to the arts, culture, and captivating entertainment. Showcasing a lineup of critically acclaimed premium dramas, specials, documentaries, and iconic films, OVATION TV salutes innovative storytelling with popular programming that includes Inside the Actors Studio, Murdoch Mysteries, Frankie Drake Mysteries, Arts Engines, The Fall, Midsomer Murders, The Art Of, Celebrity Conversations, and The Sound of New York. Ovation also powers JOURNY, the dedicated streaming service where art, culture, and travel intersect. The company has provided more than $15M in contributions and in-kind support to arts institutions and arts education. Its signature advocacy platform, STAND FOR THE ARTS, includes a coalition of over 150 arts organizations, cultural institutions, and arts leaders throughout the country raising awareness about art’s positive impact, protecting access for everyone, and encouraging action on behalf of the arts. OVATION TV is available on major providers via cable, satellite and telco systems including Comcast Cable/Xfinity, DIRECTV, Charter/Spectrum, Verizon FiOS, as well as on demand.  You can follow OVATION TV on FacebookTwitterYouTubeInstagramOvationTV.com, and through our App, OVATION NOW.

SOURCE Ovation

Resting with Ancients: Nichola Theakston Invokes Animal Spirits in Her Contemplative Bronze Sculptures

Resting with Ancients: Nichola Theakston Invokes Animal Spirits in Her Contemplative Bronze Sculptures

Detail of “Resting with Ancients” (2023), edition of 12, bronze, 46 x 44 x 26 centimeters. All images © Nichola Theakston, shared with permission

As far back as 5,000 years ago, ancient Egyptians worshipped the goddess Bastet, who took the form of a lioness, a fierce warrior deity associated with the sun. She was seen as a protector during pregnancy and childbirth and a defender against evil spirits and diseases. Over time, her likeness adopted the characteristics of a domestic cat, which in later dynasties assumed cult-like status, and the animals were revered and bred for protection and sacrifice. Along with mythological beings such as Sekhmet, another lion-faced, solar goddess of medicine, the deities comprise an integral part of sculptor Nichola Theakston’s soulful exploration into the history, lore, and spirits of animals.

Working in ceramics and bronze, Theakston’s practice (previously) centers on meditative depictions of mammals, drawing on ancient sources to connect viewers with contemporary concerns and timeless perceptions.In her continuing series of primate portraits, the subjects appear calm, meditative, or lost in thought and emphasize her interest in our “commonality and shared consciousness.” With a focus on faces, she often leaves the bodies unfinished, hinting at shoulders or limbs while highlighting the details of jawlines, ears, and brows.

 

A bronze sculpture of a monkey.

Detail of “Sacred Langur 2” (2023), bronze, edition of 15, 27 centimeters tall

Informed by her work with ceramics, Theakston is constantly evolving her approach to the nuances of texture and color. Each piece, first sculpted by hand before being cast in bronze, bears an organic, expressive approach that spotlights the presence of the artist’s hand. The surfaces feature subtle score marks, nudges, and notches, which draw attention to elegant silhouettes and the supple folds of ears and eyelids. A range of patination techniques, which the artist is consistently experimenting with and developing, create subtle shifts in contrast and hue so no two are exactly alike.

“I have been working recently on canine and feline subjects with reference to ancient Egyptian forebears and sculptural representations,” Theakston tells Colossal. In “Pariah,” the artist’s beloved Mediterranean podenco named Nola mirrors the sleek features of Anubis, the dog-headed Egyptian god of funerary rights and usher to the underworld. “Nola at times seems to very much embody her ancient ancestry and our interwoven human connection with both,” she says.

“Resting with Ancients” will be on view with Sladmore Gallery as part of London Art Week from June 30 to July 7, and if you’re in The Netherlands, you can find her work at Art Laren fair with De KunstSalon, which runs June 16 to 18. Theakston is currently casting a new macaque study at Castle Fine Arts Foundry in Powys, Wales. See more on her website and Instagram.

 

A bronze sculpture of a dog.

“Pariah,” bronze, edition of 12, 60 x 56 centimeters

A bronze sculpture of a monkey.

“Sacred Langur 2” (2023), bronze, edition of 15, 27 centimeters tall

A bronze sculpture of a horse.

“Resting with Ancients” (2023), edition of 12, bronze, 46 x 44 x 26 centimeters

A bronze sculpture of a lion's head.

“Sekhmet,” bronze, edition of 12, 46 x 39 x 48 centimeters

A bronze sculpture of a cat.

“Bastet Study 4,” bronze, edition of 15, 27 centimeters

A bronze sculpture of a cat.

Detail of “Bastet Study 4,” bronze, edition of 15, 27 centimeters

A bronze sculpture of a monkey.

“Monkey Sketch 4” (2023), bronze, edition of 15, 27 centimeters

A bronze sculpture of a cat.

Detail of “Bastet 2,” bronze

A bronze sculpture of a cat.

“Bastet 2,” bronze

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Resting with Ancients: Nichola Theakston Invokes Animal Spirits in Her Contemplative Bronze Sculptures appeared first on Colossal.

Poway Unified students show off projects at Career Technical Education Expo

Poway Unified students show off projects at Career Technical Education Expo

Poway Unified students showcased their innovative projects and shared career aspirations at the Career Technical Education EXPO.

Booths were arranged throughout the Poway’s Mickey Cafagna Community Center at the May 18 event to let students show off visual displays of their class activities.

A range of art, technology, agriculture and research-based topics were presented to reflect 26 different pathways in the district’s Career Technical Education program.

Lynn McConville, the district’s director of Career Technical Education, said some students know what types of jobs their parents and neighbors do, but the career-focused program gives them experiences to broaden their awareness of a multitude of jobs available in the workforce.

“They can’t aspire to do something if they don’t know what’s out there,” said McConville during the EXPO. “This is an opportunity to explore what they might want to do in the future and to tie it to a future career.”

Five comprehensive high schools and a continuation high school plus two middle schools and an elementary school participated in the EXPO.

The following reflects a handful of educational exhibits and student learning at the EXPO:

Gardening and culinary arts at Abraxas High

Plants, along with hummus served with carrot sticks, were handed out at an Abraxas High school booth to highlight the school’s garden and culinary arts program. Students interested in agriculture-related careers are growing bell peppers, zucchini, squash and other seasonal produce at a campus garden.

Abraxas senior Braden Rogers said the school-grown produce is shared with the culinary arts program and surplus food is given to homeless shelters and women’s organizations. Some of the vegetables have been used to make salads, salsa and other dishes, he said.

Abraxas High students preparing hummus and carrot stick snacks are, from left, Ayden Hegranes, Khloe Hale and Braden Rogers.

Abraxas High students prepare hummus and carrot stick snacks for guests interested in their gardening and culinary arts booth. From left are Ayden Hegranes, Khloe Hale and Braden Rogers.

(Julie Gallant)

Abraxas junior Khloe Hale explained the EXPO project involved making hummus from a recipe that a student had created for the culinary arts program.

“It’s a lot of work but it’s fun work and it’s peaceful,” Hale said. “Culinary arts is a hobby for me. I love cooking.”

Classmate Ayden Hegranes, a junior, said the culinary class helped him get a job at the Mama Cellas restaurant in Rancho Bernardo. For now he’s working as a dishwasher at the Italian restaurant, but he said he plans to become a cook there soon.

“It’s taught me multiple skills like what ingredients to use, what knives to use in the kitchen and I’ve learned how to work with classmates and co-workers,” said Hegranes, who has taught his classmates how to make pineapple chicken tacos from scratch. “This class makes it easier to work in the kitchen. My career will probably be cooking since I’ve been working well with that.”

Abraxas biology and agriculture teacher Bob Lutticken said the project-based learning helps students develop and explore their interests. Staff find out what students are interested in learning about and tie it to the curriculum, whether it’s gardening, cooking outdoors or creating ceramics and screen printing in the arts department.

“The way of stand-up and delivery of instruction doesn’t work that well anymore,” Lutticken said.

Photography at Westview High School

Westview High School senior Shai Davis is enrolled in the AP Studio Art course for the photography Career Technical Education pathway.

Westview High senior Shai Davis shows one of her photographs that reflect mental health issues.

Westview High senior Shai Davis shows one of her photographs that reflect mental health issues.

(Julie Gallant)

Her forte is narrative photography in which she tells a story through photographs. Her focus this year is on mental health issues, she said.

“It’s a misunderstood topic and I wanted to bring people’s stories onto a creative medium,” said Davis, who also conducts interviews and researches mental health issues. “It helps my photography and it helps me portray my stories.”

Davis says she can express concepts related to her photos, which generally focus on people, using backdrops and lighting design equipment at her school’s photography studio. What Davis is learning today will likely help her get a job someday in a media and marketing field that emphasizes social media, she said, adding that she has an “amazing” teacher, Sarah Layne.

Westview High senior Anna Gray shows her photo titled “A Few Pages Away.”

Westview High senior Anna Gray shows her photo titled “A Few Pages Away.”

(Julie Gallant)

Davis’ classmate, senior Anna Gray, said she focuses on nature photography because she likes finding beauty in underappreciated elements of nature. Gray has previously studied graphic design and plans to major in graphic design at Brigham Young University. She wants to work in advertising, branding and graphic design.

“My teachers teach me how to progress my talents and start a career in the outlets CTE courses offer like photography and graphic design,” Gray said. “I like that you can capture a moment in time and how everything you see revolves around design elements, photography or graphic design in some way.”

Poway Unified School District students displayed their photographs at the recent Career Technical Education EXPO.

Poway Unified School District students displayed their photographs at the recent Career Technical Education EXPO.

(Julie Gallant)

Robotics at Rancho Bernardo High

Rancho Bernardo High junior Preena Maruthavelu is a software engineer on a team of students that have built a robot named “Trident” for their robotics class in the engineering pathway. Members of the “Emotion” team are assigned tasks in the categories of build, design, software, electrical and marketing.

Together they spent six weeks building a robot that could pick up and place inflatable cubes and orange plastic cones in a robotics competition, Maruthavelu said.

Students Ila Gowdn, left, and Preena Maruthavelu helped build the “Trident” robot with their robotics class’s “Emotion” team.

Rancho Bernardo High students Ila Gowdn, left, and Preena Maruthavelu helped build the “Trident” robot with their robotics class’s “Emotion” team.

(Julie Gallant)

Maruthavelu and her classmate, junior Ila Gowdn, participated in the global FIRST Robotics Competition, which stands for “For Inspiration and Recognition of Science and Technology.” Gowdn’s role was to help with wiring the robot as part of an electrical subteam.

Gowdn said the teamwork and engineering skills she’s learning will prepare her for college and possibly her career goal of becoming an aerospace engineer. She said she’s been inspired for her career path since participating in a FIRST Lego League in fourth grade and from there attended more STEM classes.

“I was an electrical lead this year so I had more responsibility leading my subgroup as well as wiring the robot,” said Gowdn, who aspires to attend Stanford University.

Rancho Bernardo High students built the “Trident” robot that can pick up and place inflatable cubes and orange plastic cones.

Rancho Bernardo High students built this “Trident” robot that can pick up and place inflatable cubes and orange plastic cones.

(Julie Gallant)

Sports Medicine at Mt. Carmel High

Mt. Carmel High School junior Dana Schimmel is taking a sports medicine class in the health science and medical technology pathway.

Schimmel has learned about the parts of the body, including muscles, bones and ligaments, and she’s learned how these parts function and how people can get injured in sports.

Her goal is to work in the medical field, possibly as a sports medicine doctor or a physical therapist.

“They teach us how an athletic trainer could help an athlete with an injury,” Schimmel said. “I feel it will give me a head start because I already know a lot of the main functions of the body and a lot of the most common injuries.”

Dana Schimmel has learned about the parts of the body including muscles, bones and ligaments in her sports medicine class.

Mt. Carmel High junior Dana Schimmel has learned about the parts of the body including muscles, bones and ligaments in her sports medicine class.

(Julie Gallant)

Schimmel became interested in the medical field after suffering injuries while performing aerial acrobatics. She said she began taking gymnastics in the first grade then progressed to acrobatics in the seventh grade. Since then she’s performed in competitions and small showcases at schools and events.

“I have lots of injuries from acrobatics so I wanted to know what I could help myself with,” said Schimmel in explaining why she’s interested in sports medicine. “I find that the class is really interesting and it’s really fun.”

Biomedical Technology at Del Norte High School

Del Norte High School junior Akshat Parikh is taking multiple courses in the biomedical technology pathway. Among them are AP biology, AP statistics, AP computer science and honors medical interventions. Although he hasn’t decided on his career field, one option is to become a surgeon.

Akshat Parikh is taking AP classes in biology, computer science and statistics as he explores a career in the medical field.

Del Norte High junior Akshat Parikh is taking advanced placement classes in biology, computer science and statistics as he explores a potential career in the medical field.

(Julie Gallant)

“Taking these classes will help me get exposure to what I want to do eventually,” Parikh said. “I’m leaning towards the medical side. Medicine is all about helping people and I always wanted to help people who are hurt. It’s amazing how much advancement there has been in the medical field and there’s still a lot more advancement to come.”

Parikh credits his teachers for teaching him the principles of biomedical sciences and anatomy as well as medical interventions.

“I’m learning about dealing with medical equipment, DNA sequencing, genetics and so much more,” he said. “It’s definitely a challenge but with the right enthusiasm any class is fun.”

Students in the biomedical technology pathway shared this display at the Career Technical Education EXPO.

Students in the biomedical technology pathway shared this display at the Career Technical Education EXPO.

(Julie Gallant)

Through Career Technical Education, older students mentor younger students with lessons and activities, McConville said. The younger students also engage in science, technology, engineering and math (STEM) curriculum through the Project Lead the Way program.

Other opportunities include counseling to help students connect their classes to college and career goals, company tours, informational interviews with industry professionals, and connections to internships, McConville said.

For more information, call 858-668-4003.

Shop local to show your Jaguar pride: Escape Outdoors stocks shelves with Augusta University gear

Shop local to show your Jaguar pride: Escape Outdoors stocks shelves with Augusta University gear

One step into the local outdoor gear store Escape Outdoors in Martinez, and Augusta University students, faculty, staff and alumni will immediately notice some exciting new additions.

Escape Outdoors, located at 377 Furys Ferry Road, recently began offering its customers a variety of Augusta University merchandise, including T-shirts, hats, stickers, purse straps and more.

Rafy Bassali, an alumnus of Augusta University and owner of Escape Outdoors and the local boutiques The Swank Company and Posh Tots, said he is honored to partner with Augusta University as a local retailer of its merchandise.

“Having a strong relationship with Augusta University is incredibly important to us,” Bassali said. “We are a local business and being connected with our local community is a mission of our business. We love that collaborations like this allow our community to support us as a local business and AU as a local university.”

Store owners with Augustus, the mascot
Rafy Bassali, an alumnus of Augusta University and owner of Escape Outdoors, poses for a photo with his wife, Hannah, and AU mascot Augustus in front of the new merchandise for sale at the store. [Michael Holahan/Augusta University]

“We are a local business and being connected with our local community is a mission of our business. We love that collaborations like this allow our community to support us as a local business and AU as a local university.”

Rafy Bassali, Augusta University graduate and owner of Escape Outdoors, The Swank Company and Posh Tots

Russell Keen, EdD, executive vice president of administration and chief of staff to the president at Augusta University, said offering the university’s merchandise in a local store owned by an alumnus is a win-win situation for the entire community.

“It’s incredible to see our merchandise in a store like this and it’s even better to have it in a store owned by an alum,” Keen said, as he walked around Escape Outdoors looking at the new Augusta University merchandise. “And Rafy has told us that it is selling and they are already making reorders, so that speaks to our brand, it speaks to the loyalty that we are creating in our alumni and our connection to the community.”

For years, Keen said community members have told the university they would like to see more Augusta University merchandise in local stores.

Alison Rohdy, brand strategist and trademark and licensing coordinator, and Taylor Lamb, director of marketing and creative services for Augusta University Communications & Marketing, initially approached Bassali last year to discuss the possibility of having some Augusta University art students paint a mural on one of his downtown buildings.

Bassali, an alumnus of Augusta University’s James M. Hull College of Business MBA program, owns more than 30 properties in Augusta and the surrounding areas.

One of the buildings he owns on Broad Street in downtown Augusta is home to the Draft Society Taproom.

“It’s incredible to see our merchandise in a store like this, and it’s even better to have it in a store owned by an alum.”

Russell Keen, EdD, executive vice president of administration and chief of staff to the president at Augusta University

Just last year, Augusta University art students from the Department of Art and Design at Pamplin College of Arts Humanities, and Social Sciences finished a large outdoor mural for the Draft Society Taproom courtyard area.

“The art mural was all part of the Jaguar Nation Collaboration Project that we started in 2021,” Rohdy said, explaining the project was created to identify and celebrate the university’s brand and inseparable connection to the city. “We were trying to get more integrated downtown and engaged in the community and have a bigger presence.”

Local companies such as Augusta Candle Company, Freshwater Design Co. and Buona Caffe created unique Augusta University products that were sold at Augusta & Co., 1010 Broad St.

“We reached out to a handful of small, local businesses to partner with us. We asked them to create unique products with their personal, creative touches on our brand,” she said. “Partnering with small, local businesses was always the goal.”

While talking to Bassali about the possibility of an additional mural downtown, Rohdy said he inquired about Augusta University merchandise.

“He asked me, ‘How do you sell the university’s merchandise? Could we potentially sell it out of our stores?’ And I immediately said, ‘We would love that,’” Rohdy said. “Everything just fell into place. We started with merchandise at Escape Outdoors, and we recently added some T-shirts at Swank. If everything goes well there, we plan to add some items at Posh Tots. So, that is how it came to life.”

Bassali said he has been pleased with the high demand for the Augusta University merchandise at Escape Outdoors and has already ordered more items.

“We view this collaboration as another way to reach our community, and draw in students who may not have heard of Escape Outdoors,” he said. “Students attend Augusta University from all over the country, and hopefully this is a way to connect. We do not aim just to have them discover Escape as a place to shop, but hopefully, also a place to find a sense of community. Since our offerings revolve around so many outdoor activities, Escape has become a connection point for people with different interests through things like disc golf, camping, kayaking, running and more.”

Woman wearing a hat
Elizabeth Wilson, a sophomore at Augusta University, is also an employee at Escape Outdoors. [Michael Holahan/Augusta University]

“I am really proud of my school and I love seeing people wear the AU shirts and hats. I feel a connection with them.”

Elizabeth Wilson, Augusta University student and Escape Outdoors employee

Elizabeth Wilson, a sophomore at Augusta University who is majoring in business administration with a concentration in digital marketing, is also an employee at Escape Outdoors.

Wilson said she is proud to have the Augusta University gear available to customers coming in the store.

“It is a good conversation starter when they pick up the merchandise, and I get to say, ‘I go to Augusta University,’” Wilson said. “I am really proud of my school, and I love seeing people wear the AU shirts and hats. I feel a connection with them.”

Seth Prior, a junior at Augusta University who is majoring in graphic design, also works at Escape Outdoors.

Prior said he was excited to see the Augusta University T-shirts at Escape Outdoors because he was able to meet local graphic designer Jason Craig, who designed the new Augustus logo for the merchandise, during one of the artist’s talks at the university.

“It is really cool to see the T-shirts with his design in our store,” Prior said. “And they are selling out quickly. We had to order some new stuff recently, so it is definitely great to see other people enjoying the school and seeing the community’s support of AU.”

man standing with Augustus
Seth Prior is a junior at Augusta University and works at Escape Outdoors. [Michael Holahan/Augusta University]

While looking around Escape Outdoors and talking to the owner and staff, Keen said it is clear this partnership is already a success.

“This creates a sense of pride. It is not only pride in the university, but pride in our community,” Keen said. “And it speaks to our community engagement. If the university does well, the community does well. If the community does well, the university does well. And I think we’re seeing that type of community engagement and partnership right here.”

Bassali said he enjoys seeing his employees and customers so enthusiastic about the new Augusta University merchandise.

“Dozens of our employees over the years have been and are students at AU, as well as many of our customers,” he said. “We were so excited to be able to work on a collaboration like this, and to see this project become a success is an added bonus. We hope to continue this partnership.”

Local businesses interested in a potential partnership with Augusta University to carry the university’s merchandise can contact Alison Rohdy.

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