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  • Can AI help humans understand animals and reconnect with nature? A nonprofit research lab thinks so

    Can AI help humans understand animals and reconnect with nature? A nonprofit research lab thinks so

    MONTREAL — Peeps trickle out of a soundproof chamber as its door opens. Female zebra finches are chattering away inside the microphone-lined box. The laboratory room sounds like a chorus of squeaky toys.

    “They’re probably talking about us a little bit,” says McGill University postdoctoral fellow Logan James.

    It’s unclear, of course, what they are saying. But James believes he is getting closer to deciphering their vocalizations through a partnership with the Earth Species Project. The nonprofit laboratory has drawn some of the technology industry’s wealthiest philanthropists — and they want to see more than just scientific progress. On top of breakthroughs in animal language, they expect improved interspecies understanding will foster greater appreciation for the planet in the face of climate change.

    The Earth Species Project hopes to decode other creatures’ communications with its pioneering artificial intelligence tools. The goal is not to build a “translator that will allow us to speak to other species,” Director of Impact Jane Lawton said. However, she added, “rudimentary dictionaries” for other animals are not only possible but could help craft better conservation strategies and reconnect humanity with often forgotten ecosystems.

    “We believe that by reminding people of the beauty, the sophistication, the intelligence that is resident in other species and in nature as a whole, we can start to, kind of, almost repair that relationship,” Lawton said.

    At McGill University, the technology generates specific calls during simulated conversations with live finches that help researchers isolate each unique noise. The computer processes calls in real time and responds with one of its own. Those recordings are then used to train the Berkeley, California-based research group’s audio language model for animal sounds.

    This ad hoc collaboration is only a glimpse into what ESP says will come. By 2030, Lawton said, it expects “really interesting insights into how other animals communicate.” Artificial intelligence advancements are expediting the research. New grants totaling $17 million will help hire engineers and at least double the size of the research team, which currently has roughly seven members. Over the next two years, Lawton said, the nonprofit’s researchers will select species that “might actually shift something” in people’s relationship with nature.

    Standing to benefit are animal groups threatened by habitat loss or human activity that could be better protected with better understandings of their languages. Existing collaborations aim to document the vocal repertoires — the distinct calls and their different contexts — of the Hawaiian crow and St. Lawrence River beluga whales.

    After spending more than two decades extinct in the wild, the crows have been reintroduced to their home of Maui. But some conservationists fear that critical vocabulary has faded in captivity. Lawton said the birds might need to relearn some “words” before they reenter their natural habitat in droves.

    In Canada’s St. Lawrence River, where shipping traffic imperils the marine mammals who feed there, the group’s scientists are exploring whether machine learning can categorize unlabeled calls from the remaining belugas. Perhaps, Lawton suggested, authorities could alert nearby vessels if they understood that certain sounds signaled the whales were about to surface.

    Big donors include LinkedIn co-founder Reid Hoffman, the family charity founded by late Microsoft co-founder Paul G. Allen and Laurene Powell Jobs’ Waverley Street Foundation. The latter aims to support “bottom-up” solutions to the “climate emergency.” At the root of that crisis, according to Waverley Street Foundation President Jared Blumenfeld, is the idea that humans deserve “dominion” over the world.

    Blumenfeld finds that ESP’s work is an important reminder that we are instead stewards of the planet.

    “This is not a silver bullet,” he said. “But it’s certainly part of a suite of things that can help transform how we view ourselves in relation to nature.”

    Gail Patricelli — an unaffiliated animal behavior professor at the University of California, Davis — remembers when such tools were just “pie in the sky.” Researchers previously spent months laboring to manually comb through terabytes of recordings and annotate calls.

    She said she’s seen an “exponential takeoff” the past few years in bioacoustics’ use of machine learning to accelerate that process. While she finds that ESP has the promise to make finer distinctions in existing “dictionaries,” especially for harder-to-reach species, she cautioned observers against attributing human characteristics to these animals.

    Considering this research’s high equipment and labor costs, Patricelli said she’s happy to see big philanthropists backing it. But she said the field shouldn’t rely too much on one funding source. Government support is still necessary, she noted, because ecosystem protection also requires that conservationists examine “unsexy” species that she expects get less attention than more charismatic ones. She also encouraged funders to consult scientists.

    “There’s a lot to learn and it’s very expensive,” she said. “That might not be a big deal to some of these donors but it’s very hard to come up with the money to do this.”

    The current work largely involves developing baseline technologies to do all this. A separate initiative has recently described the basic elements of how sperm whales might talk. But ESP is trying to be “species agnostic,” AI Research Director Olivier Pietquin said, to provide tools that can sort out many animals’ speech patterns.

    ESP introduced NatureLM-audio this fall, touting the system as the first large audio-language model fit for animals. The tool can identify species and distinguish characteristics such as sex or stage of life. When applied to a population — zebra finches — it had not been trained on, NatureLM-audio accurately counted the number of birds at a rate higher than random chance, according to ESP. The results were a positive sign for Pietquin that NatureLM might be able to scale across species.

    “That is only possible with a lot of computing, a lot of data and many, many collaborations with ecologists and biologists,” he said. “That, I think, makes us, makes it, quite serious.”

    ESP acknowledges that it isn’t sure what will be discovered about animal communications and won’t know when its model gets it absolutely right. But the team likens AI to the microscope: advancements that allowed scientists to see far more than previously considered possible.

    Zebra finches are highly social animals with large call repertoires. Whether congregating in pairs or by the hundreds, they produce hours of data — a help to the nonprofit’s AI scientists given that animal sounds aren’t as abundant as the pages of internet text scraped to train chatbots.

    James, an affiliated researcher with the Earth Species Project, struggles with the concept of decoding animal communications. Sure, he can clearly distinguish when a chick is screaming for food. But he doesn’t expect to ever translate that call or any others into a human word.

    Still, he wonders if he can gather more hints about their interactions from aspects of the call such as its pitch or duration.

    “So can we find a link between a form and function is sort of our way of maybe thinking about decoding,” James said. “As she elongates her call, is that because she’s trying harder to elicit a response?”

    ___

    Associated Press coverage of philanthropy and nonprofits receives support through the AP’s collaboration with The Conversation US, with funding from Lilly Endowment Inc. The AP is solely responsible for this content. For all of AP’s philanthropy coverage, visit https://apnews.com/hub/philanthropy.

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  • As The NHL Grows, A Dominant Sports Agency Thinks Hockey Marketing Is No Longer On Thin Ice

    As The NHL Grows, A Dominant Sports Agency Thinks Hockey Marketing Is No Longer On Thin Ice

    On a breezy September afternoon in Los Angeles, three days after Sidney Crosby signed a two-year contract extension with the Pittsburgh Penguins, Pat Brisson can only chuckle when asked about the $17.4 million deal. “What am I going to tell you?” he says in his French Canadian lilt. “On the record, he could have had more money.”

    Brisson would know. The 59-year-old superagent has negotiated $1.4 billion in active playing contracts—the best mark in the NHL—for stars including the Colorado Avalanche’s Nathan MacKinnon, the New Jersey Devils’ Jack Hughes and the Vancouver Canucks’ Elias Pettersson. His agency, CAA, where he is co-head of a roughly 30-employee hockey group alongside JP Barry, has around 100 NHL players on its roster and $2.1 billion in active player contracts under management, a number surpassed only by Newport Sports Management’s $2.3 billion, according to contract database PuckPedia. Among CAA’s clients are five of the NHL’s 10 highest-paid players this season.

    But Brisson also knows that, ultimately, his job is to make his players happy—even if it means taking less money than they could have made on the open market. And while CAA is most certainly a business—it has topped Forbes’ ranking of the most valuable sports agencies for nine consecutive years and was purchased by French luxury goods mogul François-Henri Pinault’s investment firm for a reported $7 billion last year—it similarly understands when finances need to take a backseat to its goal of being a 360-degree operation for its clients (or as CAA Sports co-head Howard Nuchow puts it, “to be important to our players in as many areas as we can”).

    That focus on services, an agency hallmark since CAA Sports launched in 2006, could mean helping a player build up a social media presence or launch a business. Or it could just mean hooking up the player with tickets to a basketball game or a Broadway show—whatever it takes to recruit, and retain, clients, even when there’s a significant upfront cost and no payoff on the immediate horizon.

    For now, marketing remains a piece of that money-losing equation, with limited revenue available from hockey endorsement and licensing deals. But that area is also a new emphasis for the agency, which hired David Abrutyn as the hockey group’s first global chief business officer in May to expand its off-ice work alongside Jen Kardosh, the department’s head of operations, marketing and client management. And CAA believes that, finally, the sport’s financial reality could be changing.

    Make no mistake: That shift won’t be easy. In 2022, Forbes estimated that CAA Sports had $3.76 billion in active non-playing contracts under management—in categories including marketing, media and coaching—but hockey makes up a tiny sliver, with $28.3 million on the books for this year and moving forward, across more than 175 deals, Kardosh says. By Forbes’ estimates, only four CAA hockey clients—Crosby ($5.5 million), MacKinnon ($3 million), Boston Bruins right wing David Pastrnak ($1.5 million) and Washington Capitals left wing Alex Ovechkin ($5 million)—currently make seven figures off the ice annually, along with no more than a handful of others across the entire league.

    No player can hope to match the millions of dollars available from sneaker deals in the NBA, where LeBron James made an estimated $70 million off the court last season, or from apparel partnerships in tennis, where Carlos Alcaraz hauled in $32 million off the court over the past year. For most hockey players, marketing opportunities tend to be regional deals that top out at five figures annually, or may instead be built around free product as opposed to cash. Sponsorships also tend to cluster around players who are from Canada or are signed to Canadian teams, and they are especially hard to come by for Europeans.

    Against that backdrop, even with agents able to charge an industry-standard fee of 20% on endorsement deals—five times the typical commission on an NHL playing contract—the math doesn’t entirely add up. (Applying those rates to CAA’s active contracts under management, the hockey group stands to collect up to $84 million in commissions on the ice but less than $6 million off it.) To justify the effort, the calculus has to go beyond dollars and cents and factor in the “stickiness,” to use Barry’s term, that a top-tier marketing team can offer by keeping clients content at CAA.

    “We’re always concerned with the bottom line, but our reality today is, we know that they’re going to make far more playing hockey than they’re going to make off the ice. We’re not going to not take opportunities because the money isn’t exactly right,” Kardosh says, adding, “I don’t care if it’s a $5,000 deal or $100,000 deal if it’s going to be a great opportunity for them to be exposed to new fans—that’s my No. 1 priority.”

    Still, CAA is optimistic that that framework could be changing. Riding a wave of exciting young talent, national NHL broadcasts averaged 504,000 viewers during the 2023-24 regular season, according to Nielsen, an 8% increase from the previous year and the league’s best mark since 2015-16. Attendance was also up, to a record 22.9 million. More eyeballs usually means more marketing dollars, and indeed, ad spend surged 27% in 2023-24 over the previous season, according to Sportico, while research firm SponsorUnited found that team sponsorships rose 10%, to $1.4 billion.

    And future prospects for players are looking up. NHL stars are set to return to the Olympics in 2026, and the league will unveil a new international competition in February with the 4 Nations Face-Off as the proliferation of streaming services unlocks new markets in Europe. Meanwhile, several NHL players are featured in the new Amazon Prime Video docuseries Faceoff from Box To Box Films, the production company that turbocharged Formula 1’s growth in the U.S. with Netflix’s Drive to Survive. (CAA’s Brisson had a hand in persuading Box To Box producer Paul Martin to create the new show, bringing the hockey neophyte to two games.)

    CAA sees those initiatives not only as chances to cash in—a number of clients appear in the docuseries, and hundreds of millions of dollars will be spent on Olympic brand activations—but also as signals that the NHL is shifting away from its long-running team-first marketing strategy and putting more focus on the players.

    “The star marketing the NBA used in the ’80s and ’90s, whether it was Bird and Magic, to Michael to Steph and LeBron to Kobe, it was always a huge part of the success matrix,” Abrutyn says. “Last year, it was really Connor McDavid and the Edmonton Oilers,” he adds of the storyline in the NHL, pointing to the star client of rival agency Wasserman, “which is a slight nuance from the Edmonton Oilers and Connor McDavid.”

    Perhaps just as important is an ongoing evolution in NHL player culture, which to this point has been “about the logo on the front, not the name on the back,” Kardosh says. Now, a generation that grew up on social media isn’t just aspiring to be the next Mario Lemieux or Mark Messier; “they’re looking at LeBron James and Shohei Ohtani and F1 drivers, and there’s just more opportunity for a lot of those athletes in marketing, and our clients are starting to say, ‘We want some of that opportunity, too, so what do we have to do to get it?’” Kardosh cites 23-year-old Anaheim Ducks center Trevor Zegras in particular as a catalyst within CAA, after he made a splash online as a rookie in 2021-22.

    CAA is also eager to explore the off-ice possibilities in women’s hockey, with Kardosh and Dominique DiDia spearheading an initiative that has signed 18 players, including 11 in the PWHL, since 2022. “There will be plenty of people that are willing to invest in the PWHL that are not willing to invest in the NHL, and we want to be in those conversations,” says Kardosh, who calls out University of Minnesota star Chloe Primerano’s deal with Cwench Hydration as an early win for the group.

    Financial viability for that operation is a long ways away, especially with CAA mostly forgoing on-ice commissions as the PWHL’s top salaries hover around $100,000. But the agency’s hockey group has had success with a long-term mindset, often signing male clients at age 13 or 14 and coaching them up in a player development effort led by Jim Hughes. “It takes usually seven years before hopefully they start paying fees,” Brisson says. The upside, though, is that CAA represents 17 players selected in the draft’s first two rounds over the last two years and Brisson has worked with nine No. 1 overall picks from the past 19 drafts, including 2024’s Macklin Celebrini.

    While Nuchow says that nobody is “keeping a scoreboard,” the hockey group is among the reasons CAA Sports is now larger and growing faster than the agency’s storied entertainment division. But Brisson—described as “relentless,” “24/7” and “machine-like” by his colleagues—continues to think about expansion. Now, that means marketing.

    “I guess it’s just my DNA,” Brisson says. “I don’t know. I always say to my group, the day you start sitting on your laurels, you’re as good as gone.”

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  • Why Joe Mazzulla thinks Jayson Tatum’s Olympic benching was ‘a gift’ – NBC 7 San Diego

    Why Joe Mazzulla thinks Jayson Tatum’s Olympic benching was ‘a gift’ – NBC 7 San Diego

    Jayson Tatum just won his first NBA championship with the Boston Celtics in a season where he was voted First Team All-NBA for the third consecutive year. And yet, he should still have plenty of motivation and hunger entering the 2024-25 season.

    The great players always have that chip on their shoulder, even after winning.

    For Tatum, he still has plenty left to achieve. He didn’t win Finals MVP last season. Jaylen Brown was the deserving winner after a fantastic performance against the Dallas Mavericks. So that’s one award Tatum can strive for. And getting benched in two games at the 2024 Paris Olympics with Team USA also should serve as a source of motivation for Tatum.

    Tatum said Tuesday at Celtics Media Day that head coach Joe Mazzulla was “probably the happiest person” after the superstar forward didn’t win Finals MVP and went through adversity during the Olympics. He also added, “If you know Joe, it makes sense.”

    Mazzulla wants the best for his players, and he knows that those tough experiences will only help Tatum as he continues his career.

    He went into further detail after Wednesday’s practice.

    “I think that comes off as love,” Mazzulla told reporters when asked about Tatum’s comment, as seen in the video above. “That’s just the way that I love him and the relationship that we have, and I appreciate that he accepts my perspective and the way that we go about talking about it. But at the end of the day, he’s 26, and I just said, ‘Listen, you’ve accomplished so much in this league, and just take a step back and appreciate that and then be grateful that you have, God willing, 10, 12, 14 years left in this league — who knows what you’re gonna see.’

    “I don’t think we’ve seen the best of him yet because of how much he works and how he’s willing to grow. So I thought it was great that he’s got something he’s gonna work towards. And sometimes when you get success, you don’t have that next hunger right in front of you.

    “Sometimes you gotta wait for it. Sometimes it’s a loss, sometimes it’s a losing streak, and he was able to get that right in front of him. So I just thought it was a gift. It doesn’t mean that he shouldn’t be pissed off about it. I didn’t want to take away from how that may affect him in real time because I wasn’t there. But as his coach and as somebody that really cares about him, I thought it was great because it gives him something to work towards.”

    Mazzulla has a special relationship with his players, and this is another example. He knows what buttons to push to maximize their on-court production and keep them locked in on the team goals.

    Complacency has been an issue for many defending champions in NBA history, but after hearing Mazzulla and Celtics players talk at Media Day earlier this week, it doesn’t sound like this team will be plagued by that problem.



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  • This Colorado Photographer Thinks You Should Embrace Nudity in Nature

    This Colorado Photographer Thinks You Should Embrace Nudity in Nature

    The trails in Colorado are often a runway show for outdoor apparel brands. Hikers parade around in Patagonia puffers, Melanzana hoodies, prAna pants, and Salomon boots. But Elsa Marie Keefe’s adventure attire is a little more minimalist. That’s because she prefers to wear nothing at all.

    The 33-year-old Keystone artist photographs her subjects—oftentimes herself—nude in nature with a focus on body positivity. Her documentary-style imagery celebrates the human form, grounding and connecting with the earth, and challenging the idea that nakedness equates to eroticism. “We are all born wild,” Keefe says. “Being naked is our primal truth. My photographic practice is about remembering our sacred nature and celebrating how our bodies mirror and embody the natural world.” Sometimes, Keefe’s photos stir up controversy—and always spark conversations.

    Her work appears in New York galleries—she hails from Manchester-by-the-Sea along Boston’s north shore—but in Summit County, she’s learning the nude form isn’t as easily digested. Her compositions have been misinterpreted as pornographic, and her website and social media feeds have been variously taken down. She has been censored and deleted, received death threat emails, and lost significant sources of income. This summer, a ranger on Lake Dillon threatened to arrest her for sunbathing naked on a tucked-away beach.

    And yet in spite of the pushback—or maybe because of it—Keefe feels her artistic mission is more important than ever. We sat down with the photographer to chat about her work and what it means to be nude in nature.

    Editor’s note: The following conversation has been edited for length and clarity.

    5280: What conversations do you hope to spark with your art?
    Elsa Marie Keefe: Number one: body positivity and loving oneself and other humans. Number two: our inherent connection with Mother Earth and the importance of our symbiotic relationship with the Earth. And, on a very practical healing level, the importance of literally coming into physical contact with our bare skin on the Earth’s surface.

    What inspired you to take up a nudist lifestyle?
    I would say growing up in a family as I did was the very foundation. My parents never called themselves nudists—however, as I got to be a little bit older and started reflecting on my life, I realized that in some ways, we kind of were a nudist family. My parents would never try to cover up out of shame or guilt. My mom would tan naked in the backyard and just relax. We would go to the U.S. Virgin Islands for holiday in the spring, and my parents would take us to this beach that was clothing-optional.

    Elsa Marie Keefe at Great Sand Dunes National Park. Photo by Elsa Marie Keefe

    You studied communications, marketing, and advertising in college. How did you land on nude photography?
    In college, I had my first internship in fashion photography in Boston. And that’s when everything changed for me. I got really depressed as I would be forced to sit at a computer for hours each day, sometimes editing down almost anorexic-looking girls to be even skinnier for advertisements. I got really sad realizing that I was contributing to this unattainable standard of beauty.

    That’s when I started trying nude photography. I researched a few photographers and the meaning of their work in the world of art history and in the modern world of art. I gave it a go, and things just took off from there naturally.

    How has your own journey with body positivity evolved?
    It’s been a lifelong journey and challenge. I know that loving oneself, body positivity, and finding beauty in our own bodies is very difficult for all of us. My art has actually helped my outlook on my body. I used to photograph myself for my early self-portrait work in college, and during one of my first shoots in the woods in Maine, I remember putting on a self-timer and then sprinting to be a couple hundred feet away from the camera so that I would be so small in the frame. I’ve grown a lot, and it’s been a very interesting and transformative experience to look back on my earlier shoots and see pure beauty in those photos that I remember so harshly critiquing at the time.

    What have you learned about our connection with nature?
    I’ve discovered the true science behind the regulation of our bodies through this practice of being nude in nature and the healing capacity of our bodies when we are in direct contact with the Earth’s dirt, sand, rocks, clay, and water. When our body comes in contact with the Earth’s surface, we actually absorb negative ions that help ourselves regulate. When our cells are stable and are absorbing the proper nutrients and electricity, our [bodies] can function at an optimal level.

    Elsa Marie Keefe poses in Moab. Photo by Elsa Marie Keefe

    How does your artwork aim to shift the conversation around nudity?
    For many years, my work was all about reminding us that the human form and nudity does not equate with sexuality, but as I’ve gotten older, I’ve learned that we do need to speak about sex because it is part of the human experience, and the more that we avoid it, the more people feel shame and turn to things like pornography to learn about these harder subjects.

    It’s also important that children see the naked body outside of a sexual context because the reality is most parents in America quickly cover up so that their children don’t see their bodies. We’re taught to believe that there is shame surrounding our body and, in reality, most children, including my own generation, were taught about how a body should look through pornography.

    Where do you want your art to go?
    I want my art to land all over the world. My big dream is to be in the Museum of Modern Art and some larger institutions, to be selling more consistently, and to be acquiring consistent investors who genuinely see my vision and want to support my art financially.

    I also want to continue hosting nude women’s healing circles around the world and participating in retreat spaces with friends where I offer embodiment photo shoots to help women feel beautiful and comfortable in their skin and to truly realize that they are a piece of art and a part of art.

    What’s next?
    I am currently working on my handmade books. I make journals, books, and art books by sewing them together. I’m also working on a documentary called Soil to Soul about my dear friend who is 80 years old and has been gardening for about 70 years. I really wanted to shoot this to honor his life’s work and to help share all of the wisdom he has around the health of our soil and our planet. I’m also preparing for the Miami Basel art show and then a work trip to Switzerland.


    Keefe is available for nude in nature embodiment photo shoots, commissioned projects, and collaborations. Find her at elsamariekeefe.art and follow her journey on Instagram @elsamariekeefe.

    Lisa Blake



    Source link

  • This Colorado Photographer Thinks You Should Embrace Nudity in Nature

    This Colorado Photographer Thinks You Should Embrace Nudity in Nature

    The trails in Colorado are often a runway show for outdoor apparel brands. Hikers parade around in Patagonia puffers, Melanzana hoodies, prAna pants, and Salomon boots. But Elsa Marie Keefe’s adventure attire is a little more minimalist. That’s because she prefers to wear nothing at all.

    The 33-year-old Keystone artist photographs her subjects—oftentimes herself—nude in nature with a focus on body positivity. Her documentary-style imagery celebrates the human form, grounding and connecting with the earth, and challenging the idea that nakedness equates to eroticism. “We are all born wild,” Keefe says. “Being naked is our primal truth. My photographic practice is about remembering our sacred nature and celebrating how our bodies mirror and embody the natural world.” Sometimes, Keefe’s photos stir up controversy—and always spark conversations.

    Her work appears in New York galleries—she hails from Manchester-by-the-Sea along Boston’s north shore—but in Summit County, she’s learning the nude form isn’t as easily digested. Her compositions have been misinterpreted as pornographic, and her website and social media feeds have been variously taken down. She has been censored and deleted, received death threat emails, and lost significant sources of income. This summer, a ranger on Lake Dillon threatened to arrest her for sunbathing naked on a tucked-away beach.

    And yet in spite of the pushback—or maybe because of it—Keefe feels her artistic mission is more important than ever. We sat down with the photographer to chat about her work and what it means to be nude in nature.

    Editor’s note: The following conversation has been edited for length and clarity.

    5280: What conversations do you hope to spark with your art?
    Elsa Marie Keefe: Number one: body positivity and loving oneself and other humans. Number two: our inherent connection with Mother Earth and the importance of our symbiotic relationship with the Earth. And, on a very practical healing level, the importance of literally coming into physical contact with our bare skin on the Earth’s surface.

    What inspired you to take up a nudist lifestyle?
    I would say growing up in a family as I did was the very foundation. My parents never called themselves nudists—however, as I got to be a little bit older and started reflecting on my life, I realized that in some ways, we kind of were a nudist family. My parents would never try to cover up out of shame or guilt. My mom would tan naked in the backyard and just relax. We would go to the U.S. Virgin Islands for holiday in the spring, and my parents would take us to this beach that was clothing-optional.

    Elsa Marie Keefe at Great Sand Dunes National Park. Photo by Elsa Marie Keefe

    You studied communications, marketing, and advertising in college. How did you land on nude photography?
    In college, I had my first internship in fashion photography in Boston. And that’s when everything changed for me. I got really depressed as I would be forced to sit at a computer for hours each day, sometimes editing down almost anorexic-looking girls to be even skinnier for advertisements. I got really sad realizing that I was contributing to this unattainable standard of beauty.

    That’s when I started trying nude photography. I researched a few photographers and the meaning of their work in the world of art history and in the modern world of art. I gave it a go, and things just took off from there naturally.

    How has your own journey with body positivity evolved?
    It’s been a lifelong journey and challenge. I know that loving oneself, body positivity, and finding beauty in our own bodies is very difficult for all of us. My art has actually helped my outlook on my body. I used to photograph myself for my early self-portrait work in college, and during one of my first shoots in the woods in Maine, I remember putting on a self-timer and then sprinting to be a couple hundred feet away from the camera so that I would be so small in the frame. I’ve grown a lot, and it’s been a very interesting and transformative experience to look back on my earlier shoots and see pure beauty in those photos that I remember so harshly critiquing at the time.

    What have you learned about our connection with nature?
    I’ve discovered the true science behind the regulation of our bodies through this practice of being nude in nature and the healing capacity of our bodies when we are in direct contact with the Earth’s dirt, sand, rocks, clay, and water. When our body comes in contact with the Earth’s surface, we actually absorb negative ions that help ourselves regulate. When our cells are stable and are absorbing the proper nutrients and electricity, our [bodies] can function at an optimal level.

    Elsa Marie Keefe poses in Moab. Photo by Elsa Marie Keefe

    How does your artwork aim to shift the conversation around nudity?
    For many years, my work was all about reminding us that the human form and nudity does not equate with sexuality, but as I’ve gotten older, I’ve learned that we do need to speak about sex because it is part of the human experience, and the more that we avoid it, the more people feel shame and turn to things like pornography to learn about these harder subjects.

    It’s also important that children see the naked body outside of a sexual context because the reality is most parents in America quickly cover up so that their children don’t see their bodies. We’re taught to believe that there is shame surrounding our body and, in reality, most children, including my own generation, were taught about how a body should look through pornography.

    Where do you want your art to go?
    I want my art to land all over the world. My big dream is to be in the Museum of Modern Art and some larger institutions, to be selling more consistently, and to be acquiring consistent investors who genuinely see my vision and want to support my art financially.

    I also want to continue hosting nude women’s healing circles around the world and participating in retreat spaces with friends where I offer embodiment photo shoots to help women feel beautiful and comfortable in their skin and to truly realize that they are a piece of art and a part of art.

    What’s next?
    I am currently working on my handmade books. I make journals, books, and art books by sewing them together. I’m also working on a documentary called Soil to Soul about my dear friend who is 80 years old and has been gardening for about 70 years. I really wanted to shoot this to honor his life’s work and to help share all of the wisdom he has around the health of our soil and our planet. I’m also preparing for the Miami Basel art show and then a work trip to Switzerland.


    Keefe is available for nude in nature embodiment photo shoots, commissioned projects, and collaborations. Find her at elsamariekeefe.art and follow her journey on Instagram @elsamariekeefe.

    Lisa Blake



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