Academics

��TV engineering students encouraged to consider sustainability when designing future AI systems

Christopher.Sorensen — Mon, 16 Sep 2024 15:10:13 +0000

��TV engineering students encouraged to consider sustainability when designing future AI systems

Christopher.Sorensen Mon, 09/16/2024 - 11:10

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Professors Hans-Arno Jacobsen, left, and Natalie Enright Jerger of the Faculty of Applied Science & Engineering are part of a team that is training computer system designers to integrate sustainability practices into the development of AI and machine learning systems (photo by Jenny Lee)

Matthew Tierney

Topic

Our Community

Computer & Electrical Engineering

Faculty of Applied Science & Engineering

NSERC

Sustainability

Subheadline

The Sustainable Data Systems for Data Science initiative aims to align Canada’s tech investments with its vision for a carbon-neutral future

The growing global adoption of artificial intelligence technologies, including machine learning, has created a new sustainability challenge: AI systems are energy-intensive – and the more sophisticated they become, the more resources they require.

To help address the issue, a team of experts including the University of Toronto’s Hans-Arno Jacobsen and Natalie Enright Jerger – both professors in the Edward S. Rogers Sr. department of electrical and computer engineering at the Faculty of Applied Science & Engineering – are launching an initiative that aims to align Canada’s tech investments with its vision for a sustainable, carbon-neutral future.

The Sustainable Data Systems for Data Science (SDSDS) project aims to train a new generation of computer and data scientists who can combine comprehensive technical skills with sustainability awareness. The project recently received a $1.6-million Collaborative Research and Training Experience (CREATE) grant from the Natural Science and Engineering Research Council of Canada (NSERC).

“A majority of students are unaware of how sustainability informs responsible development of platforms and systems because, frankly, there just aren’t many courses or learning paths available to them in this area,” says Enright Jerger, who holds the Canada Research Chair in Computer Architecture and is director of the division of engineering science.

“Another crucial component of this project is to equip our students with knowledge transfer strategies so they can seed these ideas in the workforce. Today’s trainees becoming tomorrow’s trainers.”

The SDSDS team propose training future computer systems designers to adopt a green approach when developing data analytics platforms and systems. The approach would apply to all aspects of the life cycle of development and deployment – such as hardware infrastructure, software systems and application domains.

To advance knowledge and dialogue on the issue, SDSDS will look to hold cross-university seminars on sustainability challenges and will offer courses on sustainable data science, along with summer school programs focused on energy-efficient software and hardware platforms.

The researchers also aim to connect students with industry via internships and applied research projects, enabling them to gain exposure to current challenges and facilitate cross-pollination of knowledge between industry and academia.

“The awareness about AI’s environmental impact is growing, but there is an expertise gap on how to address this very real problem – not just after the fact, but at inception. SDSDS aims to bridge this gap and prepare for the future resource demands of AI-driven industries,” says Bettina Kemme, professor of computer science at McGill University and team lead at SDSDS, which also includes Semih Salihoğlu of the University of Waterloo, Oana Balmau of McGill University and Essam Mansour of Concordia University.

“The potential of AI and machine learning systems are seemingly limitless,” says Jacobsen, who is the Jeffrey Skoll Chair in Computer Networks and Innovation. “Yet the true genius lies in building machine learning systems founded on sustainability principles. That’s real innovation.”

��TV urban studies course explores wildfire response in Canada's North

Christopher.Sorensen — Mon, 12 Aug 2024 19:57:57 +0000

��TV urban studies course explores wildfire response in Canada's North

Christopher.Sorensen Mon, 08/12/2024 - 15:57

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Clouds of smoke billow into the air as forest fires burn in the Northwest Territories in 2015, leaving trees damaged and charred (photo by Sherry Galey via Getty Images)

Cynthia Macdonald

Topic

Our Community

School of Cities

Faculty of Arts & Science

Geography and Planning

Graduate Students

Innis College

John H. Daniels Faculty of Architecture

Subheadline

As part of a graduate seminar, students and professors visited Yellowknife to study the city's 2023 wildfire evacuation with an eye to informing future policy recommendations

Wildfires such as the one that devastated Jasper, Alta., in July are becoming ever more common in Canada due to increased record-high temperatures and drought conditions associated with climate change.

One year ago, it was Yellowknife that found itself under threat, forcing a near-complete evacuation of its 20,000 residents. Unlike Jasper, Yellowknife's homes and businesses were ultimately saved from destruction, but the Northwest Territories capital is nevertheless reviewing its wildfire response plans so it will be better prepared in the future.

And the city is receiving valuable assistance from the University of Toronto.

Professors and graduate students from the urban studies program at Innis College recently visited the city to research disaster response policies and make suggestions on possible improvements.

“We ended up designing a course that provided a retrospective on the evacuation experience as it related to government officials and the non-profit sector,” says David Roberts, an associate professor, teaching stream, in the department of geography and planning in the Faculty of Arts & Science and director of the urban studies program.

“The students are now working on projects that will provide policy recommendations for the future.”

The view over Yellowknife’s Old Town (supplied image)

This seminar, which was also taught by Assistant Professor Aditi Mehta, is one of several Multidisciplinary Urban Graduate Seminars (MUGS) being offered by ��TV’s School of Cities.

Roberts and Mehta created the class in consultation with Rebecca Alty, Yellowknife’s mayor and a visiting expert, or Canadian Urban Leader, at the School of Cities.

Mehta says that the seminar’s multidisciplinary nature was key to crafting a well-rounded response to the crisis.

“We were very deliberate in picking students from different disciplines so that we could create knowledge and think about what happened from different perspectives,” she says, adding that students who successfully applied came from backgrounds including geography and planning, forestry, anthropology, landscape architecture and public health.

The seminar’s participants pose for a group photo at the Bush Pilot’s Monument in Yellowknife (supplied image)

The 10 graduate students visited sites and interviewed government officials, community organizations, residents and Indigenous leaders. They explored how to build improved communication infrastructure in the city and investigated the connections between a local housing crisis and climate change.

They also studied how Indigenous Peoples, including members of the Dene Nation living in Yellowknife, suffer disproportionate harms due to wildfire. Research shows that while 12 per cent of the entire Canadian population is at risk, that number rises to 32 per cent for on-reserve First Nations communities.

Léo Jourdan, who is completing his master of science degree in forestry at the John H. Daniels Faculty of Architecture, Landscape, and Design, says the seminar provided him with an opportunity to examine wildfire science from a different angle.

“The research we do in our lab has to do with wildfires, but from a scientific point of view – in the sense that we try to answer ecological questions about the origins of these fires. So this class was a great opportunity to broaden my perspective and learn more about the human side of wildfires, and I think it did an amazing job.”

Jourdan explains that most wildfires are a natural – and necessary – phenomenon. “A lot of the forest in Canada co-evolved with fires, and their ecosystems would not function without them,” he says. “The issue we’re facing now, however, is that the wildfires are getting more intense and the communities closer.”

The seminar group enjoyed the city’s culinary and cultural offerings (supplied image)

For Lilian Dart, the course offered an opportunity to explore her twin interests in environmental justice and housing policy.

“One of the focuses was to look at how people experiencing homelessness were evacuated,” says Dart, a PhD student in the department of geography and planning.

She notes that in the wake of the wildfire evacuation, a team from professional services firm KPMG conducted an audit that revealed significant holes in the system that allowed vulnerable populations to fall through.

“People without housing, for example, did not have social safety supports that other people did,“ she says. “They also had comorbidities that affected their health, making them even more vulnerable.”

Dart’s final assignment for the course is a policy paper that examines this issue. “My recommendations are mostly to do with how the municipality can better support service organizations in their collaboration with one another. How can resources be co-ordinated? And how can people work together to ensure a more organized response?”

Jourdan, for his part, is proposing that Yellowknife adopt the principles of FireSmart, a national program that leads the development of programs and resources to help Canadians increase their resilience to wildfires.

Mehta says Yellowknife’s mayor provided the group from ��TV with some recommendations of her own. “She gave an important critique of planning education in our country, noting that people rarely study the problems that cities in northern Canada are facing,” Mehta says. “Instead, we are overly focused on big cities like Toronto, Montreal and Vancouver.”

Roberts says that the policy recommendations written by Dart, Jourdan and the other students will be offered “not just to the mayor, but to everyone else we talked to – those working in the non-profit field and at the territorial level, as well as those who work with the Dene.

“We’re now thinking about other ways of presenting this information, such as returning to Yellowknife to ensure that the dialogue we’ve started is able to continue.”

Learning rewired: ��TV researcher sparks kids’ interest in tech with animatronic critters

bresgead — Tue, 16 Jul 2024 18:22:39 +0000

Learning rewired: ��TV researcher sparks kids’ interest in tech with animatronic critters

bresgead Tue, 07/16/2024 - 14:22

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Paul Dietz, a distinguished engineer in residence and director of fabrication in ��TV’s computer science department, hopes his paper animatronic creations can engage more kids in STEM through the power of storytelling (photo by Polina Teif)

Topic

Faculty of Arts & Science

Ontario Institute for Studies in Education

Robotics

STEM

Subheadline

Paul Dietz says robotic paper creations are a creative – and more inclusive – way to get kids interested in STEM fields

Could a talking paper octopus be the key to igniting kids' curiosity about technology?

University of Toronto engineer Paul Dietz certainly thinks so. With the help of a menagerie of mechanically controlled puppets, he has a plan to help students learn to think creatively across a wide range of fields.

All it takes is some simple circuitry, a few arts and crafts supplies – and a lot of imagination.

A distinguished engineer in residence and director of fabrication in the Faculty of Arts and Science’s computer science department, Dietz is the whimsical mind behind the Animatronics Workshop. The program collaborates with schools to provide opportunities for children to create, design and build their own robotic shows.

Dietz has been partnering with schools where kids create their own animatronic stories – from staging pre-programmed puppet shows to hosting Q-and-As with Shakespeare – departing from the competition-based competitions typical of many youth robotics efforts.

Dietz’s program has been his passion project for a decade and a half, developed on the side while he worked day jobs engineering innovations for companies like Microsoft, Mitsubishi and Disney, as well as his own startups.

Now, at ��TV, Dietz is focusing on bringing accessible and affordable animatronics to classrooms across Canada. The goal, he says, is to teach kids to use technology as a tool for storytelling, dismantling what he sees as a false divide between the arts and sciences.

“One of the first participants in this program was a young girl who was really into writing creative stories and really loved science. And she saw these as two conflicting parts of her world,” says Dietz, who is also a faculty affiliate at the Schwartz Reisman Institute for Technology and Society.

“After what she did in animatronics, it suddenly dawned on her that you can do both. If you do engineering right, it is a creative art.”

In a capstone course on physical computing in K-12, Dietz encouraged undergraduate students to explore how computer-based systems can bring stories to life in the classroom (photo by Polina Teif)

Dietz had a similar realization as a teenager in the late 1970s, when a behind-the-scenes tour of Walt Disney Imagineering got him tinkering with an animatronic robot penguin.

This early fusion of technical skills and storytelling sensibilities set Dietz on a path that turned flights of imagination into real-world breakthroughs that shape our engagement with technology.

A prolific inventor and researcher, Dietz is best known for co-creating an early progenitor of the multi-touch display technology that’s ubiquitous in today’s smartphones and tablets. Other innovations include 'Pal Mickey,' an interactive plush toy that guided visitors through Disney theme parks, and parallel reality displays that allow multiple viewers to see individualized content on the same screen.

Dietz says his storied career debunks the common misconception – often reinforced in schools – that creativity is exclusive to artistic pursuits, while science is the domain of strict rationality, where there are prescribed methods of inquiry to arrive at a single correct answer.

As Dietz sees it, weaving a narrative and programming a robot are propelled by the same creative impulse – they just exercise different skills. He believes a well-rounded education should equip students with a diverse arsenal of tools to explore new ideas.

“If you’re an artist, you have to learn the mechanics of sculpting or painting or whatever your medium is,” he says. “We should be looking at engineering and technology as those tools, and the key is … learning how to use them creatively to achieve things that are actually positive for our society.”

The universal appeal of storytelling also serves to make technology accessible and exciting to kids of all ages and genders, Dietz adds.

Bridging the gender divide in STEM has been core to Dietz’s animatronics mission since its inception.

When his daughter was in middle school, Dietz took her to a robotics competition – but she was turned off by the contest, which seemed pointless to her. However, when the two of them worked together on an animatronic raccoon, he saw her passion for creating ignite.

“This light bulb went off in my head: Maybe the problem isn’t that we’re doing tech,” says Dietz. “Maybe kids like my daughter need to see some application that makes sense to them – like telling a story.”

Kids at the Eric Jackman Institute of Child Study are encouraged to develop creative and computer science skills (photo courtesy of JICS)

Over the years, Dietz has partnered with several schools to set up animatronics workshops that attracted an even number of boys and girls and ensured every kid participated in all aspects of the projects – from storytelling and character design to robot building and programming.

But as his career took him across the U.S., Dietz found it difficult to sustain and replicate the success of the programs because of the prohibitive costs of full-scale animatronic robots and the significant technical expertise required from teachers.

At ��TV, Dietz is working to bring animatronics to schools of all resources, allowing students to develop creative and computer science skills by harnessing the endless storytelling possibilities of paper.

Undergraduate students demo an interactive diorama during a capstone showcase at the Bahen Centre for Information Technology (photo by Polina Teif)

At the Dr. Eric Jackman Institute of Child Study (JICS) at ��TV’s Ontario Institute for Studies in Education, students from kindergarten through Grade 6 have put Dietz’s paper animatronics kits to the test, bringing characters to life with kinetic, vocal creations.

The laboratory school has hosted a series of pilot projects where kids fashioned characters out of construction paper, recorded voices and wired motorized movements to animate creations ranging from a chomping, sharp-toothed maw to a bouncing kitten.

Dietz hopes the pilot program at JICS, pictured, can be scaled up to schools across the country (photo courtesy of JICS)

Nick Song, a special education and technology teacher at JICS, says he sees enormous educational potential for paper animatronics to engage students in hands-on, interactive learning that simultaneously develops technology skills and fosters creative expression.

“The kids love doing things with technology because it gives them a really cool feedback loop where they can try something and see it work immediately,” says Song. “All of this is very motivating for kids, seeing something pick up their voice and start moving, and you almost feel like it’s coming to life.”

Building on the pilots at JICS, Dietz is aiming to scale up the program to schools across the country in hopes of nurturing the next generation of out-of-the-box innovators.

“It’s very different from the technical work that I’ve generally done … but it feels very right,” says Dietz. “I think we’re doing something important for Canada.”

��TV Engineering to launch new certificate in electric vehicle design

Christopher.Sorensen — Mon, 29 Apr 2024 13:22:03 +0000

��TV Engineering to launch new certificate in electric vehicle design

Christopher.Sorensen Mon, 04/29/2024 - 09:22

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(photo by Justin Sullivan/Getty Images)

Topic

Faculty of Applied Science & Engineering

Sustainability

The University of Toronto’s Faculty of Applied Science & Engineering will launch a new electric vehicle design certificate for undergraduate students this fall.

The program aims to prepare the next generation of electric vehicle (EV) engineers for professional and research opportunities in the growing industry.

“EVs have tremendous potential to improve local and global climates, which fits right in with our faculty’s broader goals of sustainability and environmental considerations,” says Professor Dionne Aleman, the faculty’s associate dean of cross-disciplinary programs.

“From battery design to sustainability to infrastructure, engineering is a big part of advancing EV technology. We want engineering students to be able to hit the ground running in this exciting and growing field if they want careers in electrification.”

The widespread adoption of EVs has come into greater focus as governments across the globe develop new policies to achieve net-zero emissions goals by 2050. In Canada, the federal government has set a zero-emissions vehicle sales target by 2035, which will require all new cars, trucks and SUVs to be battery operated.

To meet this demand, the EV industry will require a workforce that can advance all facets of electrification technology, from vehicle design and charging technologies, to battery capacity and thermal management of power systems. This work is multidisciplinary, spanning mechanical, electrical, chemical, industrial, computer and materials science engineering.

While many ��TV Engineering courses include aspects of EV design, the faculty has delved deeper into EV-focused topics in the past year with two graduate-level courses in electric vehicle systems and thermal science.

The new certificate will expand on these offerings to provide eligible undergraduate students with an understanding of the technical and environmental implications of engineering in EV design. It includes a new course, APS380: Introduction to Electric Vehicle Design.

“The EV Design certificate is the beginning of a start-to-finish investigation into both the design of EVs and their integration into society,” says Matthew Mackay, an associate professor, teaching stream, in the department of mechanical and industrial engineering, who worked with Olivier Trescases, a professor in the Edward S. Rogers Sr. department of electrical and computer engineering (ECE), to design the introductory course.

“Since EVs are inherently multidisciplinary, having students first encounter this content through the certificate and a multidisciplinary design course will expose them to the challenges and knowledge they would not otherwise see through a single-program outlook.”

The APS380 course is a broad-based introduction to EV design, which makes the technical content accessible to students across engineering programs.

“This certificate is part of a multi-year effort to bring EV teaching to our departments. It will take some time for us to grow the capacity of this effort as new lab spaces, lecturers and courses are brought in,” says Mackay.

“But we want this to be an inclusive experience for students. If someone is interested but doesn’t have the required experience, we hope that they can come to see us anyway – there may always be opportunity to join.”

Trescases says there is a growing demand for engineers with specialized EV skills in Ontario.

“In ECE we’ve been teaching core EV topics like electric motors and power electronics to undergraduates for a long time, in courses like ECE314, ECE463 and ECE520. This new multi-disciplinary course takes a more ‘systems/application’ perspective and I think that it will be a great complementary offering for our students,” he says.

“In developing the labs and the course content for APS380 we leveraged elements of our research at [the ��TV Electric Vehicle Research Centre, or UTEV], our new EV graduate course, as well as the new Porsche EV microcredential that we offer to industry through the School of Continuing Studies.”

Uncovering untold stories: ��TV course explores Black Canadian history

Christopher.Sorensen — Wed, 28 Feb 2024 19:01:44 +0000

Uncovering untold stories: ��TV course explores Black Canadian history

Christopher.Sorensen Wed, 02/28/2024 - 14:01

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Archival photograph of the Emanuel African Methodist Church congregation, early 1920s, in Edmonton (photo by Glenbow Archives, University of Calgary, ND-3-1199, and via the research of Jennifer R. Kelly, professor emeritus, University of Alberta, for the Edmonton City as Museum Project)

Topic

Faculty of Arts & Science

History

St. Michael's College

Trinity College

How familiar are you with Black Canadian history?

“So many people educated in Canada, or external to Canada, don't know about the long-standing presence of Black people in this country,” says Funké Aladejebi, an assistant professor of history in the University of Toronto’s Faculty of Arts & Science.

“This breadth of knowledge on Black Canadian history often gets ignored or is not often inserted into broader courses on Canadian history.”

Determined to change this, Aladejebi is teaching a year-long course titled “Black Canadian History.” It’s part of a new Certificate in Black Canadian Studies offered through University College and open to all students in the Faculty of Arts & Science.

“Many of the students in this class come from health and science, equity studies and Indigenous studies, and a lot of them like the idea of being able to say they have specific expertise on Black Canadian studies more broadly,” says Aladejebi.

“It's trying to give students a broad overview of the movements and migrations of persons of African descent into the land that is now called Canada and thinking in complex ways about how people were living and existing in this country.”

Salt Spring Island's Central School, 1929 (photo courtesy of the Salt Spring Island Archives)

The course goes as far back as 1604, which marks the earliest records of persons of African descent in Canada. It also explores the experiences of Black Loyalists – people of African descent who sided with the British during the American Revolutionary War – passengers of the Underground Railroad, as well as lesser-known movements to the West Coast, the Prairies and Maritimes.

Funké Aladjebi (supplied image)

“We tend to forget about these regions where Black people resided in smaller numbers,” says Aladejebi. “But it's our responsibility as historians to show the breadth of where Black people have been and where they still are.”

For example, most Canadians are unfamiliar with the history of the Jamaican Maroons in Nova Scotia.

After a series of wars fighting for freedom from British control in Jamaica, more than 500 Maroons – men, women and children – were forcibly transported to Halifax in 1796.

Despite an inhospitable reception, the Maroons flourished and maintained a strong sense of community in exile, says Aladjebi, adding that they were connected to the city’s larger community, having been involved in the construction of the Halifax Citadel. However, many in the community spent years petitioning the colonial government to leave Nova Scotia, and in 1800, most of them left for the free Black colony of Sierra Leone in West Africa.

“But it’s widely believed some Maroons stayed behind and their continued presence is reflected in the surnames, accents, idioms, customs, oral histories and traditions of African Nova Scotians,” Aladejebi says.

The Halifax Citadel (photo by Ron Cogswell, CC BY 2.0)

The second half of the course dives into more contemporary issues such as racial violence, anti-Black racism, immigration trends, equity and inclusion for Black communities, and injustice in Canada.

“We never just stay in the history, we always bring it to the contemporary with these historical foundations and track why this continues to exist today,” says Aladejebi. “By the time we move through the course, students understand the roots of anti-Black racism in Canada, and they're able to navigate institutions in a clearer way.”

Aladejebi says she is intrigued by the range of emotions the students experience as she teaches the material.

“They move through emotional stages where they are surprised at first and then get frustrated because of what they didn't know,” says Aladejebi. “The Black students go through a variety of feelings, but at end of the class, they’re feeling like they know a little bit more about themselves and the experience of persons of African descent.

“Non-Black students also go through a series of emotions. They feel better equipped to talk about Black Canadian history, they’re able to better understand various social relationships that are part of Black experiences across the diaspora.”

There can be anxious moments.

“Students have to talk about, ‘What was my experience in school? What was my experience and engagement with policing and the judicial system?’ So we go through pockets where students are nervous about saying the right and wrong things.”

For many students, working through these tensions leads to knowledge and understanding.

“As a Black Canadian political science major pursuing a career as a policy analyst, the course’s material, conversations and activities are crucial to both my academic and professional development,” says Dacian Dawes, a third-year member of St. Michael’s College who is double majoring in political science and critical studies in equity and solidarity, with a minor in African studies and a certificate in Black Canadian history.

“It has increased my understanding of systemic inequalities, inspiring me to use this information to build on my political science studies and future career.”

Erinayo Adediwura Oyeladun, a second-year student in African studies and a member of Trinity College, says she has been empowered by studying the work of Black Canadian history scholars, and sees how historical understanding can be a powerful tool in creating change.

“The historians’ research teaches me the importance of situating your work as more than just an intellectual discovery. Your work should also represent your community and serve a broader purpose in making a positive impact for your community.”

For Aladejebi, teaching the course has been equally as energizing, with her students continually challenging the way she delivers – and receives – information.

“We all come with our limitations, biases and prejudices. This course is helping us to think about where they come from, why they exist, and how we can interpret them. It's about interrupting the cycles, unlearning what we thought we knew, and re-imagining something better.”

‘Incredible leadership’: ��TV provost Cheryl Regehr leaves an enduring legacy

Christopher.Sorensen — Tue, 19 Dec 2023 20:26:44 +0000

‘Incredible leadership’: ��TV provost Cheryl Regehr leaves an enduring legacy

Christopher.Sorensen Tue, 12/19/2023 - 15:26

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(photo by Nick Iwanyshyn)

Rahul Kalvapalle

Topic

Our Community

Presidential and Provostial Task Force on Student Mental Health

Academics

Cheryl Regehr

Factor-Inwentash Faculty of Social Work

Faculty

Faculty of Arts & Science

Graduate Students

Meric Gertler

Provost

Undergraduate Students

Subheadline

In her 10 years as vice-president and provost, Regehr championed student well-being, inclusive excellence and teaching innovation

Champion of student success and wellness. Advocate for inclusive excellence. Compassionate leader in times of crisis.

This is how members of the University of Toronto community describe Cheryl Regehr as she prepares to step down as vice-president and provost at the end of the year – leaving a legacy that will shape ��TV for generations to come.

At a recent reception, ��TV President Meric Gertler said Regehr has “always put the University of Toronto first” regardless of whether she was supporting students, strengthening diversity or guiding the university community through the COVID-19 pandemic – “the worst public health crisis in a century.”

He added that Regehr’s commitment to student success and well-being was the “North Star” that guided her efforts, citing her stewardship of the transformation of mental health service delivery at the university.

“This is typical of [Provost Regehr’s] work over the past decade – acknowledging a pressing challenge, developing an action plan driven by collegial consultation and expert leadership, embracing recommendations, outlining an ambitious agenda for change, and then rolling up her sleeves to get it done with equal measures of creativity, determination and charm.”

After spending a decade leading the university’s academic mission, Regehr will return to a full-time research and teaching role as a professor in the Factor-Inwentash Faculty of Social Work on Jan. 1. She will be succeeded as ��TV’s provost by Professor Trevor Young of the Temerty Faculty of Medicine.

Regehr was first appointed vice-president and provost in September 2013, before being reappointed in January 2015 and one more time in January 2020 – racking up awards and honours along the way. She previously served as vice-provost, academic programs and as dean of the Factor-Inwentash Faculty of Social Work, where she has been a faculty member since 1999.

Regehr’s work on championing teaching excellence, experiential learning, and building a caring and supportive environment for students stand out among her many signature achievements.

Her office created the “teaching stream” professorial ranks to emphasize the importance of teaching to ��TV’s academic mission, devised funding streams to support teaching innovation and launched an array of teaching fellowships and awards. It also opened the doors to many opportunities for students to gain first-hand experience in subjects through summer abroad, co-op and work-study programs.

An expert in mental health, trauma and social work practice, Regehr also recognized the unique pressures faced by university-aged youth and advanced efforts to harmonize student mental health services across the three campuses. That included more funding for mental wellness and establishing a partnership with the Centre for Addiction and Mental Health (CAMH) to create pathways for students requiring treatment for complex mental health problems.

As a result, ��TV students can now more easily access same- or next-day counselling in-person as well as 24-7 virtual support – part of a broader push to create a “stepped model of care” that prioritizes individually tailored treatment over lengthy assessments.

“I’m extremely proud of the work we have done on student mental health,” Regehr said in a recent interview for ��TV’s Defy Gravity campaign. “Youth today are under immense pressure, and the pandemic exacerbated some of those stresses … in response to this, we’ve completely redesigned our mental health services to try to make sure that students who are struggling can get the assistance they need more quickly and responsively.”

Sandy Welsh, ��TV’s vice-provost, students, said Regehr’s student focus stemmed just as much from her academic expertise as it did from a “deep sense that we need to listen to our students and can always do better for them” – including thinking constantly about improving every aspect of the student experience.

“There’s this creativity and thoughtfulness that she has. For example, she thinks about how our students move through and inhabit our three campuses,” said Welsh, adding that Regehr’s interest went far beyond ensuring there were ample spots to study. “There was a focus and encouragement to all three campuses and all the academic divisions to think about creating spaces where a commuting student who’s on campus all day can just sit in a comfortable place and relax.

“For Provost Regehr, the centre of her work is always, ‘How is this helping students?’”

In that vein, Regehr also accelerated ��TV’s efforts to welcome more students from underrepresented backgrounds – with the number of access and outreach programs at ��TV growing from 30 to more than 135 since 2018. “We can only be great if we ensure that every single excellent student here in the city of Toronto believes the University of Toronto is a place for them, a place where they belong,” Regehr said during the launch of one of those programs, SEE ��TV, in 2019.

Similar strides were made when it comes to making sure ��TV’s faculty members better reflect the community in which ��TV resides, with Regehr overseeing the creation of the Diversity in Academic Hiring Fund that has resulted in the addition of 190 faculty from underrepresented groups – mostly Black and Indigenous – and post-doctoral fellowship programs for Black and Indigenous scholars.

Regehr also played a key role in advancing the university’s reckoning with various forms of racism, including collaborating with Indigenous community members to build a new Office of Indigenous Initiatives to strengthen reconciliation efforts. During her tenure, ��TV set up working groups to examine anti-Black racism, anti-Asian racism, antisemitism and Islamophobia on campus and provide recommendations to support the university’s response.

When the COVID-19 pandemic struck in early 2020, Regehr oversaw ��TV’s efforts to provide academic continuity and supports as the university pivoted to a virtual learning environment.

“As we moved to remote, it meant figuring out new ways of managing things and continuing to support everyone as they tried to continue with their activities – and [Provost Regehr] provided incredible leadership through that,” said Vivek Goel, who served as special adviser to ��TV’s president and provost on the pandemic and is now president of the University of Waterloo.

Regehr’s responsibilities as provost were carried out alongside distinguished scholarly work. During her 10 years in the role, she authored or co-authored more than 50 papers (including a paper describing ��TV’s response to the pandemic, co-authored with Goel), and editions of four books.

“While I have continued to do research while I’ve been provost, I’m looking forward to focusing even more on this,” Regehr told the Defy Gravity campaign. She noted her work will explore topics like the impact of workplace stress and trauma on decision-making and cyber-violence against public service professionals.

Welsh said Regehr’s compassion and thoughtfulness were evident in the work environment she cultivated at ��TV.

“She is just a beautiful combination of being direct around the priorities you need to focus on, but also encouraging your ideas and having compassion and understanding for the people that work with her and the challenges they may face,” Welsh said.

“I’ve learned a lot from her about what it means to be an academic administrator and a senior leader at the university. I’m going to miss her.”

Melanie Woodin, dean of the Faculty of Arts & Science, said academic leaders across ��TV’s three campuses regarded Regehr with “widespread admiration.”

“Whenever we’re together, we inevitably end up in a conversation about the amazing qualities of our provost, Cheryl Regehr,” Woodin said during a recent event to honour the provost.

Regehr, for her part, told attendees at the same event she relished working with the expansive ��TV community during her many years in Simcoe Hall.

“I have loved being part of this incredible group of brilliant people,” she said. “Academic leaders, staff, faculty… and our students – our wonderful students – all of us working together as a team to ensure we achieve our mission of being a world-class institution with a local heart.”

Wars, Diaspora & Music: ��TV courses explores the role of music during times of war

Christopher.Sorensen — Thu, 07 Dec 2023 17:17:03 +0000

Wars, Diaspora & Music: ��TV courses explores the role of music during times of war

Christopher.Sorensen Thu, 12/07/2023 - 12:17

Cutline

Simon Bikindi, right, a Rwandan singer-songwriter, is pictured with his lawyers and a United Nations guard at the International Criminal Tribunal for Rwanda in 2008 (photo by STR/AFP via Getty Images)

Cynthia Macdonald

Topic

Our Community

Anne Tanenbaum Centre for Jewish Studies

Faculty of Arts & Science

Undergraduate Students

Victoria College

In the 1990s, Simon Bikindi was Rwanda’s most popular musician – a United Nations official even dubbed him the “Rwandan Michael Jackson.” A sometime wedding singer, Bikindi’s lyrics often told of love stories and his country’s beautiful landscape.

But Bikindi’s music could also be dangerous. Over the three months in which almost a million Tutsis were massacred during the Rwandan Civil War, the country’s Radio Télévision Libre des Milles Collines repeatedly broadcast the singer’s violent, inflammatory songs. In 2008, Bikindi, an ethnic Hutu, was convicted for his role in inciting war crimes.

The Bikindi story is but one of the case studies covered in “Wars, Diaspora and Music” – a University of Toronto course in the Faculty of Arts & Science that explores the important role that music often plays in ethnic conflicts, wars, exile and displacement.

“We look at how music can be a weapon – as military music and propaganda,” says course creator Anna Shternshis, the Al and Malka Green Professor of Yiddish Studies and director of the Anne Tanenbaum Centre for Jewish Studies.

“But we also look at songs created by people under duress – songs about love and the reclamation of humanity, when everything has been destroyed.”

Shternshis says she conceived of “Wars, Diaspora & Music” while working on Yiddish Glory, the Grammy-nominated album of Holocaust-era Yiddish songs she assembled with Russian performer Psoy Korolenko.

Anna Shternshis is the director of the Anne Tanenbaum Centre for Jewish Studies and is the Al and Malka Green Professor of Yiddish Studies (photo by Diana Tyszko)

Yiddish Glory is part of the course’s syllabus, along with music from many other conflicts of the 20th and 21st centuries. That includes music from Rwanda, Korea, Bosnia, Afghanistan, Ukraine and Palestine.

“I decided to take this course as I had never heard of anything like it,” says Anjali Joshi-Dave, who is in her third year as a member of Trinity College. “Although I do not play any musical instruments, I adore music and was interested to see its connection to violence and diasporas from an academic perspective.”

Gabriella Batikian is a fourth-year member of Victoria College. A member of the Armenian diaspora, she grew up listening to a wealth of music from her heritage – much of which was produced around the time of the 1915 Armenian genocide.

She says the course helped her contextualize such music, as well as that from other countries.

“We do a deep analysis of the lyrics that we’re studying,” Batikian says. “And it’s really interesting to learn how music can be used for good and for bad. We’ve learned how it can be used as a propaganda tool and to incite violence. But at the same time, music is also used to comfort survivors of war. That’s the main thing – discovering the power that music truly holds.”

War invariably involves displacement – hence its connection to diasporic communities longing for home. To this end, students learn about initiatives such as the U.S.-based Refugee Orchestra Project.

Shternshis is a scholar of refugee experience and a supporter of refugees in Toronto.

“In class, we’ve discussed what kind of music is created in refugee camps,” she says. “Listening to music like this becomes a way of learning what people really care about. And I think that when students examine events in future, they will count music among the sources they use to try and make sense of them.”

By studying music produced within different conflict environments, Shternshis has drawn several unique insights. She notes, for example, that the closer a musician is to conflict, the less “martial” the music becomes. That includes war songs in which soldiers sing about their loved ones back home, or joke about inferior army food.

“A lot of soldiers also learn to play a musical instrument, because they desperately need the emotional break,” she says.

Hearts of Pine by Joshua D. Pilzer (Oxford University Press)

The course also features a unit on Hearts of Pine, a book by Joshua Pilzer, an associate professor in the Faculty of Music. The book explores how Korean women used song as a means of coping with trauma while forced into sexual enslavement during the Second World War.

“When people live through sexual violence in war, very few songs describe the violence itself,” says Shternshis, noting it was a phenomenon she noticed when interviewing Holocaust survivors who were also musicians. “They sing about everything else but that.”

Shternshis has been teaching “Wars, Diaspora & Music” since 2018 and changes the syllabus every year to incorporate music from the world’s current wars. “I keep hoping that this will become a historical course,” she says ruefully. “But it is always contemporary.”

Last year, for example, she monitored music – emerging in real time on social media – created during the Russian invasion of Ukraine. This year, she and her students are keeping watch on music from the Israel–Hamas war with the help of a student translator.

While it is painful to engage with contemporaneous pain, Shternshis says it’s a valuable way of recording experiences and emotions that are easily forgotten with the passage of time.

What unites the music studied in the course is its enormous power – both to incite killing, as in the case of Rwanda’s Bikindi, but also to provide healing.

Shternshis says the latter may ultimately be stronger than the former.

“If a person who lives under extreme duress is able to enjoy music, that often gives them incredible strength to move on,” Shternshis says, adding that her course offers a glimpse of the human spirit at its most threatened – and most triumphant.

“We are asking: What are the things that people are saying, or singing, or even laughing about in conditions that are not designed for life at all?”

��TV 'Horror Film' course keeps students on the edge of their seats

rahul.kalvapalle — Tue, 31 Oct 2023 15:20:29 +0000

��TV 'Horror Film' course keeps students on the edge of their seats

rahul.kalvapalle Tue, 10/31/2023 - 11:20

Cutline

The "Horror Film" class offered through ��TV’s Cinema Studies Institute examines movies spanning several decades, including early horror pictures (photos by LMPC via Getty Images, Movie Poster Image Art/Getty Images)

Topic

Faculty of Arts & Science

Subheadline

“Horror provides a structured, formal space to explore experiences like death, decay and monstrosity that may otherwise be dangerous, hidden or off-limits"

When Carrie Reese turned 10, she invited friends to her house for a sleep-over birthday party and chose a special film to mark the occasion.

Equipped with plenty of pillows to clutch and hide behind, she and her friends nervously pressed play and began watching Alfred Hitchcock’s iconic 1963 horror film, The Birds.

Carrie Reese (supplied image)

It was the beginning of a lifelong interest in scary movies that she is now sharing through her course, Horror Film, at the Faculty of Arts & Science’s Cinema Studies Institute (See a list of Reese’s picks for Halloween viewing below).

The course examines horror films through a critical thinking lens, exploring key elements such as gender and genre as well as notions of space, the home and ownership. That extends to discussing ways that horror connects to emotion and experience, and how emotions like fear and dread can be visualized.

“It's about getting students to learn through images and to understand the value in studying images,” says Reese, a sessional instructor who holds a PhD in cinema studies from ��TV. “Rather than talking about whether a film is good or bad, we’re critically investigating it and seeing how it helps us to understand different modes of being.”

The class studies movies spanning several decades including modern films such as Us (2019) and Candyman (1992), to classics such as Jaws (1975), The Texas Chainsaw Massacre (1974) and early horror pictures such at Cat People (1942) and the original Frankenstein (1931).

(Photo by Universal History Archive/UIG via Getty images)

Reese says she loves the fact that every student’s approach, interest and reaction to horror movies is unique, and she feeds off this wide spectrum of experiences and perspectives.

“I encourage students to come to horror movies in different ways and through their own interests,” she says. “It's been rewarding to see students who maybe have never taken a cinema studies class before and are able to have their first experience with the discipline through horror.”

Part of the course requires a deep dive into the films’ stories, and the techniques and methods used to evoke a fearful response.

“One of my favorite things to look at in horror is editing,” says Reese. “If there's something that's edited in like a jump scare, why are we responding to that? Because it's put in at a time that’s not expected. So we’re breaking those things down and talking about our reactions, but also examining how this is created on screen – how there are patterns in horror that we come to expect, but nevertheless continually surprise us.”

When it comes to fearful responses, Reese sees them first-hand during her in-class screenings of the course’s movies as the crowd of students hold their breath together or sigh in relief.

“It’s absolutely delightful to engage in screenings as a community and I think it's such an important experience,” says Reese, adding that the screenings are paired with reflective discussions that follow.

“We’re looking at how these things are presented visually and stylistically, and I’m seeing firsthand the way these images have shifted ways of critically thinking about media, about emotion, and about politics.”

But why do we subject ourselves to being frightened?

(Photo by Movie Poster Image Art/Getty Images)

“This paradox, enjoying horror, has been studied in some of the canonical horror literature and it’s one of the things I had students explore in the first few weeks of the course,” says Reese.

“Horror provides a structured, formal space to explore experiences like death, decay and monstrosity that may otherwise be dangerous, hidden or off-limits. Part of the thrill is in seeing things we’re typically not supposed to see or experience. This is articulated in the ‘paradox of horror,’ or why we seek out and derive pleasure from frightening, horrific experiences, as articulated through the cinematic medium.”

Eric Kim, a second-year student and member of Woodsworth College with a double major in cinema studies and East Asian studies, says he is enjoying the class but admits he isn't a fan of horror films.

“I never really liked them growing up,” he says. “But over the past few years, I've really appreciated what directors like Jordan Peele (Nope, Us, Get Out) were doing with horror, and it made me realize what a strange blind spot it was in my understanding.

“What is it about a film that makes you want to scream in fear? I just wanted to dive into that question and confront that. And it's led to how I can start discussing my own anxieties through what I want to research in my other courses or what I create with my own stories and comics. Unknotting these emotions and finding a new creative perspective inside has been a delightful discovery.”

Addisa O’Brien Thompson, a member of Trinity College and a second-year student with a double major in cinema studies and international relations, says she adores horror films and being scared.

“I’m a fan of scary things,” she says. “Through this course, I’ve gained the ability to better analyze the variety of methods in which terror and disquiet are portrayed through film and instilled into the spectator. What I enjoy most about this course is how I have opportunities to explore the horror genre through these practical means.”

All of this analysis has inspired O’Brien Thompson to make a short film of her own for the course’s final assignment.

Similarly, Kim says he's inspired to create his own story. “It's forced me to reconsider everything I thought I understood about horror and encouraged me to start think about making one."

Six films Carrie Reese recommends for Halloween:

Ringu (dir. Hideo Nakata, 1998)

“A notorious Japanese horror film that I love for its take on the monstrosity of media. You may have seen the American remake, but the original provides a texture to its treatment of video and technology that I think is lost in the Hollywood version.”

Rec (dir. Paco Plaza, Jaume Balagueró, 2007)

“A scary, fun found-footage horror film that is a gruesome and increasingly relevant commentary on illness and quarantine.”

Raw (dir. Julia Ducournau, 2016)

“This film is known for its audience response to gore, but I promise it’s not as bad as the press makes it out to be. A coming-of-age cannibal story.”

Goodnight Mommy (dir. Veronika Franz, 2014)

“This is a film that has stuck with me for both its style and unique treatment of themes in the horror genre, including doubles, imposters, and cosmetic surgery. Worth a watch for the opening alone.”

Blood Quantum (dir. Jeff Barnaby, 2019)

“Another brilliant take on the zombie film that uses the genre to explore Indigenous heritage. The title refers to laws used to determine indigeneity. Shot in Quebec and New Brunswick.”

Nanny (dir. Nikyatu Jusu, 2022)

“This is a surrealist horror take that I have been thinking about because of the ways it so seriously and beautifully grapples with migration, work and care.”

��TV to cover tuition for students from nine First Nations communities

lanthierj — Fri, 22 Sep 2023 18:15:02 +0000

��TV to cover tuition for students from nine First Nations communities

lanthierj Fri, 09/22/2023 - 14:15

Cutline

The ceremonial Eagle Feather and ��TV's ceremonial mace at a 2023 convocation ceremony. The Eagle Feather was gifted to the Office of the President by Elders at the 2017 entrustment ceremony for the University of Toronto Truth and Reconciliation Steering Committee’s Report, “Answering the Call: Wecheehetowin” (photo by Lisa Sakulensky)

Adina Bresge

Topic

Our Community

Indigenous Initiatives

The University of Toronto will cover the cost of tuition for students from nine First Nations as part of its efforts to make the university more accessible and inclusive for Indigenous students – and strengthen relationships with Indigenous communities.

The initiative, which launches Oct. 11, will support members of First Nations communities whose territories include or are adjacent to ��TV’s campuses. They are: Alderville First Nation, Curve Lake First Nation, Hiawatha First Nation, Nation Huronne-Wendat/Huron-Wendat First Nation, Mississauga First Nation, Mississaugas of the Credit First Nation, Mississaugas of Scugog Island First Nation, Mohawks of the Bay of Quinte (Tyendinaga Mohawk) and Six Nations of the Grand River.

In addition, Indigenous or Native American students from the continental United States will be charged the domestic Ontario tuition rate in recognition of the Jay Treaty of 1794, which acknowledges the colonial nature of the border between the U.S. and Canada.

In May of 2022, ��TV began applying the domestic Ontario tuition rate to Indigenous students living elsewhere in Canada.

The initiatives apply to current and future Indigenous students enrolled in most undergraduate, graduate and professional credit-based programs across the three campuses – part of a suite of programs available to Indigenous students as part of ��TV’s commitment to increasing access and support services.

Shannon Simpson (photo by Johnny Guatto)

Shannon Simpson, senior director in the Office of Indigenous Initiatives, says the changes aim to make ��TV more accessible to Indigenous students in keeping with the 34 calls to action outlined in Answering the Call: Wecheehetowin, the final report of the Steering Committee for the University of Toronto Response to the Truth and Reconciliation Commission of Canada.

“I’m proud that ��TV is reducing barriers to education for these nine First Nations,” says Simpson. “I think it’s really going to help strengthen our relationships with our neighbouring communities, which is so important to building those pathways to ��TV that will increase recruitment.”

Simpson says each of the nine First Nations was engaged in consultations and is supportive of the initiative. Each community will verify their students’ eligibility and communicate that information back to the university.

Throughout its development, the initiative has benefited from the “full and complete buy-in” of ��TV’s senior leadership, Simpson adds. “I'm proud to work for a university that is committed to investing in meaningful action to work towards Truth and Reconciliation.”

��TV President Meric Gertler called the tuition initiatives an important step on the university’s journey to reconciliation and thanked Indigenous leaders for providing guidance and support.

“The University of Toronto is committed to strengthening the recruitment and inclusion of Indigenous students while building strong and lasting relationships with our neighbouring Indigenous communities," President Gertler says. "We know much more remains to be done. We’re grateful to Indigenous community members for their engagement as we learn from them and work to redress historical injustices and create a better future.”

He added that the tuition changes complement other efforts led by the ��TV steering committee on Truth and Reconciliation, including: incorporating Indigenous content into curricula; supporting Indigenous research programs; creating physical spaces to honour and acknowledge Indigenous Peoples, traditions and histories; and expanding the presence of Indigenous students, staff, faculty and librarians across ��TV’s three campuses.

Elder Andrew Wesley, left, presents ��TV’s Truth and Reconciliation steering committee's report to Provost Cheryl Regehr and President Meric Gertler in 2017 (photo by Johnny Guatto)

Cheryl Regehr, ��TV’s vice-president and provost, says the tuition programs aim to facilitate the exchange of knowledge, culture and experiences that is at the core of ��TV’s mission.

“We are dedicated to making ��TV a place where Indigenous knowledge, traditions and perspectives are not only valued but tightly woven throughout our academic community,” Regehr says. “We hope Indigenous students accept this invitation to come to ��TV, share their insights and make new discoveries that benefit us all.”

Simpson says she hopes to see more universities create similar programs to give Indigenous students as many academic options as possible.

“I’m excited for ��TV, and I’m excited for what will happen beyond ��TV,” she says. “I want to see this for so many other institutions, so that we’re really increasing access to education across the board.”

Details about the program and application process will be shared with prospective and current students on Oct. 11 via the website of the University Registrar’s Office.

ChatGPT 101: The risks and rewards of generative AI in the classroom

bresgead — Wed, 13 Sep 2023 14:42:43 +0000

ChatGPT 101: The risks and rewards of generative AI in the classroom

bresgead Wed, 09/13/2023 - 10:42

Cutline

(photo by Jakub Porzycki/NurPhoto/Getty Images)

Topic

Artificial Intelligence

Subheadline

��TV's Susan McCahan says it's important for teachers to be clear on what technology is – and isn’t – allowed in their courses

The rise of generative artificial intelligence tools like ChatGPT is prompting many educators to reimagine the role of technology in the classroom.

Susan McCahan (supplied image)

At the University of Toronto, Susan McCahan, vice-provost, academic programs and vice-provost, innovations in undergraduate education, has been on the front lines of the response to this fast-evolving technology.

McCahan, a professor of mechanical and industrial engineering in the Faculty of Applied Science & Engineering, says the proliferation of generative AI tools presents both opportunities and challenges for higher education.

Her office is supporting projects on the applications of generative AI in teaching and learning and providing guidance to help instructors navigate this emerging technology.

She recently spoke to ��TV News about the lessons that have been learned about the academic implications of generative AI and the big questions that still remain.

What are some of the ways generative AI is impacting teaching and learning?

Large language models have significant implications for how we teach coding and writing because it will change the way people code and write – particularly when it comes to routine tasks.

A lot of the writing I do in a day isn’t deeply intellectual. It’s the kind of writing that LLMs do pretty well. However, it’s probably not going to write as well as me when I’m writing an academic paper, because of my knowledge and understanding of the field and my own unique perspective.

Right now, the technology is pretty good at writing at the level of a first-year or second-year student, but it’s not up to what would be expected of a student in their third or fourth year.

The biggest challenge is making sure students are still progressing to that third- or fourth-year level if they are taking shortcuts in their first years of university – or even high school or middle school.

People have compared this to a calculator, but I don’t think that’s the right analogy because a calculator is a very domain-specific tool and generative AI has much broader applications.

There was an existential crisis in math education in the 1980s when calculators capable of symbolic manipulation came along. Educators questioned if we should teach our students how to do differentials and integrals if these programs can solve those complex equations. Yet, we came through that, and we still teach students how to add and subtract, multiply and divide, do differentials and integrals. We also teach students how to use these symbolic manipulation programs in ways that allow them to go deeper than if they were to do it all by hand.

I think we will come to a point where people recognize when it is useful to use AI to help and when is it not going to be very helpful. Hopefully, we will arrive in a place where it allows people to advance through the basics faster and move on to more complex writing and coding.

Does ��TV consider the use of generative AI tools to be cheating?

We expect students to complete individual assignments on their own. If an instructor decides to explicitly restrict the use of generative AI tools, then their use would be considered an “unauthorized aid” under the Code of Behaviour on Academic Matters. This is considered an academic offence and will be treated as such.

Some might ask why we don’t classify this as plagiarism. One of the biggest misconceptions that people have is that LLMs take what’s on the internet, mash up the text and ideas and repackage it as a compilation. However, that’s not how the technology works.

Tools like ChatGPT are trained on large amounts of online materials to identify patterns of speech and make predictions about words most likely to go together. If I say, “one, two, three,” it knows that “four” probably comes next. It knows “four” is a noun, but it doesn’t associate the concept with a square or the horsemen of the apocalypse.

When you enter a prompt into ChatGPT, it’s not combing through information to produce sentences or paragraphs or ideas – it’s making word-by-word predictions that imitate patterns of speech around a subject. That’s why we don’t treat the use of these tools as plagiarism; we treat it as an unauthorized aid.

What resources are available to help instructors adapt to this emerging technology? Are there any best practices they should follow?

We’ve put together an FAQ addressing some of the considerations around generative AI, while providing instructors with resources to help them communicate what technology is – or isn’t – allowed in their courses.

I think we’re in a moment when it’s really important for faculty to be really clear on their syllabi about whether they explicitly allow it or explicitly don’t. If it is permitted, it should be clear how AI tools can be used, for what assignments and to what degree, and if students must explain, document or cite what tools they use and how.

This is new, and both faculty and students are not altogether clear if this will be the next Wikipedia of the world – where everyone uses it, but no one talks about it anymore. Or if it should never be used because it’s just unreliable.

What are some other considerations around the use of generative AI in an academic context?

LLMs often get things wrong – and very confidently wrong. For example, back in January, I asked ChatGPT for my biography. It told me that I had worked at the University of British Columbia and I was a leading researcher in biomedical engineering – things that seem believable, but are factually untrue. The technology has improved since then, but LLMs still get things wrong in ways that are not immediately apparent or obvious. These are called “hallucinations,” and they can be so subtle that they’re hard to detect unless you really know the subject.

Ultimately, the student is responsible for the material they submit, and if they’re submitting material that is factually wrong, they’re responsible for it. You can’t blame the chatbot, the same way the chatbot can’t take credit. It’s not like a team project where you’re working with another student, and you can say, ‘It wasn’t me, it was my partner.’ If your partner is AI, you are responsible for all of the work you submit whether or not there are parts that were co-created with AI.

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Wars, Diaspora & Music: ����TV courses explores the role of music during times of war

����TV 'Horror Film' course keeps students on the edge of their seats

Six films Carrie Reese recommends for Halloween:

����TV to cover tuition for students from nine First Nations communities

ChatGPT 101: The risks and rewards of generative AI in the classroom

��TV engineering students encouraged to consider sustainability when designing future AI systems

��TV urban studies course explores wildfire response in Canada's North

Learning rewired: ��TV researcher sparks kids’ interest in tech with animatronic critters

��TV Engineering to launch new certificate in electric vehicle design

Uncovering untold stories: ��TV course explores Black Canadian history

‘Incredible leadership’: ��TV provost Cheryl Regehr leaves an enduring legacy

Wars, Diaspora & Music: ��TV courses explores the role of music during times of war

��TV 'Horror Film' course keeps students on the edge of their seats

��TV to cover tuition for students from nine First Nations communities