“Throughout the course of the process Helen showed to her current employer, who kindly gave her 12 weeks off to come into this process, that he or she is going to have to be a bit of a mug not to actually promote her or give her some bigger position now they’ve seen what she’s capable of doing”following this characteristically gruff advice from Lord Sugar, Greggs’ CEO Ken McMeikan proves he’s no mug by promoting his former executive PA and The Apprentice runner-up Helen Milligan, last week
Thank you Mr President and thank you to Assistant-Secretary-General Bintou Keita both for your briefing but also for the for the handout on benchmarks. It is particularly useful. In this Council, we talk a lot about benchmarks when it comes to Peacekeeping missions but we don’t always analyse performance against those benchmarks as clearly as you’ve done here so thank you very much for that.Like other speakers today, we continue to appreciate the support that MINUJUSTH has offered to the government of Haiti in its efforts to strengthen the rule of law and further develop the Haitian national police. We also welcome the progress that the mission has made as it works towards its two year exit strategy. And in particular we welcome the joint transition planning with the government, the UN country team and external partners.Mr. President, I endorse all the points that have already been made today by France and by the Netherlands when it comes to strengthening the police, improving justice, increasing respect for human rights. I’d also echo the points made by Bolivia just now about the importance of tackling sexual violence in Haiti and including sexual exploitation and abuse.Let me just make three additional points.First, it’s very clear that the political and security situation in Haiti remains extremely fragile as evidenced by the events recently in July and the UN report points to an increase in gang-related violence and raises human rights concerns linked to the police. So we would encourage the Secretary-General, the SRSG and MINUJUSTH to monitor closely such risks to security and stability over the coming 12 months in close cooperation with the Haitian government to avoid backsliding into conflict. In particular the report makes mention of a governance or stability pact and we would strongly encourage the Haitian government to advance this sector based dialogue that report has spoken about to support the identification of clarity steps to agree the pact as an urgent priority.Second, regarding the benchmarks and the military transition, as I’ve said we welcome the detailed assessment of progress in the report but we do share the concerns that progress against the benchmarks has been uneven. I was particularly struck by the detail on the benchmark about the number of police officers per thousand citizens. When these Security Council visited last June, I remember there was a particular focus on increasing the number of police officers and at that point there was some optimism that the number would go on increasing. So given the centrality of that particular indicator, it is very concerning that over a year on since the Council’s visit the performance on that indicator has actually got worse.We now have just over 12 months before MINUJUSTH is expected to leave Haiti so that leaves little time to make sure this transition is a success. And as we have said before, Haitian ownership and delivery of these critical reforms is essential if transition is to be successful. So we believe it’s vital that all parties and in particular, the Haitian authorities intensify their efforts to ensure that these benchmarks are met.Third and finally, we urge the Secretary-General to be realistic and clear about the division of responsibilities across the UN system and to support the UN to fill the gaps identified in capacity and capabilities of the UN country team which will be key to a successful transition. On issues such as the development of draft legislation which will clearly require a longer term support beyond MINUJUSTH ‘s mandate, we wonder if it may be worth considering whether it makes sense already to transition this work to the UN country team.We note that the forthcoming UN strategic assessment mission due in February will be critical to facilitating timely planning and implementation of the transition and we look forward to the report of that assessment mission. Thank you.
New Morrisons boss David Potts has waved goodbye to five senior directors who operated under outgoing chief executive Dalton Philips, according to reports.The management shake-up is ostensibly to “simplify and speed up” the retailer’s troubled business. During his two-week reign, Potts has already decreed that Morrisons head office staff must work in-store for one week per year, has conducted several store visits – both expected and unannounced – and abolished the retailer’s high-tech Intelligence Queue Management System.The five departing executives will quit both the board and the company. They are group customer marketing and digital director Nick Collard, group retail director Martyn Fletcher, group property and strategy director Gordon Mowat, group logistics director Neal Austin and convenience managing director Nigel Robertson.Two executives to retain their roles are Ross Eggleton as lead logistics and Miles Foster to lead the M local chain. Two incoming members of staff were also announced – Andy Atkinson is interim marketing director and Clare Grainger is retail director.
Bakery Le Pain Quotidien has appointed a UK managing director for the first time. Peter Jenkins, formerly operations director, has taken the role, UK marketing manager Amy Berman told British Baker.Jenkins, who has 20 years’ experience in operations in companies, including Pret A Manger and Selfridges, first joined the 24-strong chain in April 2014.Berman refused to comment on whether the boulangerie and restaurant chain was now set for further expansion in the UK.Le Pain Quotidien (The Daily Bread) is a privately held company with its headquarters in New York City. It has more than 200 locations on five continents, with outlets in countries including Belgium, the Netherlands, the UK, France, India, Switzerland, Brazil, Mexico, Turkey, Spain, Bahrain, Russia, Argentina, Japan, and the USA.Founder Alain Coumont opened the first Le Pain Quotidien in Brussels, Belgium in 1990.
Yesterday, the Grateful Dead announced plans for a 40th anniversary release of four shows from May 1977, including the famed 5/8/77 performance from Cornell University. The announcement for the new box set revealed an interesting tidbit: the Betty Boards have now been acquired by the Grateful Dead archives.The Betty Boards are a collection of tapes recorded by Grateful Dead audio engineer Betty Cantor-Jackson, recorded entirely during the 1970’s. A total of 50 shows are known to be in the Betty Boards collection, which passed down through a series of private collectors before finally being acquired by the Grateful Dead. Now that they’ve been returned to the archives, the potential for future archival releases from the 70’s is at an all-time high.“During the 18+ years I’ve worked with the Grateful Dead, no concert has garnered as much attention and as many requests for release as Cornell, with the New Haven, Boston, and Buffalo shows following very closely behind,” said archivist David Lemieux. “For those who didn’t know the history of these master tapes and about their absence from the band’s vault, and for those who have, like us, lamented this hole in the collection, we join with you in celebrating what might be, minute-for-minute, song-for-song, the most high quality Grateful Dead release ever produced.”So just what is this hole in the collection? Take a look at the 50 Grateful Dead shows that were just recovered by the band’s archives, below.Grateful Dead Shows In The Betty Boards Vault02.18.71 The Capitol Theatre, Port Chester, New York02.19.71 The Capitol Theatre, Port Chester, New York02.20.71 The Capitol Theatre, Port Chester, New York02.21.71 The Capitol Theatre, Port Chester, New York02.23.71 The Capitol Theatre, Port Chester, New York02.24.71 The Capitol Theatere, Port Chester, New York04.05.71 Manhattan Center, New York City (End Of 2nd Set Only)04.06.71 Manhattan Center, New York City04.07.71 Boston Music Hall, Boston, Massachusetts04.08.71 Boston Music Hall, Boston, Massachusetts12.14.71 The Hill Auditorium, Ann Arbor, Michigan05.04.72 The Olympia Theater, Paris, France08.21.72 Berkeley Community Theater, Berkeley, California08.22.72 Berkeley Community Theater, Berkeley, California08.25.72 Berkeley Community Theater, Berkeley, California08.27.72 Old Renaissance Faire Ground, Veneta, Oregon03.16.73 Nassau Coliseum, Uniondale, Long Island, New York03.21.73 Memorial Auditorium, Utica, New York03.22.73 Memorial Auditorium, Utica, New York03.24.73 Spectrum Arena, Philadelphia, Pennsylvania05.26.73 Kezar Stadium, San Francisco, California06.22.73 Pacific High Exhibition Coliseum, Vancouver, B.C.06.10.76 The Boston Music Hall, Boston, Massachusetts06.11.76 The Boston Music Hall, Boston, Massachusetts06.14.76 The Beacon Theater, New York City06.15.76 The Beacon Theater, New York City06.29.76 The Auditorium Theatre, Chicago, Illinois02.26.77 The Swing Auditorium, San Bernadino, California05.05.77 New Haven Coliseum, New Haven, Connecticut05.07.77 Boston Gardens, Boston, Massachusetts05.08.77 Barton Hall, Cornell University, Ithaca, New York05.09.77 War Memorial Auditorium, Buffalo, New York09.29.77 The Paramount Theater, Seattle, Washington10.02.77 The Paramount Theater, Portland, Oregon10.28.77 Soldiers & Sailors Memorial Hall, Kansas City, Missouri10.29.77 Field House, Northern Illinois University, Dekalb, Illinois10.30.77 Assembly Hall, Indiana University, Bloomington, Indiana11.01.77 Cobo Hall, Detroit, Michigan11.05.77 War Memorial, Rochester, New York (End Of Show)11.06.77 Broome County Arena, Binghamton, New York04.07.78 Hollywood Sportatorium, Hollywood, Florida04.10.78 The Fox Theater, Atlanta, Georgia04.11.78 The Fox Theater, Atlanta, Georgia04.12.78 Cameroon Indoor Stadium, Duke University, Durham, North Carolina04.14.78 Coliseum, Virginia Polytechnic, Blacksburg, Virginia04.15.78 William And Mary College, Williamsburg, Virginia07.07.78 Red Rocks Amphitheater, Morrison, Colorado07.08.78 Red Rocks Amphitheater, Morrison, Colorado10.18.78 Winterland, San Francisco, California04.22.79 Spartan Stadium, San Jose, California[H/T Relix]
In the wake of Tom Petty‘s sudden passing last week, musicians from around the world and across the spectrum of genres and styles have paid tribute to the iconic songwriter in some way or other. This weekend, Grateful Dead guitarist Bob Weir got in a double-dose of homages to Petty. First, on Friday night, Weir joined fellow founding Dead member Phil Lesh, Twiddle’s Mihali Savoulidis, Peter Rowan, Midnight North and more for a rendition of Petty’s “Breakdown” at Terrapin Crossroads for a charity performance benefitting hurricane relief efforts.NFL Shares Full Video Of Tom Petty’s Super Bowl XLII Halftime Performance [Watch]However, nice as it may have been for these great musicians to honor their fallen peer, the performance itself never really achieved lift-off. Weir seemed to struggle with the key vocally, and the unrehearsed group of musicians never fully got in step. That’s how it goes with impromptu tributes–they don’t always go as well as planned, but it’s the thought that counts.But Weir would quickly make up for anything left to be desired by the Terrapin Crossroads rendition the following night night. On Saturday, roughly 15-minute minutes down the freeway at Sweetwater Music Hall, he had an all-star benefit collaboration lineup of his own waiting to rock a short Bob Weir & Friends set. The lineup (including RatDog drummer Jay Lane and bassist and Robin Sylvester, guitarists Dan “Lebo” Lebowitz and James Nash, and keyboardist Randy Emata) performed in honor of the release of short film Fingerprints, the story of two music programs for kids in two different countries that come together through the universal language of music.How Tom Petty’s “Free Fallin’” Went From A Studio Joke To A Worldwide Smash HitThe performance included takes on the Dead’s “West LA Fadeaway,” and “Bird Song,” Daniel Lanois‘ “The Maker” (which he’s covered on various occasions with everyone from Jim James to Dave Matthews Band), “Lay My Lily Down” from his 2016 solo cowboy record Blue Mountain and, once again, Tom Petty’s “Breakdown.” However, this time, with all the kinks worked out, Weir totally nailed to cover, matching Petty’s signature howl and swagger in the original track with the towering and charismatic Bobby wails we know and love–the Petty tribute he was really meant to give. If at first you don’t succeed…[Oh, and by the way: all the while, Bobby wore a t-shirt with a picture of him “shushing” someone emblazoned with the caption “STFU.” So, do with that what you will, but that should count for something, right?]You can watch footage of Weir’s second “Breakdown” of the weekend in honor of Tom Petty from Sweetwater Music Hall on Saturday night, as well as some other videos from the “From California To Haiti Benefit” show below, via YouTube user Nick Dauphinais:“Breakdown”“The Maker”“West LA Fadeaway”“Lay My Lilly Down”[h/t – Jam Buzz]
Have you ever been watching live music and thought, “Wow, this is better than sex!” If so, you’re probably not alone. According to the newly revealed results of a study called “Power of Live,” respondents were 10% more likely to rank live concert experiences as more “emotionally intense” than having sex.According to Billboard, the study, conducted by research agency Culture Co-Op on behalf of Live Nation, surveyed trends and behaviors of 22,500 live music fans from 11 different countries, ranging in age from 13 to 65. The study’s “key takeaway” was that “live experiences are in high demand.” Okay, we knew this already…However, the insights into why live music and other “live experiences” are in such high demand are much more interesting. The study identifies the term “Sensation Deprivation,” which attributes demand for live experiences to decreased in-person stimulus and interaction in an increasingly digital world. The findings show that 73% of respondents want to “experience real life rather than digital life.”The Power of Live study findings further assert that “live music has become an antidote to lack of personal interaction in the digital age,” with event attendance exploding by 21% between 2016 and 2017.As the study notes,Of course, digital life isn’t dying off — but after a decade of all that posting, pinning, tweeting, snapping, and streaming, people are tapped out. They now recognize the importance of the physical world to their quality of life and are recalibrating their lives with more intention. …Society is becoming more dynamic and blurred—the boxes are breaking down, so painting in broad strokes can be exclusionary. Respondents spanning three generations and five continents all say that music expresses more about who they are as people than their hometowns, religions, political beliefs, race, cultures, or social media profiles.Respondents also overwhelmingly attested that a recent live music event was an “emotionally intense” experience, with 78% rating their concert experience as an 8, 9, or 10 on a 1-10 scale. The rankings for emotional intensity at concerts were 10% higher than for sex, 27% higher than for streaming music, 26% higher than for sporting events, and 31% higher than for playing video games.This notably high emotional intensity people feel at concerts was previously tested with a biometric study at a St. Vincent concert. The results of that test showed that people attending concerts experience a significant spike in oxytocin. A similar acute increase in oxytocin has previously been observed as a result of petting puppies.The results also show that fans are more receptive to advertising and brand messaging when they’re at a live event, with 67% of people surveyed saying they’re more receptive to new ideas when they’re more emotionally engaged. In addition, a whopping 90% of participants said they welcome branding at their live music events so long as they authentically enhance the experience.It’s important to take the results of this study with a grain of salt. Live Nation, the world’s biggest concert promoter and the company that funded to study, stands to gain a lot by convincing proving the importance and popularity of live events. As we’ve seen this past week, Live Nation is in the business of making money first and foremost, even if it means developing platforms and policies to seemingly aid scalpers in order to get a piece of secondary market ticket sales profits.However, despite the ethical grey area in which this study was conducted, we can’t say we would’ve answered the questions any differently. Live music is, indeed, better than just about anything else in the world…[H/T Billboard]
Hanging in plastic sleeves from thin metal chains against a concrete wall, Bettina Burch’s portraits of faculty, staff, and students look more like oversize employee badges dangling from lanyards than the gilded-frame portraits of distinguished academics and benefactors that usually grace Harvard’s hallowed halls.But in a sun-drenched corner of the Monroe C. Gutman Library, Burch’s colorful, playful paintings have turned Harvard portraiture — a tradition with rather strict rules of succession — into a democracy.“I wanted to take the idea and reinvent it,” she explained. “You have people up there who would have never been hung on a wall at Harvard. That shifts their reality and how they feel about themselves. It sort of turns it on its head.”Then again, Burch is good at stretching the creative possibilities of the seemingly well-defined. An artist by nature, she took a job in Harvard’s yard operations and carved it into a role that allows her to help plan and execute a variety of art exhibits at the Center for Government and International Studies (CGIS) — and even headline one.Her new exhibit, “Let’s Hang Out: An Encore,” which runs through April 28, expands on a series of 28 portraits of faculty, staff, and students that she showed at CGIS last year. After seeing her work, John Collins, Harvard Graduate School of Education (HGSE) librarian and the Gutman Library’s director, asked Burch to paint the members of the HGSE community.The resultant portraits include everyone from well-known HGSE custodian Jeffrey Moura, to student Michael Clarke from Barbados, to Catherine Snow, Patricia Albjerg Graham Professor of Education, who wears a jaunty black hat and a grin in her picture.“This is such a unique and powerful way of displaying the diversity and strengths of the community,” said Kathleen McCartney, HGSE dean and Gerald S. Lesser Professor in Early Childhood Development, who also sat for Burch.A California native, Burch moved east in her 20s, worked day jobs in publishing, and dabbled in music before deciding to dedicate herself to painting.“Painting was the one thing that completely engrossed my being,” Burch said. “When I paint, it makes time stop.”She joined Harvard Physical Resources in 1998. “I was painting all the time, so I was just looking for a part-time gig,” she said. She transferred to CGIS five years ago when the complex opened and joined a crew of four that manages the buildings.When a spot on the CGIS art board opened up, Burch jumped at the chance to help coordinate exhibits there.“It’s thinly disguised in any job I’ve held that I have this bounding enthusiasm for the arts,” she said. “I think my boss thought [working with the art board] was just going to be a once- or twice-a-season thing. But it morphed into art coordination.”She has coordinated more than 50 exhibits in CGIS South and Knafel, including a series of student shows she launched last year.“It’s been a fabulous experience for me,” Burch said. “I’ve been able to see departments grow in their enthusiasm for art … and each show is a challenge. It keeps me light on my feet.”When she’s not at Harvard, Burch is usually in her studio at her Davis Square apartment, producing oil paintings and animal portraits for clients, or working on larger commissions, such as a recent series for the Harvard Academy for International and Area Studies. She often works from photographs, which allow her to “capture that split second where a guard is lowered … where a person feels wholly who they are.”While she enjoys the challenge of new media and techniques, discovering the face, and the person behind it, never gets old. For the somewhat reserved Burch, who dreads giving toasts at her show openings, portrait painting invites her (and her audience) into a dialogue with her subject.“It gives me a chance to embrace and feel close to humanity in a wide range, to bring out the good in people,” she said.A few of Burch’s subjects turned out at the Gutman Library for the exhibit’s opening night in late March, including Michèle Stanners. Stanners, now a Harvard Divinity School student, met Burch while on a fellowship at the Weatherhead Center for International Affairs. She paused to consider her portrait in which, wrapped in a textured shawl, she smirks ever so slightly at the viewer.“It’s honest, it’s pure, it’s sensitive,” Stanners said. “I like that she’s managed to capture a sort of capricious element.”In painting her CGIS colleagues and now the HGSE community, Burch hopes to share the sense of awe and respect one feels for the accomplished subjects that grace Harvard’s more traditional gilded-frame portraits.“I look at those people of eminence, and I can see that they’re amazing,” she said. “But I also look at anybody, in any position in life, and find things that I think are equally amazing.”
The digital revolution is storming the barricades of privacy.In today’s interconnected world, we are tracked, surveyed, watched, and followed at every turn. Our movements both inside and outside cyberspace are constantly monitored, often with — but also without — our consent.Marketers pounce on our web habits. Cameras on street posts or affixed to vans roaming city streets capture daily life with increasing frequency.The Swiss courts are debating a case involving web giant Google’s popular Street View service that offers panoramas of roadways around the globe. But the Swiss aren’t satisfied with the company’s efforts to blur people’s faces and license plates. Their privacy is being compromised, the Swiss complain, despite Google’s claim that their blurring technology is 98 to 99 percent effective. The Swiss want 100 percent anonymity.Yet for the many millions who are part of the social media explosion, virtual connectedness and the sharing of detailed, personal information via the Internet is a normal, willing endeavor.A Harvard conference on Friday (June 10) brought a number of perspectives to bear on design issues concerning the line between public and private spaces in the connected world. Organized by Harvard’s Berkman Center for Internet & Society, the symposium united computer scientists with ethnographers, architects, historians, artists, and legal scholars in discussions.Paul Dourish, a professor of informatics at the University of California, Irvine, whose work lies at the intersection of computer and social science, said he explores privacy as “something that people do. … What is it that people are doing when they are doing private; what is it that people are doing when they are doing public?”Another theme of his work involves scale, which he explores by studying the experiences of paroled sex offenders in California who are tracked using GPS systems.For people who have to calculate their movements so as not to come within 2,000 feet of a playground, library, or school, said Dourish, the concept of space takes on a different meaning. There’s “a reconfiguration of the scale in which space is encountered.” That notion is familiar in an online context, he added, as “the scales by which we are connected to others become radically different.”Laurent Stalder (left) and Paul Dourish were two of the panelists at the symposium. Dourish, a professor of informatics at the University of California, Irvine, said he explores privacy as “something that people do. … What is it that people are doing when they are doing private; what is it that people are doing when they are doing public?”For some participants, bricks, mortar, and particularly glass can offer potential models for web design. Exploring evolving styles of architecture can yield clues and inspirations on concepts of privacy that help to inform the design of public and private online spaces, said architects in attendance. Glass houses offer notions of “radical transparency,” said one speaker, and redefine the concept of privacy. The open format of a setting like the Seattle Public Library, said another speaker, is “a place of encounter,” much like the Internet.The Internet’s public platform also can play an important role in reshaping world events. Recalling the Arab spring and the wave of revolutions inspired and aided by social media, Ethan Zuckerman, a senior researcher at the Berkman Center and a specialist in technology and activism, discussed how sites such as Facebook and YouTube have become powerful tools for social change.Still, such outlets also can be easily disabled, he cautioned.“We are embracing these spaces without thinking about the implication of moving our public speech into private spaces. We are leaving it up to the owners of these spaces whether or not we are going to be able to use these public spaces for political purposes.”There needs to be a “dialogue about how we build” these public spaces, Zuckerman added.When it comes to being wired in, teenagers are at the top of the list. Increasingly, interconnected teens define privacy on their own terms and offer reminders that “social norms matter,” said danah boyd, a senior researcher at Microsoft Research New England who studies social media and youth engagement.One young teenage subject who was worried about her past, said boyd, would delete any comments left for her by others on her Facebook page as soon as she had read them.“She had a really interesting way of seeing the structure and how to make it work for her.”Other teens, said boyd, who is also a research associate at the Berkman Center, used cryptic messages that only some people would understand.“It’s about hiding in plain sight. It’s about a way of actually recognizing that you are putting information out there, but it’s not necessarily to be interpreted,” she said. “Rather than controlling access to content, young people are controlling access to meaning.”At an early morning session, Jonathan Zittrain, a professor at Harvard Law School and co-director of the Berkman Center, offered the crowd a sobering piece of advice.“If what you are getting online is for free, you are not the customer, you are the product.”
M. Granger Morgan wants to bring uncertainty back to energy forecasting.Morgan, a professor at Carnegie Mellon, has spent his career investigating climate change and the energy system and understands how difficult it is to account for the many variables that can affect gas and oil prices even 10 years into the future.Scientists routinely account for uncertainty in their estimates, but often the uncertainty is lost by the time reports and analyses make it to decision makers. There are a variety of reasons for this, Morgan said, among them the idea that precise forecasts make for more persuasive arguments and the belief that people can’t handle uncertainty.“I start talking about this and, ‘Ah, well, people can’t deal with uncertainty,’” Morgan said. “Well, people don’t get it quite right, but they do basically understand there is uncertainty.”People regularly manage weather forecasts that are accurate a few days into the future but grow rapidly fuzzy after that. They know about gambling odds and the uncertain predictions of sporting contests, Morgan pointed out.But when it comes to talking about the future of the energy systems that underlie climate change, government agencies, economists, and computer modelers routinely discount the enormous uncertainty inherent in their predictions.“My assertion is that decision-makers probably, if presented with probabilistic forecasts, could deal with them,” Morgan said. “So why is it that most government ministries, many government agencies and ministers, many economists, and a wide variety of modelers persist in single-value forecasts?”Morgan offered a few examples of past forecasting that badly missed the mark, including coal prices on delivery to electric generating plants, which repeatedly predicted a rapid price increase that never materialized; primary U.S. energy production in 2000, predicted between 1960 and 1980, which also missed by a wide margin; and the future cost of U.S. gas and oil prices.“Nobody in their right mind can predict U.S. gas and oil prices, plus or minus 50 percent, within 10 years, let alone 50 years, but government agencies, many policy modelers, and economists do it all the time,” Morgan said.Morgan spoke Wednesday at Mallinckrodt Laboratory as part of theHarvard University Center for the Environment’s (HUCE) Future of Energy lecture series. Morgan, the University and Lord Chair Professor of Engineering at Carnegie Mellon and head of its Department of Engineering and Public Policy, was introduced by HUCE Director Daniel Schrag, Sturgis Hooper Professor of Geology and professor of environmental science and engineering.Uncertainty in forecasting, Morgan said, isn’t due to incompetence, but rather the difficulty in predicting which direction many variables will take. A forecast’s accuracy is affected by, among other factors, random physical processes, policymakers, new technology, and the aggregate effects of choices made by many smaller players.Morgan looked at a variety of possible strategies that modelers could use to incorporate uncertainty, each of which has strengths and weaknesses. Boundary analysis, for example, examines high and low potential values, but they diverge so rapidly over time that they result in forecasts too imprecise to be useful. The use of specific scenarios that outline possible outcomes is potentially useful, but often forecasters do not make a statement about how likely a particular scenario might be. Another possible strategy, he said, is to make models that get progressively simpler over time. This would be counter to the current trend to make models more complex to mirror reality, but would reflect decreasing certainty as one looks further into the future.Consumer behavior alone can make a big difference in energy consumption, Morgan said, outlining an experiment by colleagues that, in collaboration with a local utility, monitored household energy consumption using smart meters. One group served as a control and the other group received no new technology, educational programs, or admonishments to conserve, just postcards saying they were part of an energy consumption experiment, followed by reminders.Even though the postcards included no instructions to save energy, consumers altered their behavior and did so, a change that highlighted the importance of understanding behavior when thinking about energy efficiency’s future. The effect vanished when the experiment ended.“We believe behavior issues on the side of energy consumption are so important that … we recently put together a group of three Ph.D. psychologists in the department called our Energy Behavior Group,” Morgan said.