University of Houston researchers are reporting a breakthrough in the field of materials science and engineering with the development of an electrochemical actuator that uses specialized organic semiconductor nanotubes (OSNTs).

Currently in the early stages of development, the actuator will become a key part of research contributing to the future of robotic, bioelectronic and biomedical science.

“Electrochemical devices that transform electrical energy to mechanical energy have potential use in numerous applications, ranging from soft robotics and micropumps to autofocus microlenses and bioelectronics,” said Mohammad Reza Abidian, associate professor of biomedical engineering in the UH Cullen College of Engineering. He’s the corresponding author of the article “Organic Semiconductor Nanotubes for Electrochemical Devices,” published in the journal Advanced Functional Materials, which details the discovery.

Significant movement (which scientists define as actuation and measure as deformation strain) and fast response time have been elusive goals, especially for electrochemical actuator devices that operate in liquid. This is because the drag force of a liquid restricts an actuator’s motion and limits the ion transportation and accumulation in electrode materials and structures. In Abidian’s lab, he and his team refined methods of working around those two stumbling blocks.

“Our organic semiconductor nanotube electrochemical device exhibits high actuation performance with fast ion transport and accumulation and tunable dynamics in liquid and gel-polymer electrolytes. This device demonstrates an excellent performance, including low power consumption/strain, a large deformation, fast response and excellent actuation stability,” Abidian said.

This outstanding performance, he explained, stems from the enormous effective surface area of the nanotubular structure. The larger area facilitates the ion transport and accumulation, which results in high electroactivity and durability.

“The low power consumption/strain values for this OSNT actuator, even when it operates in liquid electrolyte, mark a profound improvement over previously reported electrochemical actuators operating in liquid and air,” Abidian said. “We evaluated long-term stability. This organic semiconductor nanotube actuator exhibited superior long-term stability compared with previously reported conjugated polymer-based actuators operating in liquid electrolyte.”

Joining Abidian on the project were Mohammadjavad Eslamian, Fereshtehsadat Mirab, Vijay Krishna Raghunathan and Sheereen Majd, all from the Department of Biomedical Engineering at the UH Cullen College of Engineering.

The organic semiconductors used, called conjugated polymers, were discovered in the 1970s by three scientists—Alan J. Heeger, Alan MacDiarmid and Hideki Shirakawa—who won a Nobel prize in 2000 for the discovery and development of conjugated polymers.

For a new type of actuator to outshine the status quo, the end product must prove not only to be highly effective (in this case, in both liquid and gel polymer electrolyte), but also that it can last.

“To demonstrate potential applications, we designed and developed a micron-scale movable neural probe that is based on OSNT microactuators. This microprobe potentially can be implanted in the brain, where neural signal recordings that are adversely affected, by either damaged tissue or displacement of neurons, may be enhanced by adjusting the position of the movable microcantilevers,” said Abidian.

The next step is animal testing, which will be undertaken soon at Columbia University. Early results are expected by the end of 2021, with longer term tests to follow.

“Considering the achievements so far, we anticipate these new OSNT-based electrochemical devices will help advance the next generation of soft robotics, artificial muscles, bioelectronics and biomedical devices,” Abidian said.

A research team from the Centre for Organismal Studies (COS) of Heidelberg University has demonstrated that complex retinal tissue can be cultured in a Petri dish from embryonic stem cells of bony fish. Until now, stem cells from mammals, including humans, have been used in organoid research. For the first time, researchers led by Prof. Dr. Joachim Wittbrodt have demonstrated that stem cells from medaka and zebrafish can also form highly organized neural structures under controlled laboratory conditions. Among other things, the researchers expect to gain new insights into the basic mechanisms of retinal development.

Organoids are bits of tissue that are grown from stem cells and resemble actual organs. They are used in basic research to gain new information on cell organization and organ development, to investigate the origin of disease, and to develop and test new medications. “The major advantage of fish organoids is that they are highly reproducible, unlike organoids from mammalian stem cells. They develop reliably and very quickly and enable a direct comparison with living embryos that in fish grow outside of the womb,” explains Prof. Wittbrodt, who heads the Animal Physiology and Developmental Biology research group at the COS. “We are therefore able to manipulate the molecular and genetic mechanisms of retina formation, much like engineers.”

Previous studies using stem cells from zebrafish had already suggested that they go through specific stages of embryonic development when appropriately cultivated. Until now, however, none of the Heidelberg researchers knew of an experiment in which cell cultures from fish successfully organized into highly complex neural structures like the retina. “Our study has closed this gap in organoid research,” underscores Dr. Lucie Zilova, a postdoctoral researcher in Joachim Wittbrodt’s group. “We succeeded in cultivating the stem cells from bony fish such that they underwent an astonishing developmental process in a little less than a week. In the end, we had a complex retinal structure.”

To this end, the Heidelberg team used pluripotent stem cells from medaka and zebrafish embryos. Such cells have not yet differentiated and can potentially develop into many different cell types. According to Dr. Zilova, all the cells taken from a single embryo independently aggregated into one large retina within 24 hours. In a matter of a few days, it then formed layers of different cell types that are also found in the fish eye, including photoreceptor cells, bipolar cells, amacrine cells, and ganglion cells. “The growth process proved to be incredibly efficient,” states the researcher. Hundreds of small retina organoids could be generated within a day. The high throughput allowed the researchers to precisely isolate the conditions in which structures resembling a head with two eyes, including both brain and retina, are formed.

“However just because an organoid structure looks like a retina doesn’t mean that the cells behave and grow as they would in a living embryo,” adds Dr. Venera Weinhardt, another COS postdoc. To explore this question, the researchers used light sheet fluorescence microscopy, an imaging process that supports real-time observations, to compare the behavior of cells in the culture with that of cells in the embryo. “The analysis clearly showed that there were no differences. In both the culture and the embryo, the cells moved along specific routes to the outer periphery of the eye bud and combined into the so-called optic vesicle,” continues Dr. Weinhardt.

The Heidelberg researchers also noted that the organoids from the evolutionarily different medaka and zebrafish are quite similar. That leads them to believe that the molecular and genetic mechanisms of early eye development have been retained throughout evolution across different species and independently of environmental influences to which the embryonic cells are exposed during their development. Whether embryonic stem cells in a culture can form other organoid structures besides the retina remains an open question.

Dune feels like a product from another time in Hollywood history. A movie with the scope and vision of modern blockbusters that tells a complex, mature story usually reserved for independent dramas. It’s hugely ambitious, not always straightforward, but accessible and lived-in in a way that makes watching it completely engrossing, even when the thrills and chills aren’t quite as abundant as recent hits have made us accustomed to. It’s an old-school blockbuster told with visuals that’ll delight a new-school crowd.

Based on the legendary novel by Frank Herbert, Dune was directed by Denis Villeneuve (Arrival, Blade Runner 2049) with a screenplay by Villeneuve, Jon Spaihts, and Eric Roth. It tells the story of Paul Atreides (Timothée Chalamet), the son of the powerful Duke Leto Atreides (Oscar Isaac) and mysterious Lady Jessica (Rebecca Ferguson). Paul’s parentage makes him not just the heir to the formidableAtreides army thanks to his father, but a man with a magical, mythical side too, thanks to his mother. When the Atredies are given control of the planet Arrakis, which contains the most valuable substance in the galaxy—spice—Paul and his family find themselves at odds with the villainous Harkonnens, who previously controlled the planet. Through that conflict, Paul struggles with the burden of his dual destiny as a leader of men as well as a potential prophet.

Villeneuve’s biggest challenge with Dune is dropping us in a brand new world. Sure, some people will have seen the previous adaptations or read Herbert’s books, but the director never relies on that. Instead, he delicately balances plot and character development with establishing the rules of this fictional universe, all through attention to detail. Nothing in Dune is an afterthought. Every single frame, every single sound, every single choice, feels like it’s been deliberated for months and the filmmaking proudly relishes each detail. Establishing shots linger a few extra seconds. Costumes are introduced fluttering in the wind for maximum beauty. Characters who aren’t on screen for more than a second feel like they deserve their own spin-off movie. Even the sci-fi props are presented with a certain reverence for their design, hitting a bullseye between looking cool and innovative as well as old and worn out. This is a new world for us, but not for the characters.

Thankfully, none of that filmmaking opulencedistracts from the story. All of the mise-en-scène works together to establish a grandiose, awe-inspiring canvas for the story and characters to play on, but it’s never the point. Your eyes will dart around the frame exploring all the gorgeous vistas and technology, your ears will perk up with the complex sound design and distinct Hans Zimmer score, but after that, everything comes back to Paul, a young man beginning to explore the ways of the galaxy while also figuring out his part in it. And this Paul is a perfect vessel for the audience’s journey. His story is at the center of the more layered political intrigue happening around him and yet, thanks to Chalamet’s performance, none of that is ever overwhelming. His Paul is confident and grounded, but playful, too. As he discovers more about the ways of the world, we enjoy his reactions and relate to his trepidation. When he learns, we learn. When he evolves, the story evolves.

With so much character development and world-building, though, Dune does, at times, feel almost too ambitious. A tad too slow. Even a bit incomplete. It helps immensely that the film begins with the card “Dune: Part One,” because then you realize this two-and-a-half-hour movie, much like the first and second Lord of the Rings, was made on the hope and prayer we’d get to see another. That seed helps cover the fact that the first hour of the movie favors character and planet introductions over action—the biggest set piece of the film comes with about an hour left—and that the film’s climax is between two characters, and not two million (as one might expect in a film this size). Villeneuve’s Dune is clearly about the growth of Paul first, and showcasing this world in a way that will delight and mystify second; in those aims he succeeds. Soaking in this endlessly wondrous world for two-plus hours absolutely carries a bit of the narrative detriments.

Another thing that helps Dune overcome a few of its flaws is the casting. Beyond just the Atredies family, Villeneuve has filled Dune with very famous, talented actors who are a pleasure to watch. Some—like Jason Momoa as Atredies soldier Duncan Idaho and Stellan Skarsgård as the evil Baron Harkonnen—have excellent roles in this movie. Momoa, in particular, bringing a swagger and excitement beyond anything we’ve seen from him before. Others, like Dave Bautista as a Harkonnen leader, and Zendaya and Javier Bardem as crucial members of the Fremen people, have smaller roles in this installment. We see them, they’re compelling, but we’re left waiting to see just how exactly that could play out in the future.

What could happen in the future isn’t something you can think about when critiquing a movie though. There’s this movie, this story, and if it doesn’t work on its own, that would problem. It’s not a problem here.This Dune, by itself, even if we never get another movie, sets a new standard for modern sci-fi epics. Villeneuve’s attention to detail in design, combined with his expansive vision of multiple worlds, conveys a reverence and respect for the material that makes the film feel even more majestic than it already is (and it’s pretty damn majestic). 

It would be a travesty if we never got to see the second part of this story, but Part One has satisfying narrative threads with a logical endgame that leaves you wanting more. The set pieces, while sporadic, are exciting and the movie presents such a fantastic, robust sci-fi world, you could watch it a million times and find something new with each viewing. And yet, that dense, complex world exists solely to enhance a personal, relatable, emotional story. A story of a world where a boy grows to be a man with all sorts of unfathomable expectations—expectations this movie probably has on it too. But don’t worry, Dune is awesome in every sense of the word, and it’ll be a movie fans cherish for years to come.

Dune just had its world premiere at the Venice Film Festival. It opens in theaters, and on HBO Max, October 22.

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Nearly 100 missing tablets and other archaeological objects from ancient Mesopotamia have been found in Norway and seized, police said Friday.

Authorities said they would now be examined to determine their authenticity and establish their provenance if possible.

The Norwegian National Authority for Investigation and Prosecution of Economic and Environmental Crime said they were “objects of significance to the global cultural heritage.”

The agency said it had “assisted the (asterisk)Norwegian) Ministry of Culture in a matter in which Iraqi authorities have reported a large number of ancient artifacts missing which they suspect have been smuggled out of the country.”

“A large number of objects were seized during the search, and a number of witnesses interviewed,” the agency known as Oekokrim said. “Our assistance is not an ordinary police investigation, but is limited to locating the missing objects.”

The police didn’t say how or when the objects ended up in Norway. No further details were immediately available.

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Do you recognize this delivery rider who went viral when the remnants of Hurricane Ida lashed New York on Wednesday, causing historic flash floods that killed at least 28 people in the northeast? There’s $1,700 waiting for that waterlogged rider, whoever they are.

The video has been watched over 10 million times on Twitter alone, and the person who captured the footage has received roughly $1,700 from media outlets that wanted to license the footage for broadcast, according to Rep. Alexandria Ocasio-Cortez.

AOC is trying to connect the unnamed person who took the video with the delivery rider, something the congresswoman acknowledges might be tough.

“This is a huge long shot, but the person who filmed this deliverista last night received $1,700+ from media outlets who wanted to license the footage. They want to give all of it to the worker, but need finding him. Any tips?” Ocasio-Cortez asked in a tweet late Thursday.

“This was ~10:10pm near Roebling/11th st in BK,” AOC continued, narrowing down the area and time the video was taken.

News outlets often pay people on social media for photos and videos, and while the videographer in this case identified the delivery person as working for GrubHub, that hasn’t been confirmed.

It’d be great to get this person their money, but it’s extremely depressing reading the stories of people who had to work for companies like GrubHub, DoorDash, and Relay on Wednesday night during the historic floods in the northeast.

As Vice explains in a new article, delivery riders are often incentivized with bonuses during rain and snow storms, giving gig workers a big push to go out during potentially dangerous situations:

In New York City, delivery couriers who survive on meager wages often are incentivized to work during rain and snow storms because gig companies offer the lucrative bonuses and incentives, an organizer at Los Deliverstas Unidos, a grassroots network of immigrant food delivery workers in New York City, told Motherboard. While the conditions during Wednesday evening’s tropical storm were exceptional, the reasons delivery workers braved life-threatening conditions continued to be the promise of higher than usual earnings.

Vice reports that GrubHub didn’t offer any financial incentives on Wednesday night during the terrible storm, but DoorDash apparently offered $3.50 for each delivery and Relay reportedly offered $2 per delivery.

If you recognize the rider, get in touch with AOC, presumably over Twitter. It’d be great to see this person get some real money after such a hard night’s work.