Astronomers spot a giant planet that is as light as cotton candy

Astronomers spot a giant planet that is as light as cotton candy

Astronomers at MIT, the University of Liège in Belgium, and elsewhere have discovered a huge, fluffy oddball of a planet orbiting a distant star in our Milky Way galaxy. The discovery, reported today in the journal Nature Astronomy, is a promising key to the mystery of how such giant, super-light planets form.

The new planet, named WASP-193b, appears to dwarf Jupiter in size, yet it is a fraction of its density. The scientists found that the gas giant is 50 percent bigger than Jupiter, and about a tenth as dense — an extremely low density, comparable to that of cotton candy.

WASP-193b is the second lightest planet discovered to date, after the smaller, Neptune-like world, Kepler 51d. The new planet’s much larger size, combined with its super-light density, make WASP-193b something of an oddity among the more than 5,400 planets discovered to date.

“To find these giant objects with such a small density is really, really rare,” says lead study author and MIT postdoc Khalid Barkaoui. “There’s a class of planets called puffy Jupiters, and it’s been a mystery for 15 years now as to what they are. And this is an extreme case of that class.”

“We don’t know where to put this planet in all the formation theories we have right now, because it’s an outlier of all of them,” adds co-lead author Francisco Pozuelos, a senior researcher at the Institute of Astrophysics of Andalucia, in Spain. “We cannot explain how this planet was formed, based on classical evolution models. Looking more closely at its atmosphere will allow us to obtain an evolutionary path of this planet.”

The study’s MIT co-authors include Julien de Wit, an assistant professor in MIT’s Department of Earth, Atmospheric and Planetary Sciences, and MIT postdoc Artem Burdanov, along with collaborators from multiple institutions across Europe.

“An interesting twist”

The new planet was initially spotted by the Wide Angle Search for Planets, or WASP — an international collaboration of academic institutions that together operate two robotic observatories, one in the northern hemisphere and the other in the south. Each observatory uses an array of wide-angle cameras to measure the brightness of thousands of individual stars across the entire sky.

In surveys taken between 2006 and 2008, and again from 2011 to 2012, the WASP-South observatory detected periodic transits, or dips in light, from WASP-193 — a bright, nearby, sun-like star located 1,232 light years from Earth. Astronomers determined that the star’s periodic dips in brightness were consistent with a planet circling the star and blocking its light every 6.25 days. The scientists measured the total amount of light the planet blocked with each transit, which gave them an estimate of the planet’s giant, super-Jupiter size.

The astronomers then looked to pin down the planet’s mass — a measure that would then reveal its density and potentially also clues to its composition. To get a mass estimate, astronomers typically employ radial velocity, a technique in which scientists analyze a star’s spectrum, or various wavelengths of light, as a planet circles the star. A star’s spectrum can be shifted in specific ways depending on whatever is pulling on the star, such as an orbiting planet. The more massive a planet is, and the closer it is to its star, the more its spectrum can shift — a distortion that can give scientists an idea of a planet’s mass.

For WASP-193 b, astronomers obtained additional high-resolution spectra of the star taken by various ground-based telescopes, and attempted to employ radial velocity to calculate the planet’s mass. But they kept coming up empty — precisely because, as it turned out, the planet was far too light to have any detectable pull on its star.

“Typically, big planets are pretty easy to detect because they are usually massive, and lead to a big pull on their star,” de Wit explains. “But what was tricky about this planet was, even though it’s big — huge — its mass and density are so low that it was actually very difficult to detect with just the radial velocity technique. It was an interesting twist.”

“[WASP-193b] is so very light that it took four years to gather data and show that there is a mass signal, but it’s really, really tiny,” Barkaoui says.

“We were initially getting extremely low densities, which were very difficult to believe in the beginning,” Pozuelos adds. “We repeated the process of all the data analysis several times to make sure this was the real density of the planet because this was super rare.”

An inflated world

In the end, the team confirmed that the planet was indeed extremely light. Its mass, they calculated, was about 0.14 that of Jupiter. And its density, derived from its mass, came out to about 0.059 grams per cubic centimeter. Jupiter, in contrast, is about 1.33 grams per cubic centimeter; and Earth is a more substantial 5.51 grams per cubic centimeter. Perhaps the material closest in density to the new, puffy planet is cotton candy, which has a density of about 0.05 grams per cubic centimeter.

“The planet is so light that it’s difficult to think of an analogous, solid-state material,” Barkaoui says. “The reason why it’s close to cotton candy is because both are mostly made of light gases rather than solids. The planet is basically super fluffy.”

The researchers suspect that the new planet is made mostly from hydrogen and helium, like most other gas giants in the galaxy. For WASP-193b, these gases likely form a hugely inflated atmosphere that extends tens of thousands of kilometers farther than Jupiter’s own atmosphere. Exactly how a planet can inflate so far while maintaining a super-light density is a question that no existing theory of planetary formation can yet answer.

To get a better picture of the new fluffy world, the team plans to use a technique de Wit previously developed, to first derive certain properties of the planet’s atmosphere, such as its temperature, composition, and pressure at various depths. These characteristics can then be used to precisely work out the planet’s mass. For now, the team sees WASP-193b as an ideal candidate for follow-up study by observatories such as the James Webb Space Telescope.

“The bigger a planet’s atmosphere, the more light can go through,” de Wit says. “So it’s clear that this planet is one of the best targets we have for studying atmospheric effects. It will be a Rosetta Stone to try and resolve the mystery of puffy Jupiters.”

This research was funded, in part, by consortium universities and the UK’s Science and Technology Facilities Council for WASP; the European Research Council; the Wallonia-Brussels Federation; and the Heising-Simons Foundation, Colin and Leslie Masson, and Peter A. Gilman, supporting Artemis and the other SPECULOOS Telescopes.

Tomb Raider TV Series Written By Fleabag’s Phoebe Waller-Bridge Ordered By Amazon Prime Video

Amazon has ordered a new Tomb Raider TV series to production, and it will be written and produced by Fleabag star and writer Phoebe Waller-Bridge, who also starred in last year’s Indiana Jones and the Dial of Destiny. Like Amazon’s Fallout series, this Tomb Raider show will premiere exclusively on Prime Video to more than 240 countries and territories around the world. 

This series order arrives as part of a larger deal between Amazon MGM Studios and Tomb Raider reboot developer Crystal Dynamics, which is currently working on a new Tomb Raider game in Unreal Engine 5. In December of 2022, we learned Amazon Games will publish that in-development Tomb Raider game, which Amazon describes as a “single-player, narrative-driven adventure that will add a new chapter to Lara Croft’s story in the Tomb Raider series.” 

Tomb Raider TV Series Written By Fleabag’s Phoebe Waller-Bridge Ordered By Amazon Prime Video

Phoebe Waller-Bridge as Helena Shaw in Indiana Jones and the Dial of Destiny

“With great IP, the possibilities are endless,” Amazon Games vice president Christoph Hartmann writes in a press release. “The richness and depth of the fiction allows the Tomb Raider series from Prime Video and the video game from Amazon Games to tell separate stories about Lara Croft’s adventures. We’re honored that Crystal Dynamics has entrusted Amazon with this iconic franchise, and we’re looking forward to seeing where this collaboration takes us.” 

This is the second upcoming TV adaptation to star the iconic treasure hunter. Netflix’s animated series Tomb Raider: The Legend of Lara Croft, starring Haley Atwell, is set to premiere sometime this year. That particular show is set within the continuity of Crystal Dynamic’s reboot trilogy, taking place after the events of Shadow of the Tomb Raider. 

If you’re curious about Crystal Dynamics’ recent Tomb Raider reboot, you can pick up Tomb Raider: Game of the Year Edition on PC via GOG for free if you’re an Amazon Prime member throughout May. For more, read Game Informer’s thoughts on the most recent Tomb Raider game in our Shadow of the Tomb Raider review

Atomos Ninja Phone: Turn Your iPhone into a Monitor / ProRes Recorder – Videoguys

Atomos Ninja Phone: Turn Your iPhone into a Monitor / ProRes Recorder – Videoguys

In his PetaPixel blog post, Jaron Schneider introduces Atomos’s latest innovation, the Ninja Phone, designed to enhance iPhone 15 Pro and Pro Max devices for professional video recording. Atomos recently unveiled the Ninja Phone, a revolutionary 10-bit video co-processor enabling filmmakers to monitor and record professional HDMI camera footage directly on their iPhone 15 Pro and Pro Max smartphones. This innovative device merges Atomos’s ProRes encoding expertise with Apple’s cutting-edge hardware, notably the iPhone’s OLED display, to deliver exceptional video quality in a portable package.

The Ninja Phone encodes HDMI signals from cameras to ProRes or H.265 formats at 10-bit quality, ideal for HDR applications. This content is then transmitted to the iPhone via USB-C, leveraging the phone’s powerful A17 chip for decoding and display. Atomos emphasizes the Ninja Phone’s superiority over traditional camera screens, boasting features like a 2,000,000:1 contrast ratio, Dolby Vision, HDR10, and HLG support, as well as 11 stops of dynamic range and a peak brightness of 1,600 nits.

Key to the system is the Atomos Ninja Phone app, which integrates seamlessly with the iPhone, offering control and coordination between the devices. The app adapts effortlessly to portrait or landscape shooting modes, catering to social media creators. Additionally, the Ninja Phone supports external accessories like wireless microphones via a built-in USB-C hub.

Despite its impressive capabilities, the Ninja Phone is limited to recording at 1080p Full HD to optimize latency and data rates. This trade-off ensures optimal performance for professional workflows, including camera-to-cloud operations and live streaming via the iPhone’s 5G and Wi-Fi 6E connectivity.

Atomos’s Ninja Phone represents a groundbreaking advancement for content creators seeking professional-grade monitoring and recording capabilities on their smartphones, underscoring the convergence of filmmaking and mobile technology.

Read the full blog post by Jaron Schneider for PetaPixel HERE

Understanding the Hype Cycle and Organisational Trajectories

In today’s fast-evolving technology landscape, innovation plays a pivotal role in shaping future product portfolios as industries explore new ways to streamline business operations, deliver efficiencies, and deepen customer engagement. However, with the accelerating pace of change, it’s essential to separate the innovations which will disrupt…

The Era of Synthetic Politics: Examining the Impact of AI-Generated Campaign Messages

Synthetic politics represents the fusion of technology and political processes, driven by the substantial influence of Artificial Intelligence (AI) and advanced technologies on political campaigns, messaging dissemination, and voter engagement. In this era of rapid technological advancement, traditional norms are being challenged, introducing novel dynamics that…

PS5 Breaks Sales Record But Still Falls Short Of Target After Crossing 59 Million Units Sold

PS5 Breaks Sales Record But Still Falls Short Of Target After Crossing 59 Million Units Sold

Sony Interactive Entertainment has revealed in its latest financial earnings report it sold 20.8 million PlayStation 5 units in the fiscal year that ended on March 31. In doing so, Sony sold more than any fiscal year since the console’s launch in November 2020. However, despite that achievement, Sony still fell short of its original PS5 sales target for this year, missing it by more than 4 million units. 

Originally targeting 25 million units for the fiscal year ending March 31, 2024, Sony sold 20.8 million, bringing the grand total up to 59 million, despite the 4 million units miss. As noted by VideoGamesChronicle, however, Sony revised that 25 million unit target in February to just 21 million; it still didn’t hit that target, though, just narrowly missing the mark. 

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At 59 million units, the PS5 is just behind the PlayStation 4’s 60 million units at the same point in its life cycle. However, Tokyo-based video game analyst Serkan Toto told VGC that 20.8 million units sold is likely going to remain the peak for the PS5, and that this number would have been much lower if not for the release of Helldivers 2 in February, which is PlayStation’s fastest-selling game ever after selling 12 million copies in 12 weeks

On the earnings call, Sony told investors to expect gaming sales to decrease in the fiscal year that just began (and ends March of next year) due to an expected decrease in console sales. There are also no major games from existing franchises releasing between now and then, according to the company. However, Sony says it still plans to release Concord, the new multiplayer online shooter IP from Firewalk Studios coming to PS5 and PC, this year. 

For more about PlayStation, read about how Hermen Hulst and Hideaki Nishino have been named dual CEOs of the company, and then read Game Informer’s Stellar Blade review. After that, check out Game Informer’s Final Fantasy VII Rebirth review


How do you feel about the PlayStation 5 at this point in its lifecycle? Let us know in the comments below!

The Art Of The New Dungeons & Dragons

Dungeons & Dragons has a big year ahead of it. The classic tabletop RPG is celebrating its 50th anniversary this year, and the most significant event of that celebration is undoubtedly the release of a revision for the game’s core rules, including the Player’s Handbook, Dungeon Master’s Guide, and Monster Manual. Backwards-compatible with the entirety of the 5th edition of the game, the new books are nonetheless a big new step forward for the game, reflecting a decade of iteration and evolution as the game has exploded in popularity.

The books aren’t far off. Players and Dungeon Masters alike can watch for pre-orders starting on June 18; each book is set to be priced at $49.99. Each of the three new books comes in at a hefty 384 pages apiece.

The Art Of The New Dungeons & Dragons

Characters from the classic D&D cartoon get a makeover in this internal art from a chapter opener in the new Player’s Handbook. Artist Credit: Dmitry Burmak

We had the good fortune to visit Wizards of the Coast a few weeks ago to learn more from the artists and designers about what to expect in the revised game, and we have a ton of exclusive details about the revised D&D in this month’s Game Informer magazine. The magazine article includes extensive insight from Wizards of the Coast designers, including Chris Perkins and Jeremy Crawford. Our conversations with the designers offer great depth into what to expect out of each of the three core books on the way. We hope you’ll support that kind of exclusive coverage of D&D with a subscription to GI for less than $2 an issue so you can check the article out for yourself.

In addition to all the fun new design insights discussed in our magazine article, we also wanted to show off some of the remarkable art coming as part of the latest books. We’re including that here, alongside details from the art team working to craft the game’s look.

We’re especially excited to reveal a close look at the cover art for the new Player’s Handbook. 

Art from the revised Dungeons & Dragons books

The front cover of the newly revised version of D&D’s Player’s Handbook. Artist Credit: Tyler Jacobson

As the first planned release of the three new core rulebooks, it’s also likely the one that’s most important to the broadest swath of D&D players; its appearance in each prior edition has helped define the tone of the game.

The new Player’s Handbook front cover embraces the game’s revitalized approach to pushing forward legendary characters from across the history of the game. We see the likes of Yolande the Elven queen, Strongheart the knight, Elkhorn the Dwarven warrior, the divine Mercion, and the rogueish Molliver, all charging together into an adventure. These are figures hearkening back to the earliest era of the game. Wrapped around them is a benevolent gold dragon – a nod to the “golden” 50th anniversary of the game and an enticing reminder that the dragons in the game’s title can be allies as frequently as enemies.

The Front Cover Art for the revised D&D Player's Handbook

A gold dragon teams up with a party of legendary heroes to confront a red dragon and its kobold minions in the full front cover art for the new Player’s Handbook. Artist Credit: Tyler Jacobson

The new cover art comes from the experienced hand of freelance illustrator, Tyler Jacobson. “I’ve worked on DND since 2009. And I did the covers back in the fifth edition,” Jacobson says. “I did the Player’s Handbook and the Dungeon Master’s Guide, as well as many of the other covers that came after that for [titles] like Storm King’s Thunder and Volo’s.”

The direction for the cover art is highly intentional, meant to reflect the content inside. “With the cover art, we wanted to represent each experience,” Jacobson says. “How do we make the Player’s Handbook look like it’s the players’ experience? And how do we make the Dungeon Master’s Guide feel like the Dungeon Master’s experience?”

Art from the revised Dungeons & Dragons books

The back cover of the Player’s Handbook features an unknown party of adventurers flying into danger on the back of a bronze dragon. Artist Credit: Tyler Jacobson

A separate piece of art on the reverse side of the Player’s Handbook goes the other direction from the mythical heroes depicted on the front, depicting a party of unknown heroes, and nodding to players who will craft their own legends.

The new Player’s Handbook (and all the rulebooks moving forward into this new era of the game) features a red book spine, which, in my mind, subtly nods to some classic visual cues like the classic red boxed set from the 1980s. But whether that’s intentional or not, the red hue also easily sets the new books apart from any other recent rulebooks you have on your shelf.

Art from the revised Dungeons & Dragons books

From sketch to completed art of the new Player’s Handbook. Artist Credit: Tyler Jacobson

Early book printings will bear a D&D 50th seal on the back – a recognition of the big five-decade anniversary.

As fans have come to expect, you can also look forward to alternate book covers available in your local game store – the new alternate Player’s Handbook depicts a gorgeous scene of elves and a sinuous gold dragon, all printed in a gold foil treatment.

Beyond the cover, there’s no shortage of art filling the books’ pages, as evidenced by the extensive visuals we saw from the interior pages of the Player’s Handbook.

Art from the revised Dungeons & Dragons books

Artist Néstor Ossandón Leal shows the process from sketch to completed art. Artist Credit: Néstor Ossandón Leal

“A lot of our chapter openers are famous heroes,” says studio art director Josh Herman. “Almost every chapter opening features a different hero, or group of heroes in a different setting. So, you’ve got Dragonlance, and other ones, like Ravenloft; you’ve got a whole suite of them. Whereas the Dungeon Master’s Guide is all about villains. The cover is all about the villains and the sort of threats that the DM gets to play up. And in that art, you get to see a lot of our famous locations and some of our famous villains in its chapter openers. So, it’s sort of like the opposite side of the coin; we want to present all of the facets of the game in a way that hopefully people can understand.”

Art from the revised Dungeons & Dragons books

The completed art that launches the Fighter class section in the Player’s Handbook. Artist Credit: Néstor Ossandón Leal

I was especially struck by the mix of characters and settings on display in the revised books. Where many prior official books seemed to default to the familiar Forgotten Realms setting (chief home of the Baldur’s Gate video games), these new core books seem to embrace the multiversal nature of D&D, including the characters and locations of myriad worlds.  “I think like 10 years after [5th edition’s launch], all of these settings have come out,” Herman says. “Like Spelljammer, Dragonlance, Planescape. That’s probably why the differences are so much there; we want to show off all the different ways that players can play just like you can choose any type of character, and we want to create a broad gamut for you to pick from.”

Art from the revised Dungeons & Dragons books

A silver dragon enjoys the adulation of a city’s parade route. Artist Credit: Campbell White

The art in the new core books has a chief goal of helping to further an understanding of the game. Spells are often shown being cast. Art for character backgrounds shows a possible place your hero could have come from. It even extends to the visuals of creatures in the Monster Manual. “There’s a lot of mindfulness about the mixture; to pick the monster design accurately to the stat block,” says art director Emi Tanji. “If it’s a creature that does slashing damage or something like you want to make sure we see claws. And you want to make sure if the art has shows something that’s like a stinger, but there’s nothing in the stat block – that would be weird, right?”

As I had the chance to explore completed pages during my visit to Wizards of the Coast, I was impressed by the bounty of art that fleshes out the books and how the art is presented to act as a visual tool for organization. “We worked with the design team to ensure that every class starts with the left-hand page,” Herman says. “Whereas before in 2014, it was just kind of a running journal. Now what we wanted to do is every class would open with a full-page piece of art on the left-hand side with a similar set of lead data on the right hand, so that every time you get to a new class, you get sort of an immediate visual, which we tried to theme around almost like an iconic version of what that class is.”

Art from the revised Dungeons & Dragons books

Concept art reveals the redesigned look for the red dragon. Artist Credit: Alexander Ostrowski

The revised books also gave the art and design team at Wizards of the Coast a chance to return to some of its most iconic visuals and refine the approach, including the titular dragons of the classic five metallic and five chromatic species. “All the dragon stuff was really great,” Herman says “We went through all 10 of them. We have new designs for all of those and there will be a lot of that in the Monster Manual for sure. We are trying to update those designs to be something in which players could see that dragon’s personality or what biome they live in, or where they fit in the cast of all of the dragons.”

Art from the revised Dungeons & Dragons books

The new look for the bronze dragon, and concepts for its breath weapon. Artist Credit: Alexander Ostrowski

As a longtime D&D player, I came away from perusing this new version of D&D with a lot of excitement. The art we’re sharing here publicly is just a sampling of what I had the opportunity to look over; there’s a cohesive visual language to the new books that is enticing. And I love the way the game seems to embrace the long history of heroes, villains, and iconic named monsters that have arisen over 50 years of play.

If the art on display here has you excited, I hope you don’t miss out on our in-depth tour of the design work expressed in the books themselves, as described in this month’s Game Informer magazine. Our eight-page article includes details on all three books, including new character options, building player bastions, new apex-tier monsters on the way, and the surprising importance and inclusions of what is arguably the oldest D&D campaign setting of them all – Greyhawk. In a magazine that is chiefly focused on video games, we figuratively rolled the dice on offering this level of depth on a tabletop game like D&D in one of our issues, thanks to its incredible influence on gaming, and its recent success and reach to newcomers. If that kind of coverage is something you like, we’d appreciate your support in checking out the magazine

In the meantime, enjoy exploring the breadth of all this new Dungeons & Dragons art! Click through the gallery below for full-size images of all the art included in this article, plus additional first-look pieces on the way in the new books. 

Scientists develop an affordable sensor for lead contamination

Scientists develop an affordable sensor for lead contamination

Engineers at MIT, Nanytang Technological University, and several companies have developed a compact and inexpensive technology for detecting and measuring lead concentrations in water, potentially enabling a significant advance in tackling this persistent global health issue.

The World Health Organization estimates that 240 million people worldwide are exposed to drinking water that contains unsafe amounts of toxic lead, which can affect brain development in children, cause birth defects, and produce a variety of neurological, cardiac, and other damaging effects. In the United States alone, an estimated 10 million households still get drinking water delivered through lead pipes.

“It’s an unaddressed public health crisis that leads to over 1 million deaths annually,” says Jia Xu Brian Sia, an MIT postdoc and the senior author of the paper describing the new technology.

But testing for lead in water requires expensive, cumbersome equipment and typically requires days to get results. Or, it uses simple test strips that simply reveal a yes-or-no answer about the presence of lead but no information about its concentration. Current EPA regulations require drinking water to contain no more that 15 parts per billion of lead, a concentration so low it is difficult to detect.

The new system, which could be ready for commercial deployment within two or three years, could detect lead concentrations as low as 1 part per billion, with high accuracy, using a simple chip-based detector housed in a handheld device. The technology gives nearly instant quantitative measurements and requires just a droplet of water.

The findings are described in a paper appearing today in the journal Nature Communications, by Sia, MIT graduate student and lead author Luigi Ranno, Professor Juejun Hu, and 12 others at MIT and other institutions in academia and industry.

The team set out to find a simple detection method based on the use of photonic chips, which use light to perform measurements. The challenging part was finding a way to attach to the photonic chip surface certain ring-shaped molecules known as crown ethers, which can capture specific ions such as lead. After years of effort, they were able to achieve that attachment via a chemical process known as Fischer esterification. “That is one of the essential breakthroughs we have made in this technology,” Sia says.

In testing the new chip, the researchers showed that it can detect lead in water at concentrations as low as one part per billion. At much higher concentrations, which may be relevant for testing environmental contamination such as mine tailings, the accuracy is within 4 percent.

The device works in water with varying levels of acidity, ranging from pH values of 6 to 8, “which covers most environmental samples,” Sia says. They have tested the device with seawater as well as tap water, and verified the accuracy of the measurements.

In order to achieve such levels of accuracy, current testing requires a device called an inductive coupled plasma mass spectrometer. “These setups can be big and expensive,” Sia says. The sample processing can take days and requires experienced technical personnel.

While the new chip system they developed is “the core part of the innovation,” Ranno says, further work will be needed to develop this into an integrated, handheld device for practical use. “For making an actual product, you would need to package it into a usable form factor,” he explains. This would involve having a small chip-based laser coupled to the photonic chip. “It’s a matter of mechanical design, some optical design, some chemistry, and figuring out the supply chain,” he says. While that takes time, he says, the underlying concepts are straightforward.

The system can be adapted to detect other similar contaminants in water, including cadmium, copper, lithium, barium, cesium, and radium, Ranno says. The device could be used with simple cartridges that can be swapped out to detect different elements, each using slightly different crown ethers that can bind to a specific ion.

“There’s this problem that people don’t measure their water enough, especially in the developing countries,” Ranno says. “And that’s because they need to collect the water, prepare the sample, and bring it to these huge instruments that are extremely expensive.” Instead, “having this handheld device, something compact that even untrained personnel can just bring to the source for on-site monitoring, at low costs,” could make regular, ongoing widespread testing feasible.

Hu, who is the John F. Elliott Professor of Materials Science and Engineering, says, “I’m hoping this will be quickly implemented, so we can benefit human society. This is a good example of a technology coming from a lab innovation where it may actually make a very tangible impact on society, which is of course very fulfilling.”

“If this study can be extended to simultaneous detection of multiple metal elements, especially the presently concerning radioactive elements, its potential would be immense,” says Hou Wang, an associate professor of environmental science and engineering at Hunan University in China, who was not associated with this work.

Wang adds, “This research has engineered a sensor capable of instantaneously detecting lead concentration in water. This can be utilized in real-time to monitor the lead pollution concentration in wastewater discharged from industries such as battery manufacturing and lead smelting, facilitating the establishment of industrial wastewater monitoring systems. I think the innovative aspects and developmental potential of this research are quite commendable.”

Wang Qian, a principal research scientist at the Institute of Materials Research in Singapore, who also was not affiliated with this work, says, “The ability for the pervasive, portable, and quantitative detection of lead has proved to be challenging primarily due to cost concerns. This work demonstrates the potential to do so in a highly integrated form factor and is compatible with large-scale, low-cost manufacturing.”

The team included researchers at MIT, at Nanyang Technological University and Temasek Laboratories in Singapore, at the University of Southampton in the U.K., and at companies Fingate Technologies, in Singapore, and Vulcan Photonics, headquartered in Malaysia. The work used facilities at MIT.nano, the Harvard University Center for Nanoscale Systems, NTU’s Center for Micro- and Nano-Electronics, and the Nanyang Nanofabrication Center.