We're wishing EFF a happy birthday on July 10! Since 1990, EFF's lawyers, activists, analysts, and technologists have used everything in their toolkit to ensure that technology supports freedom, justice, and innovation for all people of the world. They've seen it all and in this special edition of our EFFecting Change livestream series, leading experts at EFF will explore what's next for technology users.

EFFecting Change Livestream Series:
EFF Turns 35!
Thursday, July 10th
11:00 AM - 12:00 PM Pacific - Check Local Time
This event is LIVE and FREE!

Join EFF Executive Director Cindy Cohn, EFF Legislative Director Lee Tien, EFF Director of Cybersecurity Eva Galperin, and Professor / EFF Board Member Yoshi Kohno for this live Q&A. Learn what they have seen and how we can fuel the fight for privacy, free expression, and a future where digital freedoms are protected for everyone. 

We hope you and your friends can join us live! Be sure to spread the word, and share our past livestreams. Please note that all events will be recorded for later viewing on our YouTube page.

Want to make sure you don’t miss our next livestream? Here’s a link to sign up for updates about this series:eff.org/ECUpdates.

Evan Kharasch, professor of anesthesiology and vice chair for innovation at Duke University, has developed two approaches that may aid in fentanyl addiction recovery. After attending MIT’s Substance Use Disorders (SUD) Ventures Bootcamp, he’s committed to bringing them to market.

Illicit fentanyl addiction is still a national emergency in the United States, fueled by years of opioid misuse. As opioid prescriptions fell by 50 percent over 15 years, many turned to street drugs. Among those drugs, fentanyl stands out for its potency — just 2 milligrams can be fatal — and its low production cost. Often mixed with other drugs, it contributed to a large portion of over 80,000 overdose deaths in 2024. It has been particularly challenging to treat with currently available medications for opioid use disorder.  

​​As an anesthesiologist, Kharasch is highly experienced with opioids, including methadone, one of only three drugs approved in the United States for treating opioid use disorder. Methadone is a key option for managing fentanyl use. It’s employed to transition patients off fentanyl and to support ongoing maintenance, but access is limited, with only 20 percent of eligible patients receiving it. Initiating and adjusting methadone treatment can take weeks due to its clinical characteristics, often causing withdrawal and requiring longer hospital stays. Maintenance demands daily visits to one of just over 2,000 clinics, disrupting work or study and leading most patients to drop out after a few months.

To tackle these challenges, Kharasch developed two novel methadone formulations: one for faster absorption to cut initiation time from weeks to days — or even hours — and one to slow elimination, thereby potentially requiring only weekly, rather than daily, dosing. As a clinician, scientist, and entrepreneur, he sees the science as demanding, but bringing these treatments to patients presents an even greater challenge. Kharasch learned about the SUD Ventures Bootcamp, part of MIT Open Learning, as a recipient of research funding from the National Institute on Drug Abuse (NIDA). He decided to apply to bridge the gap in his expertise and was selected to attend as a fellow.

Each year, the SUD Ventures Bootcamp unites innovators — including scientists, entrepreneurs, and medical professionals — to develop bold, cross-disciplinary solutions to substance use disorders. Through online learning and an intensive one-week in-person bootcamp, teams tackle challenges in different “high priority” areas. Guided by experts in science, entrepreneurship, and policy, they build and pitch ventures aimed at real-world impact. Beyond the multidisciplinary curriculum, the program connects people deeply committed to this space and equipped to drive progress.

Throughout the program, Kharasch’s concepts were validated by the invited industry experts, who highlighted the potential impact of a longer-acting methadone formulation, particularly in correctional settings. Encouragement from MIT professors, coaches, and peers energized Kharasch to fully pursue commercialization. He has already begun securing intellectual property rights, validating the regulatory pathway through the U.S Food and Drug Administration, and gathering market and patient feedback.

The SUD Ventures Bootcamp, he says, both activated and validated his passion for bringing these innovations to patients. “After many years of basic, translational and clinical research on methadone all — supported by NIDA — I experienced that a ha moment of recognizing a potential opportunity to apply the findings to benefit patients at scale,” Kharasch says. “The NIDA-sponsored participation in the MIT SUD Ventures Bootcamp was the critical catalyst which ignited the inspiration and commitment to pursue commercializing our research findings into better treatments for opioid use disorder.”

As next steps, Kharasch is seeking an experienced co-founder and finalizing IP protections. He remains engaged with the SUD Ventures network as mentors, industry experts, and peers offer help with advancing this needed solution to market. For example, the program's mentor, Nat Sims, the Newbower/Eitan Endowed Chair in Biomedical Technology Innovation at Massachusetts General Hospital (MGH) and a fellow anesthesiologist, has helped Kharasch arrange technology validation conversations within the MGH ecosystem and the drug development community.

“Evan’s collaboration with the MGH ecosystem can help define an optimum process for commercializing these innovations — identifying who would benefit, how they would benefit, and who is willing to pilot the product once it’s available,” says Sims.

Kharasch has also presented his project in the program’s webinar series. Looking ahead, Kharasch hopes to involve MIT Sloan School of Management students in advancing his project through health care entrepreneurship classes, continuing the momentum that began with the SUD Ventures Bootcamp.

The program and its research are supported by the NIDA of the National Institutes of Health. Cynthia Breazeal, a professor of media arts and sciences at the MIT Media Lab and dean for digital learning at MIT Open Learning, serves as the principal investigator on the grant.

Gitanjali Rao, a rising junior at MIT majoring in biological engineering, has been named the first-ever recipient of the Stephen Hawking Junior Medal for Science Communication. This award, presented by the Starmus Festival, is a new category of the already prestigious award created by the late theoretical physicist, cosmologist, and author Stephen Hawking and the Starmus Festival.

“I spend a lot of time in labs,” says Rao, highlighting her Undergraduate Research Opportunities Program project in the Langer Lab. Along with her curiosity to explore, she also has a passion for helping others understand what happens inside the lab. “We very rarely discuss why science communication is important,” she says. “Stephen Hawking was incredible at that.”

Rao is the inventor of Epione, a device for early diagnosis of prescription opioid addiction, and Kindly, an anti-cyber-bullying service powered by AI and natural language processing. Kindly is now a United Nations Children's Fund “Digital Public Good” service and is accessible worldwide. These efforts, among others, brought her to the attention of the Starmus team.

The award ceremony was held last April at the Kennedy Center in Washington, where Rao gave a speech and met acclaimed scientists, artists, and musicians. “It was one for the books,” she says. “I met Brian May from Queen — he's a physicist.” Rao is also a musician in her own right — she plays bass guitar and piano, and she's been learning to DJ at MIT. “Starmus” is a portmanteau of “stars” and “music.”

Originally from Denver, Colorado, Rao attended a STEM-focused school before MIT. Looking ahead, she's open to graduate school, and dreams of launching a biotech startup when the right idea comes.

The medal comes with an internship opportunity that Rao hopes to use for fieldwork or experience in the pharmaceutical industry. She’s already secured a summer internship at Moderna, and is considering spending Independent Activities Period abroad. “Hopefully, I'll have a better idea in the next few months.”
 

The International Architecture Exhibition of La Biennale di Venezia holds up a mirror to the industry — not only reflecting current priorities and preoccupations, but also projecting an agenda for what might be possible. 

Curated by Carlo Ratti, MIT professor of practice of urban technologies and planning, this year’s exhibition (“Intelligens. Natural. Artificial. Collective”) proposes a “Circular Economy Manifesto” with the goal to support the “development and production of projects that utilize natural, artificial, and collective intelligence to combat the climate crisis.” 

Designers and architects will quickly recognize the paradox of this year’s theme. Global architecture festivals have historically had a high carbon footprint, using vast amounts of energy, resources, and materials to build and transport temporary structures that are later discarded. This year’s unprecedented emphasis on waste elimination and carbon neutrality challenges participants to reframe apparent limitations into creative constraints. In this way, the Biennale acts as a microcosm of current planetary conditions — a staging ground to envision and practice adaptive strategies.

VAMO (Vegetal, Animal, Mineral, Other)

When Ratti approached John Ochsendorf, MIT professor and founding director of MIT Morningside Academy of Design (MAD), with the invitation to interpret the theme of circularity, the project became the premise for a convergence of ideas, tools, and know-how from multiple teams at MIT and the wider MIT community. 

The Digital Structures research group, directed by Professor Caitlin Mueller, applied expertise in designing efficient structures of tension and compression. The Circular Engineering for Architecture research group, led by MIT alumna Catherine De Wolf at ETH Zurich, explored how digital technologies and traditional woodworking techniques could make optimal use of reclaimed timber. Early-stage startups — including companies launched by the venture accelerator MITdesignX — contributed innovative materials harnessing natural byproducts from vegetal, animal, mineral, and other sources. 

The result is VAMO (Vegetal, Animal, Mineral, Other), an ultra-lightweight, biodegradable, and transportable canopy designed to circle around a brick column in the Corderie of the Venice Arsenale — a historic space originally used to manufacture ropes for the city’s naval fleet. 

“This year’s Biennale marks a new radicalism in approaches to architecture,” says Ochsendorf. “It’s no longer sufficient to propose an exciting idea or present a stylish installation. The conversation on material reuse must have relevance beyond the exhibition space, and we’re seeing a hunger among students and emerging practices to have a tangible impact. VAMO isn’t just a temporary shelter for new thinking. It’s a material and structural prototype that will evolve into multiple different forms after the Biennale.”

Tension and compression

The choice to build the support structure from reclaimed timber and hemp rope called for a highly efficient design to maximize the inherent potential of comparatively humble materials. Working purely in tension (the spliced cable net) or compression (the oblique timber rings), the structure appears to float — yet is capable of supporting substantial loads across large distances. The canopy weighs less than 200 kilograms and covers over 6 meters in diameter, highlighting the incredible lightness that equilibrium forms can achieve. VAMO simultaneously showcases a series of sustainable claddings and finishes made from surprising upcycled materials — from coconut husks, spent coffee grounds, and pineapple peel to wool, glass, and scraps of leather. 

The Digital Structures research group led the design of structural geometries conditioned by materiality and gravity. “We knew we wanted to make a very large canopy,” says Mueller. “We wanted it to have anticlastic curvature suggestive of naturalistic forms. We wanted it to tilt up to one side to welcome people walking from the central corridor into the space. However, these effects are almost impossible to achieve with today's computational tools that are mostly focused on drawing rigid materials.”

In response, the team applied two custom digital tools, Ariadne and Theseus, developed in-house to enable a process of inverse form-finding: a way of discovering forms that achieve the experiential qualities of an architectural project based on the mechanical properties of the materials. These tools allowed the team to model three-dimensional design concepts and automatically adjust geometries to ensure that all elements were held in pure tension or compression.

“Using digital tools enhances our creativity by allowing us to choose between multiple different options and short-circuit a process that would have otherwise taken months,” says Mueller. “However, our process is also generative of conceptual thinking that extends beyond the tool — we’re constantly thinking about the natural and historic precedents that demonstrate the potential of these equilibrium structures.”

Digital efficiency and human creativity 

Lightweight enough to be carried as standard luggage, the hemp rope structure was spliced by hand and transported from Massachusetts to Venice. Meanwhile, the heavier timber structure was constructed in Zurich, where it could be transported by train — thereby significantly reducing the project’s overall carbon footprint. 

The wooden rings were fabricated using salvaged beams and boards from two temporary buildings in Switzerland — the Huber and Music Pavilions — following a pedagogical approach that De Wolf has developed for the Digital Creativity for Circular Construction course at ETH Zurich. Each year, her students are tasked with disassembling a building due for demolition and using the materials to design a new structure. In the case of VAMO, the goal was to upcycle the wood while avoiding the use of chemicals, high-energy methods, or non-biodegradable components (such as metal screws or plastics). 

“Our process embraces all three types of intelligence celebrated by the exhibition,” says De Wolf. “The natural intelligence of the materials selected for the structure and cladding; the artificial intelligence of digital tools empowering us to upcycle, design, and fabricate with these natural materials; and the crucial collective intelligence that unlocks possibilities of newly developed reused materials, made possible by the contributions of many hands and minds.”

For De Wolf, true creativity in digital design and construction requires a context-sensitive approach to identifying when and how such tools are best applied in relation to hands-on craftsmanship. 

Through a process of collective evaluation, it was decided that the 20-foot lower ring would be assembled with eight scarf joints using wedges and wooden pegs, thereby removing the need for metal screws. The scarf joints were crafted through five-axis CNC milling; the smaller, dual-jointed upper ring was shaped and assembled by hand by Nicolas Petit-Barreau, founder of the Swiss woodwork company Anku, who applied his expertise in designing and building yurts, domes, and furniture to the VAMO project. 

“While digital tools suited the repetitive joints of the lower ring, the upper ring’s two unique joints were more efficiently crafted by hand,” says Petit-Barreau. “When it comes to designing for circularity, we can learn a lot from time-honored building traditions. These methods were refined long before we had access to energy-intensive technologies — they also allow for the level of subtlety and responsiveness necessary when adapting to the irregularities of reused wood.”

A material palette for circularity

The structural system of a building is often the most energy-intensive; an impact dramatically mitigated by the collaborative design and fabrication process developed by MIT Digital Structures and ETH Circular Engineering for Architecture. The structure also serves to showcase panels made of biodegradable and low-energy materials — many of which were advanced through ventures supported by MITdesignX, a program dedicated to design innovation and entrepreneurship at MAD. 

“In recent years, several MITdesignX teams have proposed ideas for new sustainable materials that might at first seem far-fetched,” says Gilad Rosenzweig, executive director of MITdesignX. “For instance, using spent coffee grounds to create a leather-like material (Cortado), or creating compostable acoustic panels from coconut husks and reclaimed wool (Kokus). This reflects a major cultural shift in the architecture profession toward rethinking the way we build, but it’s not enough just to have an inventive idea. To achieve impact — to convert invention into innovation — teams have to prove that their concept is cost-effective, viable as a business, and scalable.”

Aligned with the ethos of MAD, MITdesignX assesses profit and productivity in terms of environmental and social sustainability. In addition to presenting the work of R&D teams involved in MITdesignX, VAMO also exhibits materials produced by collaborating teams at University of Pennsylvania’s Stuart Weitzman School of Design, Politecnico di Milano, and other partners, such as Manteco. 

The result is a composite structure that encapsulates multiple life spans within a diverse material palette of waste materials from vegetal, animal, and mineral forms. Panels of Ananasse, a material made from pineapple peels developed by Vérabuccia, preserve the fruit’s natural texture as a surface pattern, while rehub repurposes fragments of multicolored Murano glass into a flexible terrazzo-like material; COBI creates breathable shingles from coarse wool and beeswax, and DumoLab produces fuel-free 3D-printable wood panels. 

A purpose beyond permanence 

Adriana Giorgis, a designer and teaching fellow in architecture at MIT, played a crucial role in bringing the parts of the project together. Her research explores the diverse network of factors that influence whether a building stands the test of time, and her insights helped to shape the collective understanding of long-term design thinking.

“As a point of connection between all the teams, helping to guide the design as well as serving as a project manager, I had the chance to see how my research applied at each level of the project,” Giorgis reflects. “Braiding these different strands of thinking and ultimately helping to install the canopy on site brought forth a stronger idea about what it really means for a structure to have longevity. VAMO isn’t limited to its current form — it’s a way of carrying forward a powerful idea into contemporary and future practice.”

What’s next for VAMO? Neither the attempt at architectural permanence associated with built projects, nor the relegation to waste common to temporary installations. After the Biennale, VAMO will be disassembled, possibly reused for further exhibitions, and finally relocated to a natural reserve in Switzerland, where the parts will be researched as they biodegrade. In this way, the lifespan of the project is extended beyond its initial purpose for human habitation and architectural experimentation, revealing the gradual material transformations constantly taking place in our built environment.

To quote Carlo Ratti’s Circular Economy Manifesto, the “lasting legacy” of VAMO is to “harness nature’s intelligence, where nothing is wasted.” Through a regenerative symbiosis of natural, artificial, and collective intelligence, could architectural thinking and practice expand to planetary proportions?

The Substance Use Disorders Ventures Bootcamp ignites innovators like Evan Kharasch to turn research breakthroughs into treatments for substance use disorder.

Often when we listen to music, we just instinctually enjoy it. Sometimes, though, it’s worth dissecting a song or other composition to figure out how it’s built.

Take the 1953 jazz standard “Satin Doll,” written by Duke Ellington and Billy Strayhorn, whose subtle structure rewards a close listening. As it happens, MIT Professor Emeritus Samuel Jay Keyser, a distinguished linguist and an avid trombonist on the side, has given the song careful scrutiny.

To Keyser, “Satin Doll” is a glittering example of what he calls the “same/except” construction in art. A basic rhyme, like “rent” and “tent,” is another example of this construction, given the shared rhyming sound and the different starting consonants.

In “Satin Doll,” Keyser observes, both the music and words feature a “same/except” structure. For instance, the rhythm of the first two bars of “Satin Doll” is the same as the second two bars, but the pitch goes up a step in bars three and four. An intricate pattern of this prevails throughout the entire body of “Satin Doll,” which Keyser calls “a musical rhyme scheme.”

When lyricist Johnny Mercer wrote words for “Satin Doll,” he matched the musical rhyme scheme. One lyric for the first four bars is, “Cigarette holder / which wigs me / Over her shoulder / she digs me.” Other verses follow the same pattern.

“Both the lyrics and the melody have the same rhyme scheme in their separate mediums, words and music, namely, A-B-A-B,” says Keyser. “That’s how you write lyrics. If you understand the musical rhyme scheme, and write lyrics to match that, you are introducing a whole new level of repetition, one that enhances the experience.”

Now, Keyser has a new book out about repetition in art and its cognitive impact on us, scrutinizing “Satin Doll” along with many other works of music, poetry, painting, and photography. The volume, “Play It Again, Sam: Repetition in the Arts,” is published by the MIT Press. The title is partly a play on Keyser’s name.

Inspired by the Margulis experiment

The genesis of “Play It Again, Sam” dates back several years, when Keyser encountered an experiment conducted by musicologist Elizabeth Margulis, described in her 2014 book, “On Repeat.” Margulis found that when she altered modern atonal compositions to add repetition to them, audiences ranging from ordinary listeners to music theorists preferred these edited versions to the original works.

“The Margulis experiment really caused the ideas to materialize,” Keyser says. He then examined repetition across art forms that featured research on associated cognitive activity, especially music, poetry, and the visual arts. For instance, the brain has distinct locations dedicated to the recognition of faces, places, and bodies. Keyser suggests this is why, prior to the advent of modernism, painting was overwhelmingly mimetic.

Ideally, he suggests, it will be possible to more comprehensively study how our brains process art — to see if encountering repetition triggers an endorphin release, say. For now, Keyser postulates that repetition involves what he calls the 4 Ps: priming, parallelism, prediction, and pleasure. Essentially, hearing or seeing a motif sets the stage for it to be repeated, providing audiences with satisfaction when they discover the repetition.

With remarkable range, Keyser vigorously analyzes how artists deploy repetition and have thought about it, from “Beowulf” to Leonard Bernstein, from Gustave Caillebotte to Italo Calvino. Some artworks do deploy identical repetition of elements, such as the Homeric epics; others use the “same/except” technique.

Keyser is deeply interested in visual art displaying the “same/except” concept, such as Andy Warhol’s famous “Campbell Soup Cans” painting. It features four rows of eight soup cans, which are all the same — except for the kind of soup on each can.

“Discovering this ‘same/except’ repetition in a work of art brings pleasure,” Keyser says.

But why is this? Multiple experimental studies, Keyser notes, suggest that repeated exposure of a subject to an image — such as an infant’s exposure to its mother’s face — helps create a bond of affection. This is the “mere exposure” phenomenon, posited by social psychologist Robert Zajonc, who as Keyser notes in the book, studied in detail “the repetition of an arbitrary stimulus and the mild affection that people eventually have for it.”

This tendency also helps explain why product manufacturers create ads with just the name of their products in ads: Seen often enough, the viewer bonds with the name. However the mechanism connecting repetition with pleasure works, and whatever its original function, Keyser argues that many artists have successfully tapped into it, grasping that audiences like repetition in poetry, painting, and music.

A shadow dog in Albuquerque

In the book, Keyser’s emphasis on repetition generates some distinctive interpretive positions. In one chapter, he digs into Lee Friendlander’s well-known photo, “Albuquerque, New Mexico,” a street scene with a jumble of signs, wires, and buildings, often interpreted in symbolic terms: It’s the American West frontier being submerged under postwar concrete and commerce.

Keyser, however, has a really different view of the Friendlander photo. There is a dog sitting near the middle of it; to the right is the shadow of a street sign. Keyser believes the shadow resembles the dog, and thinks it creates playful repetition in the photo.

“This particular photograph is really two photographs that rhyme,” Keyser says.“They’re the same, except one is the dog and one is the shadow. And that’s why that photograph is pleasurable, because you see that, even if you may not be fully aware of it. Sensing repetition in a work of art brings pleasure.”

“Play It Again, Sam” has received praise from arts practitioners, among others. George Darrah, principal drummer and arranger of the Boston Pops Orchestra, has called the book “extraordinary” in its “demonstration of the ways that poetry, music, painting, and photography engender pleasure in their audiences by exploiting the ability of the brain to detect repetition.” He adds that “Keyser has an uncanny ability to simplify complex ideas so that difficult material is easily understandable.”

In certain ways “Play It Again, Sam” contains the classic intellectual outlook of an MIT linguist. For decades, MIT-linked linguistics research has identified the universal structures of human language, revealing important similarities despite the seemingly wild variation of global languages. And here too, Keyser finds patterns that help organize an apparently boundless world of art. “Play It Again, Sam” is a hunt for structure.

Asked about this, Keyser acknowledges the influence of his longtime field on his current intellectual explorations, while noting that his insights about art are part of a greater investigation into our works and minds.

“I’m bringing a linguistic habit of mind to art,” Keyser says. “But I’m also pointing an analytical lens in the direction of natural predilections of the brain. The idea is to investigate how our aesthetic sense depends on the way the mind works. I’m trying to show how art can exploit the brain’s capacity to produce pleasure from non-art related functions.”

Using an inexpensive electrode coated with DNA, MIT researchers have designed disposable diagnostics that could be adapted to detect a variety of diseases, including cancer or infectious diseases such as influenza and HIV.

These electrochemical sensors make use of a DNA-chopping enzyme found in the CRISPR gene-editing system. When a target such as a cancerous gene is detected by the enzyme, it begins shearing DNA from the electrode nonspecifically, like a lawnmower cutting grass, altering the electrical signal produced.

One of the main limitations of this type of sensing technology is that the DNA that coats the electrode breaks down quickly, so the sensors can’t be stored for very long and their storage conditions must be tightly controlled, limiting where they can be used. In a new study, MIT researchers stabilized the DNA with a polymer coating, allowing the sensors to be stored for up to two months, even at high temperatures. After storage, the sensors were able to detect a prostate cancer gene that is often used to diagnose the disease.

The DNA-based sensors, which cost only about 50 cents to make, could offer a cheaper way to diagnose many diseases in low-resource regions, says Ariel Furst, the Paul M. Cook Career Development Assistant Professor of Chemical Engineering at MIT and the senior author of the study.

“Our focus is on diagnostics that many people have limited access to, and our goal is to create a point-of-use sensor. People wouldn’t even need to be in a clinic to use it. You could do it at home,” Furst says.

MIT graduate student Xingcheng Zhou is the lead author of the paper, published June 30 in the journal ACS Sensors. Other authors of the paper are MIT undergraduate Jessica Slaughter, Smah Riki ’24, and graduate student Chao Chi Kuo.

An inexpensive sensor

Electrochemical sensors work by measuring changes in the flow of an electric current when a target molecule interacts with an enzyme. This is the same technology that glucose meters use to detect concentrations of glucose in a blood sample.

The electrochemical sensors developed in Furst’s lab consist of DNA adhered to an inexpensive gold leaf electrode, which is laminated onto a sheet of plastic. The DNA is attached to the electrode using a sulfur-containing molecule known as a thiol.

In a 2021 study, Furst’s lab showed that they could use these sensors to detect genetic material from HIV and human papillomavirus (HPV). The sensors detect their targets using a guide RNA strand, which can be designed to bind to nearly any DNA or RNA sequence. The guide RNA is linked to an enzyme called Cas12, which cleaves DNA nonspecifically when it is turned on and is in the same family of proteins as the Cas9 enzyme used for CRISPR genome editing.

If the target is present, it binds to the guide RNA and activates Cas12, which then cuts the DNA adhered to the electrode. That alters the current produced by the electrode, which can be measured using a potentiostat (the same technology used in handheld glucose meters).

“If Cas12 is on, it’s like a lawnmower that cuts off all the DNA on your electrode, and that turns off your signal,” Furst says.

In previous versions of the device, the DNA had to be added to the electrode just before it was used, because DNA doesn’t remain stable for very long. In the new study, the researchers found that they could increase the stability of the DNA by coating it with a polymer called polyvinyl alcohol (PVA).

This polymer, which costs less than 1 cent per coating, acts like a tarp that protects the DNA below it. Once deposited onto the electrode, the polymer dries to form a protective thin film.

“Once it’s dried, it seems to make a very strong barrier against the main things that can harm DNA, such as reactive oxygen species that can either damage the DNA itself or break the thiol bond with the gold and strip your DNA off the electrode,” Furst says.

Successful detection

The researchers showed that this coating could protect DNA on the sensors for at least two months, and it could also withstand temperatures up to about 150 degrees Fahrenheit. After two months, they rinsed off the polymer and demonstrated that the sensors could still detect PCA3, a prostate cancer gene that can be found in urine.

This type of test could be used with a variety of samples, including urine, saliva, or nasal swabs. The researchers hope to use this approach to develop cheaper diagnostics for infectious diseases, such as HPV or HIV, that could be used in a doctor’s office or at home. This approach could also be used to develop tests for emerging infectious diseases, the researchers say.

A group of researchers from Furst’s lab was recently accepted into delta v, MIT’s student venture accelerator, where they hope to launch a startup to further develop this technology. Now that the researchers can create tests with a much longer shelf-life, they hope to begin shipping them to locations where they could be tested with patient samples.

“Our goal is to continue to test with patient samples against different diseases in real world environments,” Furst says. “Our limitation before was that we had to make the sensors on site, but now that we can protect them, we can ship them. We don’t have to use refrigeration. That allows us to access a lot more rugged or non-ideal environments for testing.”

The research was funded, in part, by the MIT Research Support Committee and a MathWorks Fellowship.

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Nature Climate Change, Published online: 01 July 2025; doi:10.1038/s41558-025-02372-4

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A new imaging technique developed by MIT researchers could enable quality-control robots in a warehouse to peer through a cardboard shipping box and see that the handle of a mug buried under packing peanuts is broken.

Their approach leverages millimeter wave (mmWave) signals, the same type of signals used in Wi-Fi, to create accurate 3D reconstructions of objects that are blocked from view.

The waves can travel through common obstacles like plastic containers or interior walls, and reflect off hidden objects. The system, called mmNorm, collects those reflections and feeds them into an algorithm that estimates the shape of the object’s surface.

This new approach achieved 96 percent reconstruction accuracy on a range of everyday objects with complex, curvy shapes, like silverware and a power drill. State-of-the-art baseline methods achieved only 78 percent accuracy.

In addition, mmNorm does not require additional bandwidth to achieve such high accuracy. This efficiency could allow the method to be utilized in a wide range of settings, from factories to assisted living facilities.

For instance, mmNorm could enable robots working in a factory or home to distinguish between tools hidden in a drawer and identify their handles, so they could more efficiently grasp and manipulate the objects without causing damage.

“We’ve been interested in this problem for quite a while, but we’ve been hitting a wall because past methods, while they were mathematically elegant, weren’t getting us where we needed to go. We needed to come up with a very different way of using these signals than what has been used for more than half a century to unlock new types of applications,” says Fadel Adib, associate professor in the Department of Electrical Engineering and Computer Science, director of the Signal Kinetics group in the MIT Media Lab, and senior author of a paper on mmNorm.

Adib is joined on the paper by research assistants Laura Dodds, the lead author, and Tara Boroushaki, and former postdoc Kaichen Zhou. The research was recently presented at the Annual International Conference on Mobile Systems, Applications and Services.

Reflecting on reflections

Traditional radar techniques send mmWave signals and receive reflections from the environment to detect hidden or distant objects, a technique called back projection.

This method works well for large objects, like an airplane obscured by clouds, but the image resolution is too coarse for small items like kitchen gadgets that a robot might need to identify.

In studying this problem, the MIT researchers realized that existing back projection techniques ignore an important property known as specularity. When a radar system transmits mmWaves, almost every surface the waves strike acts like a mirror, generating specular reflections.

If a surface is pointed toward the antenna, the signal will reflect off the object to the antenna, but if the surface is pointed in a different direction, the reflection will travel away from the radar and won’t be received.

“Relying on specularity, our idea is to try to estimate not just the location of a reflection in the environment, but also the direction of the surface at that point,” Dodds says.

They developed mmNorm to estimate what is called a surface normal, which is the direction of a surface at a particular point in space, and use these estimations to reconstruct the curvature of the surface at that point.

Combining surface normal estimations at each point in space, mmNorm uses a special mathematical formulation to reconstruct the 3D object.

The researchers created an mmNorm prototype by attaching a radar to a robotic arm, which continually takes measurements as it moves around a hidden item. The system compares the strength of the signals it receives at different locations to estimate the curvature of the object’s surface.

For instance, the antenna will receive the strongest reflections from a surface pointed directly at it and weaker signals from surfaces that don’t directly face the antenna.

Because multiple antennas on the radar receive some amount of reflection, each antenna “votes” on the direction of the surface normal based on the strength of the signal it received.

“Some antennas might have a very strong vote, some might have a very weak vote, and we can combine all votes together to produce one surface normal that is agreed upon by all antenna locations,” Dodds says.

In addition, because mmNorm estimates the surface normal from all points in space, it generates many possible surfaces. To zero in on the right one, the researchers borrowed techniques from computer graphics, creating a 3D function that chooses the surface most representative of the signals received. They use this to generate a final 3D reconstruction.

Finer details

The team tested mmNorm’s ability to reconstruct more than 60 objects with complex shapes, like the handle and curve of a mug. It generated reconstructions with about 40 percent less error than state-of-the-art approaches, while also estimating the position of an object more accurately.

Their new technique can also distinguish between multiple objects, like a fork, knife, and spoon hidden in the same box. It also performed well for objects made from a range of materials, including wood, metal, plastic, rubber, and glass, as well as combinations of materials, but it does not work for objects hidden behind metal or very thick walls.

“Our qualitative results really speak for themselves. And the amount of improvement you see makes it easier to develop applications that use these high-resolution 3D reconstructions for new tasks,” Boroushaki says.

For instance, a robot can distinguish between multiple tools in a box, determine the precise shape and location of a hammer’s handle, and then plan to pick it up and use it for a task. One could also use mmNorm with an augmented reality headset, enabling a factory worker to see lifelike images of fully occluded objects.

It could also be incorporated into existing security and defense applications, generating more accurate reconstructions of concealed objects in airport security scanners or during military reconnaissance.

The researchers want to explore these and other potential applications in future work. They also want to improve the resolution of their technique, boost its performance for less reflective objects, and enable the mmWaves to effectively image  through thicker occlusions.

“This work really represents a paradigm shift in the way we are thinking about these signals and this 3D reconstruction process. We’re excited to see how the insights that we’ve gained here can have a broad impact,” Dodds says.

This work is supported, in part, by the National Science Foundation, the MIT Media Lab, and Microsoft.