
Ian Strever (left), listened as Richard Davis spoke at the Salisbury Forum’s discussion of artifical intelligence Friday, Sept. 27.
Patrick L. Sullivan
Ian Strever (left), listened as Richard Davis spoke at the Salisbury Forum’s discussion of artifical intelligence Friday, Sept. 27.
SALISBURY — Artificial intelligence (AI) is here to stay, and educators are gingerly adapting.
That was the message from the Salisbury Forum’s panel at Salisbury School Friday, Sept. 27.
The panel included Ian Strever, Principal of Housatonic Valley Regional High School (HVRHS); Richard Davis, Dean of Academic Life at The Hotchkiss School; Sarah Mulrooney, Dean of Academic Life at Salisbury School; and Matt Mervis, Director of AI Strategy at EdAdvance.
Jonathan Costa, Executive Director at EdAdvance, moderated.
“AI is suddenly everywhere,” Costa began. “ChatGPT is the tip of the iceberg.”
Cotsa described generative AI as “giant synthesizing machines” that “crawl” through enormous amounts of data.
“It takes your prompt and is really good at predicting what you want to see.”
Costa said the advent of AI is “the final curtain for rote learning.” AI will reduce the time it takes to complete a task, combined with a “higher order of engagement.”
And AI works at incredible speeds.
“My fear is that schools won’t change fast enough.”
“The implications are endless,” Costa said, with “great benefits” and “dark corners.”
He asked the panelists how AI is being used in their schools. Salisbury School’s Mulrooney said she first heard “rumblings” about ChatGPT in November of 2022, and the immediate concern was cheating or plagiarism.
“We spent some time on prevention,” she said, and then moved into finding more about AI and how it was being used elsewhere.
For the 2023-24 school year, the attitude was one of “curiosity and discernment.”
In the current school year, Mulrooney asked teachers for their opinions and was immediately met with resistance. “‘ I don’t touch it, and I dont let my students touch it’ were the first responses.”
Davis, from The Hotchkiss School, said he started hearing about AI during the winter holiday break in 2022.
Hotchkiss has not banned AI. Davis said the emphasis has been one of exploration.
He noted one immediate consequence of the rise of AI.
“Evidence of learning changed overnight for the written word.”
“We’re trying to get people to use it to see what it can do,” he continued. “We’re still in that place.”
“It’s pretty exciting — and terrifying.”
Strever, from HVRHS, said, “I’m pretty sure it gave at least one English teacher a coronary” when the AI issue surfaced. “We have it as a brainstorming tool, an idea generator.”
The current attitude is that AI “is not the best thing, not the worst thing. We’re somewhere in the middle.”
Costa noted that New York City public schools tried a ban on the use of AI (since modified) and asked the educators if their schools have considered going that route.
Mulrooney said Salisbury School won’t ban AI, but will police it. “The onus is more on teachers on what the boundaries are.”
Davis said AI can be used by students to “bypass or enhance.”
“So it’s about clarity,” with teachers setting clear rules on AI use.
Strever agreed, and said that AI cannot replace passion.
“When a student is passionate about a topic, they will write reams about it.”
Costa said that many technologies act as “intensifiers,” and that AI will make good teachers better while alarming lazy teachers.
Mervis used the example of a regular newsletter put out by a teacher. Much of the work that goes into the newsletter is repetitive and time-consuming. A teacher using AI could get the tedious work done in a fraction of the time, and use that saved time “to do something useful.”
Jonathan Costa (at left) moderated a Salisbury Forum panel on artifical intelligence Friday, Sept. 27. The panelists were (from left) Ian Strever, Richard Davis, Matt Mervis and Sarah Mulrooney.Patrick L. Sullivan
Costa asked how AI can be used in instruction. Mulrooney gave an example. In a unit involving debate, the class could let AI have the actual debate, and then, using their own critical thinking skills, “analyze the arguments and discourse.”
Davis, who teaches ancient Greek, said he typically spends a lot of time coming up with sentences and paragraphs for his students to work on after they’ve exhausted the material in the textbook.
An initial attempt at using ChatGPT to come up with samples wasn’t successful, but a subsequent try with another program “worked pretty well.”
“It was the first time AI was a time-saver.”
Strever said he was interested to see how HVRHS photography students caught on to AI’s possibilities and began using it in production.
Costa asked the panel about their hopes and fears for AI.
“Neuralink,” said Strever, referring to Elon Musk’s neurotechnology company. “The possibility this ends up embedded in your head is terrifying.”
Davis said AI’s potential for personalized learning is “super-exciting.”
On the downside, he said he worries about “the human element,” particularly gullibility and a propensity to take short cuts.
Mulrooney said she is worried about the pace of change, but she is seeing the utility of AI in real-life situations.
Mervis said making dire comparisons to dystopian science fiction works is “a way to avoid talking about bias, energy consumption” and other AI issues.
Ultimately, he hopes AI “will free up teachers to do something meaningful.”
Paquito D’Rivera performs at the Mahaiwe in Great Barrington on April 5.
Natalia Bernal is the Mahaiwe Performing Arts Center’s education and community engagement manager and is, in her own words, “the one who makes sure that Mahaiwe events are accessible to all.”
The Mahaiwe’s community engagement program is rooted in the belief that the performing arts should be for everyone. “We are committed to establishing and growing partnerships with neighboring community and arts organizations to develop pathways for overcoming social and practical barriers,” Bernal explained. “Immigrants, people of color, communities with low income, those who have traditionally been underserved in the performing arts, should feel welcomed at the Mahaiwe.”
Partnerships with organizations like Volunteers in Medicine Berkshires (VIM), the W.E.B. Du Bois Legacy Committee, and Community Access to the Arts (CATA) have helped bridge that gap. But for the Latinx community, there’s an even more targeted effort: the Spanish-language Community Advisory Network (SCAN).
“Six years ago, we started an advisory group of Spanish speakers in the community,” Bernal said. “They tell us what the community wants to see, how they’d like their culture represented. Today, SCAN has 12 members. We meet four times a year and are in constant communication. It’s because of them that we’ve hosted free Spanish-language film screenings and live performances.”
For Bernal, this work is personal. “When I first moved to the U.S. in 2003, it was because I got a Latin American scholarship to study at Berklee College of Music. That first year, I went home to Uruguay for Christmas and saw Paquito D’Rivera perform at a jazz festival. I was determined to meet him, and I did. Later that year, Paquito came to Berklee and invited me on stage.”
Now, two decades and 16 Grammys later, Paquito D’Rivera is coming to the Mahaiwe on April 5, and there’s a chance history might repeat itself. “He saw a post we made about his concert and commented, ‘Ay, chica, que maravilla, are you gonna sing a song with us?’ I almost died,” Bernal laughed. “I don’t know if it will happen, but it would be a dream.”
About the possibility of a guest appearance by Bernal, D’Rivera said, “Natalia is a very dear, valuable colleague, and jazz is about improvisation, so the surprise factor is always part of the fun here.”
D’Rivera’s concert is just one example of how the Mahaiwe is making world-class performances accessible. “My whole day has been about offering ‘pay what you can’ tickets for this show,” Bernal says. “We also issued a 50% discount to our partners. We work with ESL teachers, public libraries, literacy agencies, anyone who can help us get the word out.”
That kind of grassroots effort has been transformative. “Last year, we screened ‘Florencia en el Amazonas,’ the first opera written in Spanish ever performed at the Met,” Bernal said. “I sat in the Mahaiwe in tears. As someone who loves opera, it was the first time I heard one written in my own language. It was so powerful.”
Natalia Bernal, Mahaiwe’s education and community engagement managerPhoto by Martin Cohen
For Bernal, it all comes back to representation, on stage and in the audience. “My son is eight. I bring him to everything I can. Spanish shouldn’t just be something that happens at the dinner table. It should be in the world, in all these shapes and forms.”
And that’s what SCAN is helping build: a future where Latinx voices aren’t just included, they are central. “Our SCAN advisors are volunteers, cultural ambassadors,” Bernal said. “They help us distribute surveys, talk to the audience, and strengthen the community. Nobody should feel alone. Everybody should feel like they belong here.”
Education and outreach are central to D’Rivera’s work as well. He said, “It is an important part of our mission to plant and nurture the seed of quality music in our communities.” He continued to say, “Using our visibility and influence in favor of justice is always a very effective vehicle in denouncing violations of human rights around the world.”
This shared mission of education and social justice extends beyond the Mahaiwe. “We are one of the few arts organizations in a monthly meeting with BASIC (Berkshire Alliance for Immigrant Services). We have direct ties to the Berkshire Immigrant Center, VIM, and others so that we are well-informed and ready to serve,” said Bernal.
That commitment to community, culture, and access is why Bernal’s dream panel—Women in the Music Business—would feature Paquito’s wife and longtime manager, Brenda Feliciano. “She’s a tower of power. She’s been managing his career for at least 45 years. If I could organize an event one day, she would be the cherry on the cake.”
Until then, Bernal will keep doing what she does best: making sure the Mahaiwe is a place where everyone, regardless of language, income, or background, feels at home. And maybe, just maybe, she’ll find herself back on stage with Paquito D’Rivera, just like that first time, all those years ago.
For more info and tickets to Paquito D’Rivera, visit mahaiwe.org
There is magic in a home filled with the things we love, and Mary Randolph Carter, affectionately known as “Carter,” has spent a lifetime embracing that magic. Her latest book, “Live with the Things You Love … and You’ll Live Happily Ever After,” is about storytelling, joy, and honoring life’s poetry through the objects we keep.
“This is my tenth book,” Carter said. “At the root of each is my love of collecting, the thrill of the hunt, and living surrounded by things that conjure up family, friends, and memories.”
The creative director at Ralph Lauren for almost four decades, Carter began writing this book during the pandemic, a time of rediscovering comfort. “I found more time to appreciate those special things that give our homes warmth and connection.” Working with Ralph Lauren, she learned that the best spaces tell a personal story. “His desk was filled with toy cars, miniature shoes, superheroes, English dandies, cowboys on horseback. The walls? A gallery of his children’s paintings, iconic photos of Frank Sinatra and Gary Cooper. Everything told a story.”
Carter acknowledges how homes can become overwhelmed with stuff but sees a difference between clutter and collection. “To live happily, create environments that inspire and comfort rather than encumber you! Look around and ask, ‘What is truly meaningful? What makes you smile? What recalls the people and places you cherish?’” Then, she added, “weed out the rest with discipline and courage!”
Provided
Each home in Carter’s book reflects its inhabitant’s spirit. “The first time I walked into Bethann Hardison’s apartment, I knew right away how authentic it was to who she is.” Hardison’s walls are lined with artwork from friends Keith Haring, Jean-Michel Basquiat, and Haitian paintings, testaments to a life well lived. “Though her mantra is, ‘the lighter the load, the freer the journey,’ she also admits some things ‘delight your environment’ and can’t be parted with. Amen to that!”
Having survived two childhood fires, Carter deeply understands what truly matters. “It’s not the things, but the people and memories they evoke.” She loves her collections, but they don’t possess her. “They make me happy, but they do not define me.”
She delights in how people showcase treasures. Paula Grief, for instance, lives in a ten-foot-wide house and had to part with many books. “She tucks the ones she can’t live without through the rungs of her staircase. I love that ingenuity!”
When asked about her most cherished possession, Carter tells a story of loss and serendipity. A childhood portrait of her in a blue velvet dress was lost in a fire. “Years later, the artist’s daughter found another version. Now, it hangs in our apartment, surrounded by flea market art and one of my favorite saints, Our Lady of Guadalupe.”
Adding to the cozy feeling of this book, Carter’s son, Carter Berg, took the photographs, and her sister, Cary, contributed the illustrations. “Cary once stayed in our apartment and painted a dozen objects from our cluttered kitchen. I hung them immediately. When I started this book, I knew she had to capture my favorite objects.”
Four of the featured homes are local to the Northwest Corner, including Carter’s in Millerton, Joan Osofsky’s in Lakeville, Robin Bell’s in Salisbury, and Paula Grief’s in Hudson. They all gathered at the White Hart/Oblong Speaker Series on March 27.
After perusing the richly colored pages of this book, you may feel tempted to shop. “You don’t need money to create a meaningful home,” Carter insisted. “Some of my favorite paintings cost no more than $10 or $25. Value is personal. It’s not about provenance but the story an object tells you or the one you make up.”
Carter’s advice? “Fall in love with the wackiest thing. Surround yourself with what matters, and you’ll live happily ever after.”
On Saturday, April 5, at 3 p.m., The Triplex Cinema in Great Barrington and Jacob’s Pillow, the dance festival in Becket, Massachusetts, are presenting a special benefit screening of the cinematic masterpiece, “The Red Shoes,” followed by a discussion and Q&A. Featuring guest speakers Norton Owen, director of preservation at Jacob’s Pillow, and dance historian Lynn Garafola, the event is a fundraiser for The Triplex.
“We’re pitching in, as it were, because we like to help our neighbors,” said Norton. “They (The Triplex) approached us with the idea, wanting some input if they were going to do a dance film. I thought of Lynn as the perfect person also to include in this because of her knowledge of The Ballets Russes and the book that she wrote about Diaghilev. There is so much in this film, even though it’s fictional, that derives from the Ballets Russes.” Garafola, the leading expert on the Ballets Russes under Serge Diaghilev, 1909–1929, the most influential company in twentieth-century theatrical dance, said, “We see glimpses of that Russian émigré tradition, performances we don’t see much of today. The film captures the artifice of ballet, from the behind-the-scenes world of dressers and conductors to the sheer passion of the audience.”
Hailed as one of the greatest films about ballet, “The Red Shoes,” 1948, is a dazzling fusion of dance and cinema, featuring a mesmerizing 17-minute ballet sequence performed by Scottish ballet dancer and actress, Moira Shearer. Directed by Michael Powell and Emeric Pressburger, the film’s breathtaking use of Technicolor and evocative storytelling continues to captivate audiences, including legendary filmmakers like Martin Scorsese, Brian De Palma, and Steven Spielberg all of whom have cited the film as an influence on their work.
Garafola recalled seeing the film as a young dancer. “I remember being more taken with the plot then, but seeing it again recently, it was the color, the fantasy, and the glamour that struck me. Given how gray England was after the war, the film’s vibrant costumes and settings create an almost dreamlike escape.”
Owen echoed Garafola’s sentiment. “It’s magical. Color was their thing, and this latest restoration makes it even more breathtaking.”
The film underwent an extensive digital restoration at the UCLA Film and Television archive between 2006 and 2008 and premiered at the Cannes Film Festival in 2009. This is the version of the film which will be screened at the Triplex.
Owen said, “I love the depiction of young ballet audiences racing to their seats. That kind of enthusiasm is contagious. It’s what draws young dancers in.” Both Owen and Garafola epressed hope that young dancers will attend the event, sharing in the film’s enduring inspiration.
Owen and Garafola’s Q&A is sure to be lively and educational as they delve into the film’s legacy in both dance and cinema. “It’s not just a film for dance lovers. It’s a filmmaker’s film, too,” Owen added.
Join The Triplex and Jacob’s Pillow for this rare opportunity to experience “The Red Shoes” on the big screen, a film that continues to enchant, inspire, and ignite artistic passion.
Tickets are available for $75 at www.thetriplex.org.