< Back to Issue 5 On the Folklore of Fossils Ethan Bisogni 24 October 2023 Edited by Arwen Nguyen-Ngo Illustrated by Aisyah Mohammad Sulhanuddin We inhabit an incredible world, one shaped by the ancient mysteries of our past and the imaginative stories they inspire. Throughout human history, we have tried to comprehend the bigger picture - using mythology and science to explain the presence of any natural phenomena we can observe. Between the movement of the stars and shape of the land, most scientific explanations of our world share a fascinating mythical counterpart. One particular area of science that has been bestowed with some truly incredible folklore is palaeontology. A History of Palaeontology To best understand some of the amazing mythologies surrounding fossils, we should first briefly explore the history of modern palaeontology. Some of the earliest attempts at understanding fossils can be seen in ancient Greece and Rome, where philosophers such as Herodotus understood that the presence of petrified shells indicated the recession of a past marine environment (Forli & Guerrini, 2022a). However, much of the groundwork for modern palaeontology was only developed in the late 17th century (Boudreau et al., 2023). Regarded as one of the most influential figures in modern geology, Nicholas Steno had outlined the Principles of Stratigraphy in his 1669 Dissertationis Prodromus - to be used as a jumping board for many earth scientists to come (Berthault, 2022). In the early 1800’s, William Smith had utilised his fossil knowledge to differentiate and match layers of rock known as strata, published in Strata Identified by Organised Fossils (Scott, 2008). And perhaps one of the largest contributions to modern palaeontology, Darwin's theory of evolution outlined in On the Origin of Species allowed for natural scientists to better understand the evolution of species throughout time. Considering how much of what we know about modern palaeontology was only published in the last 350 years, it becomes clear why so many cultures had developed their own interesting interpretations of fossils. From magical spells to infernal beasts, these legends highlight the prominent ideologies of their time. So let us explore some of the more interesting and diverse fossil myths from the ages. Merlinia To start, we will be discussing the folklore origin of Merlinia, an extinct genus of trilobite from the Early Ordivician age, 470 million years ago (British Geological Survey, n.d.). Trilobites were small sea-faring invertebrates who first appeared following the Cambrian Explosion, and were prominent throughout the fossil record until their unfortunate extinction 250 million years ago during the Late Permian mass extinction (American Museum of Natural History, n.d.). According to the British Geological Survey, this genus of trilobite was extensively found throughout the rocks of Carmarthen - a Welsh town famous for being the supposed birthplace of Merlin, the legendary wizard and advisor to King Arthur (‘P550303’, 2009). Often mistaken by the townspeople as stone butterflies, these fossils were naturally attributed to Merlin and thought to be the product of a petrification spell (American Museum of Natural History, n.d.). Whilst disheartening for the butterflies, the real trilobites behind the myth likely faced a much more wicked and sorrowful demise. Snakestones Much like Merlinia, snakestones were also named after a prominent figure with a habit for turning creatures to stone. Saint Hilda of Whitby was the abbess of the local town monastery during the sixteen hundreds, and was widely credited for the creation of these fossils - which are otherwise known as Hildoceras, after herself (Lotzof, n.d.). With the town facing a plague of snakes, St Hilda was said to have performed a miracle that petrified the serpents and forced them to coil into the fossils we see today (National Museums Scotland, n.d.). These stony serpents however are really just ammonites, a group of molluscs that went extinct alongside the dinosaurs 66 million years ago (Osterloff, n.d.). The legend of St Hilda isn’t the only instance of snake-repellent folklore either, with St Patrick earning himself a holiday after supposedly clearing the snakes out of Ireland. Much of the rise of European anguine-based legends can be attributed to growing Christian influences during the second millennium. The biblical depiction of snakes as tempting and disingenuous has caused them to be portrayed harshly throughout older western media (Migdol, 2021). Unsurprisingly, this isn't the only time that palaeontology and Christianity have crossed paths. The Devil Perhaps the most infamous figure in human culture, the Devil is outlined in Christian doctrine as the embodiment of sin and evil. References to their influence can be found throughout human history, and have naturally found their way into geological folklore. Many geological features have been attributed to a satanic presence, thought to be remnants from when the Devil would walk the earth (Forli & Guerrini, 2022b). Gryphaea was a fossil widely mistaken as the authentic nails of Satan himself, hence nicknamed the ‘Devil’s Nails’, and was used as a proxy to determine areas of evil (Forli & Guerrini, 2022b). However, these fossils were not the byproduct of Satan’s occasional beauty treatments, but rather an extinct genus of mollusc from the early Jurassic, 200 million years ago (Forli & Guerrini, 2022b). Nail clippings were not the only features observed that people considered to be a sign of the Devil’s unholy pilgrimage. Devilish hoof-shaped steps embedded into stone have been reported throughout the world. Referred to as ‘il-passi tax-xitan’ by the Maltese, meaning ‘the devil's footsteps’, these tracks were considered further proof of the Devil's presence amongst mankind (Duffin & Davidson, 2011). In Malta these footprints were really just fossilised echinoids - innocent former sea urchins facing unkind accusations of being demonic (Duffin & Davidson, 2011). That's not to say all Maltese fossils were considered unholy: some 16th century priests conversely believed them to be the footsteps of St Paul the Apostle, following his shipwrecking on the island in the 1st century (Mayor & Sarjeant, 2001). Dragons Dragons are some of the most well known mythical creatures, with many cultures around the world having their own rendition of a mystic dragon-like beast. Unlike some of the other legends explored so far, it is unlikely that fossilised remains were the initial cause of this myth, but were rather used as evidence to cement it in truth. Dragons were considered prominent creatures throughout the Indian mountains, with evidence of dragon hunts being displayed in the ancient city of Paraka (Mayor, 2000). Apollonius of Tyana, a 1st century Greek philosopher, was said to have observed these dragons during his passage through the Siwalik Hills - an Indian range known for its preservation of larger fossils (Mayor, 2000). Described by Apollonius as considerable tusked creatures, these dragon remains were more than likely the fossils of extinct elephants and giraffids - such as Elephas hysudricus or Sivatherium giganteum (Mayor, 2000). India is not the only country to have experienced this phenomenon either, with many Asian and European societies said to have also continuously misdiagnose large vertebrate fossils as dragon bones. Whether it is mischievous spellcasting or the indication of a demonic evil, myths surrounding fossils have existed throughout centuries of human society. These legends provide a fascinating window into the creative minds of past cultures, and their beliefs at the time. While modern palaeontologists have proven these legends to be no more than captivating stories, it is important to view this folklore with a certain understanding and respect. These early attempts at trying to understand the world around us provides an interesting insight into human nature, and our innate desire to search for answers. References American Museum of Natural History. (n.d.) End of the Line - The demise of the Trilobites . American Museum of Natural History. https://www.amnh.org/research/paleontology/collections/fossil-invertebrate-collection/trilobite-website/trilobite-localities/end-of-the-line-the-demise-of-the-trilobites Berthault, G. (2002). Analysis of Main Principles of Stratigraphy on the Basis of Experimental Data . Lithology and Mineral Resources, 22(5), 442-446. https://doi.org/10.1023/A:1020220232661 Boudreau, D., McDaniel, M., Sprout, E., & Turgeon, A. (2023). Paleontology . National Geographic Society. https://education.nationalgeographic.org/resource/paleontology/ British Geological Survey (n.d.). Trilobites . https://www.bgs.ac.uk/discovering-geology/fossilsand-geological-time/trilobites/ Duffin, C. J., & Davidson, J. P. (2011). Geology and the dark side . Proceedings of the Geologists’ Association, 122(1), 7-15. https://doi.org/10.1016/j.pgeola.2010.08.002 Forli, M., & Guerrini, A. (2022). Bivalvia: Devil’s Nails, Reflections Between Superstition and Science. In The History of Fossils Over Centuries (pp. 181-206). Springer, Cham. https://doi.org/10.1007/978-3-031-04687-2_2 Forli, M., & Guerrini, A. (2022). Fossilia and Fossils: Considerations on Their Understanding Over the Centuries . In The History of Fossils Over Centuries (pp. 5-25). Springer, Cham. https://doi.org/10.1007/978-3-031-04687-2_12 Lotzof, K. (n.d.). Snakestones: The Myth, Magic, and Science of Ammonites . Natural History Museum. https://www.nhm.ac.uk/discover/snakestones-ammonites-myth-magic-science.html Mayor, A. (2000). CHAPTER 3 Ancient Discoveries of Giant Bones . In The First Fossil Hunters (pp. 104-156). Princeton University Press. https://www.jstor.org/stable/j.ctt7s6mm.11 Mayor, A., & Sarjeant, W.A.S. (2001). The Folklore of Footprints in Stone: From Classical Antiquity to the Present . An International Journal for Plant and Animal Traces, 8(2), 143-163. https://www.jstor.org/stable/j.ctt7s6mm.11 Migdol, E., Morrison, E., & Grollemond, L. (2021). What Did People Believe about Animals in the Middle Ages? Getty Conservation Institute. https://www.getty.edu/news/what-did-people-believe-about-animals-in-the-middle-ages/ National Museums Scotland (n.d.). Snakestones . https://www.nms.ac.uk/explore-our- collections/stories/natural-sciences/fossil-tales/fossil-tales-menu/snakestones/ Osterloff, E. (n.d.). What Is an Ammonite? Natural History Museum. https://www.nhm.ac.uk/discover/what-is-an-ammonite.html P550303. (2009). British Geological Survey . http://geoscenic.bgs.ac.uk/asset- bank/action/viewAsset?id=113713&index=4&total=6&view=viewSearchItem Scott, M. (2008). William Smith (1769-1839) . NASA Earth Observatory. https://earthobservatory.nasa.gov/features/WilliamSmith Wicked back to

< Back to Print Editions Print Edition 2: Issue 4, 5 and 6 2023/2024 ABOUT THIS EDITION In various languages, the word ‘science’ can be traced back to its Latin origins of simply meaning ‘to know’. Today, explorers, curators, and researchers of scientific knowledge understand this as a systematic acquisition of information, with observations made and theories tested as we try to comprehend our world. For true advancement, science requires reciprocity: the mutual sharing between ‘scientists’ and individuals of society alike. In such a discourse we celebrate the beauty of scientific progress, whilst too holding space for the unease new unknowns can bring. Science communication is how we can continue to alleviate this dissonance, bridging knowledge gaps and seeking scientific understanding for all. The creation of Issue 4: Mirage, Issue 5: Wicked and Issue 6: Elemental over 2023 and 2024 has seen contributors create ever more informative content, aiming to make the innovations of science readily accessible to the public. Through experimenting with new formats, genres and mediums for illustrations, our contributors have formed a body of work that seeks to captivate and question. FEATURED ISSUES Issue 4: Mirage This issue explores the realms of science that are not what they seem. Is that shape in the distance reality or just a figment of your imagination? Issue 5: Wicked This issue spotlights the mischievous, malevolent and morally dubious. Issue 6: Elemental This issue explores the building blocks that comprise the world we live in. PURCHASE A COPY Keen to purchase a copy of the magazine? Click here to do so, at an OmniSci Magazine exclusive price! Alternatively, visit the Science Gallery Melbourne to find our magazines stocked in person. back to print editions

The Intellectual’s False Dilemma: Art vs Science By Natalie Cierpisz The age-old debate once again resurfaces. How do art and science truly interact? Is one dependent on the other? How does the ‘art intellectual’ embrace science, and how does the ‘science intellectual’ embrace art? Is this all a meaningless debate anyway? Edited by Andrew Lim, Mia Horsfall & Hamish Payne Issue 1: September 24, 2021 Illustration by Casey Boswell The autumnal Melbourne wind whistles through the naked plane trees lining South Lawn, the sky is flat and grey. Two individuals who regard themselves and only themselves as ‘intellectual paragons’ are seated on a somewhat uncomfortable wooden bench, a perfect perch for people-watching, yet they are rather egotistical and notice only their own presence. One carefully places down their black coffee to light a hand-rolled cigarette; they are a liberal arts intellectual. As the wind grows stronger, the other tightly wraps a lab coat around themselves, and pushes a pair of wire-rimmed spectacles up their nose for the nth time. This would be our scientist. “So, are you still fooling around with your test tubes and pretty lights?” asks the liberal arts academic, cigarette hanging out the corner of their mouth. “If you mean, am I still investigating antiprotons using laser spectroscopy, then yes, indubitably so. How’s your fooling around with Hegel going?” replies the scientist, again pushing their glasses back up to a suitable height. The liberal arts intellectual is quick to retort the scientist’s trite remarks - they are in fact composing a Hegelian analysis of The Communist Manifesto, and not ‘fooling around’ by any means. The tension between the two self-professed intellectuals is building. The two appear to be fighting for dominance in their passive attacks on ego. So goes the age-old feud between the arts and the sciences. These two shallow characters play into the false dilemma that science and art are separate, distinct, alien. Two polar opposites. A total and unequivocal dichotomy. In all fairness, it is difficult to imagine many people will take this polarised a stance on the relationship between art and science. And now, as we delve into the complex relationship between the two domains, it should become clear that science and art are functionally interdependent (1), and considering art and science as totally separate is simply absurd. Let’s get back to our two feuding intellectuals. There seems to be much stereotypical disjunction between the two. But how does this translate to the true relationship between art and science? If the liberal arts intellectual and scientist were not so wrapped up in their self-interested ways, perhaps their gaze would slowly drift to the grandiose arches and imposing columns of the Old Quad. The harmonious form and mathematical ratios of these monuments are an enduring reminder of the architectural leaps and bounds made in the early 14th century, a blended pursuit of art and science. Ergo, we will head to one of the greatest paradigm shifts in Western history – the Renaissance. The Renaissance roughly spanned from the 14th to the 17th century and was a period of complete intellectual revolution – for both science and the arts (2). Everyone is familiar with Leonardo da Vinci, the great Renaissance artist. Less people know that he was also an inventor and a man whose artistic practice was heavily influenced by science (3). To ensure his paintings were as realistic as possible, Da Vinci dissected cadavers to better understand human anatomy, and studied optics and astronomy to perfect his use of space and form in paintings like The Last Supper. Likewise, scientists like Nicholas Copernicus and Galileo Galilei kickstarted a revolutionary paradigm shift towards the heliocentric model, their work in optics and astronomy being heavily reflected in artworks of the same era. Both science and art challenged what was for centuries prior considered the status quo. Source: Leonardo da Vinci, The Last Supper, 1498, tempera on gesso, pitch, and mastic, 460 cm × 880 cm, Wikipedia, https://en.wikipedia.org (4). This certainly isn’t a call for readers to head to the Melbourne General Cemetery and begin digging up specimens, nor to transfer to a double degree in fine arts and biomedicine. Instead, the point is more about how fruitful interaction between the two domains can be, and how one requires the other to flourish. Returning briefly to South Lawn, the snarky liberal arts intellectual continues looking bored and takes out their copy of The Myth of Sisyphus. Sitting directly opposite them the scientist has gone back to finishing the latest New Scientist podcast and calculating a quantum theory of gravity. We have seen that science can inspire art, but how can art inspire science? “The greatest scientists are artists as well.” (5) So said perhaps the most well-known scientist of the modern century. Not only did Albert Einstein develop the special and general theory of relativity (we won’t get into the mathematical specifics for both our sakes), he was also a talented violinist and pianist. Einstein often credited his artistic side for his success in science, testifying that, "the theory of relativity occurred to me by intuition, and music is the driving force behind this intuition. My parents had me study the violin from the time I was six. My new discovery is the result of musical perception.” (6) We have already seen how science prompts art to create new visions, and Einstein was no exception. His revolutionary ideas about space and time have been acknowledged as a prime artistic influence for Picasso’s arguably infamous Cubist style, as well as for the Surrealist art movement. (7) But the arts are not just confined to visual and musical expression. How about the area of expertise of our liberal arts friends? Liberal arts as they are known today, include sociology, literature, philosophy, psychology, politics, and more. The knowledge and, most importantly, critical thinking that is learnt through humanistic education is perhaps key to the future of science. As the world changes and evolves, humans must change and evolve with it, creating innovative solutions along the way. If we shift our focus to around the 1st century BCE, we will encounter what is widely regarded as the coining of the term artes liberales, or liberal arts. Roman statesman, scholar and writer Marcus Tullius Cicero wrote extensively about a wide array of topics, from politics and education to Stoic philosophy. “Artes liberales” roughly translates to “subjects worthy of a free person” - academic study that would enable one to actively participate in society (8). This curriculum consisted of a focus on seven key disciplines of rhetoric, geometry, grammar, music, astronomy, arithmetic, and logic. Liberal arts by nature are not the antithesis of science. From the crux of the artes liberales evolved the study of mathematics, physics, philology, history, and so on. Today we have reached a point where these seven disciplines have evolved and branched out so expansively that we have lost sight of the fact that our modern-day science and arts curriculums are sown from the same seed. Both science and art stem from the real world. Simply put, science is a lens into the study of this world and the inhabitants within it. Art is another lens into this complex system, providing a different but equally valuable perspective. Life is not binary, so neither should be our approach to studying it, and by virtue studying ourselves. Now is the time to embrace such transdisciplinary thinking. We need to bridge the gap between rigorous climate science facts and currently inadequate policy making, assess the ethics of the future of gene-editing, and ultimately become better thinkers. The combined intellectual strength of analytical thinking associated with science, where we learn how to test hypotheses, interpret data and draw valid conclusions; and the arts, where we learn critical thinking, how to develop arguments, how to understand a diverse audience, is necessary to keep humanity’s head above water as our world rapidly changes. Take for example the future of the CRISPR-Cas9 editing tool. This enzyme-based tool allows scientists to remove or add sections of DNA sequence in our genome, our code for life. With this ‘hand of God’ comes great responsibility. Collaboration needs to be made between scientific thinkers and humanistic thinkers to identify what type of robust legislation needs to be implemented to ensure ethical use of this tool. It is no longer a case of scientists working in isolation in underground bunkers. Scientists are making huge strides in research that extend to and greatly impact the wider community. Cases like CRISPR-Cas9 demand a lens from science and a lens from the arts in order to see the full picture – and in this case, to ensure the ethical and safe practise of a tool that has potential to save lives and improve individuals’ quality of life – but this only happens if science and art function in harmony. So back to you, the reader. Perhaps think about enrolling in that philosophy breadth subject next semester that your liberal arts friend raves about. Pick up that popular science book you have been eyeing off at Readings on Lygon St. Listen to that science podcast that keeps popping up on your Spotify homepage (The BBC’s The Infinite Monkey Cage is excellent). Pick up that paintbrush. Go visit Science Gallery Melbourne, a recent art scene addition affiliated with University of Melbourne – how fitting! This isn’t Romeo and Juliet, where you are either a Capulet or a Montague. Rather, this is a case of wave-particle duality, where an electron is both a wave and a particle, and you are both an artist and a scientist. As the typical Melbourne wind continues to pick up and the Old Arts clocktower strikes 7:00 pm, it appears the liberal arts intellectual just swapped their copy of The Myth of Sisyphus for the scientists’ copy of Brief Answers to the Big Questions. Looks like they’re making progress. References: 1. Richmond, Sheldon. “The Interaction of Art and Science.” The MIT Press 17, no. 2 (1984): 81-86. https://www.jstor.org/stable/1574993 . 2. History.com Editors. “Renaissance.” History.com. April 4, 2018. https://www.history.com/topics/renaissance/renaissance . 3. Powers, Anna. “Why Art is Vital to the Study of Science.” Forbes. July 13, 2020. https://www.forbes.com/sites/annapowers/2020/07/31/why-art-is-vital-to-the-study-of-science/?sh=7dfd8f8942eb . 4. Da Vinci, Leonardo. The Last Supper. 1498. Tempera on gesso, pitch, and mastic. 460 cm × 880 cm. Wikipedia. https://en.wikipedia.org . 5, 6. Root-Bernstein, Michelle. “Einstein On Creative Thinking: Music and the Intuitive Art of Scientific Imagination.” Psychology Today. March 31, 2010. https://www.psychologytoday.com/au/blog/imagine/201003/einstein-creative-thinking-music-and-the-intuitive-art-scientific-imagination . 7. Muldoon, Ciara. “Did Picasso know about Einstein?” Physics World. November 1, 2002. https://physicsworld.com/a/did-picasso-know-about-einstein/ . 8. Tempest, Kathryn. “Cicero’s Artes Liberales and the Liberal Arts.” Ciceronian on Line 4, no. 2 (2020): 479-500. https://doi.org/10.13135/2532-5353/5502 . Feynman, Richard, P. The Pleasure of Finding Things Out: The Best Short Works of Richard P. Feynman. New York: Basic Books, 2005. Science Gallery Melbourne. “Inspiring and Transforming Curious Minds.” Published 2021. https://melbourne.sciencegallery.com/what-we-do . White, Fiona. “Why art and science are better together.” The University of Sydney News. September 17, 2020. https://www.sydney.edu.au/science/news-and-events/2020/09/17/arts-and-science-better-together.html .

< Back to Issue 9 Ancient Asian Alchemy: Big Booms by Isaac Tian 28 October 2025 Illustrated by Aisyah Mohammad Sulhanuddin Edited by Luci Ackland One question has plagued the human condition since the beginning of time: how can we escape death? Well, we certainly know who didn’t find the answer – the alchemists of ancient China. It’s 210 BC, and you are an alchemist standing before Emperor Qin Shi Huang in his court. You hand him an elixir supposed to grant him immortality and eternal reign. Only the serum contains what we now call “mercury” and if anything, you granted him mortality, as he drops dead before you (1). Where does one begin in this journey to immortality? How do we combine chemicals to find the perfect serum? Keep in mind, we have not even come close to establishing the periodic table at this point (no, that will occur about 1000 years later) (2). Saltpetre – or potassium nitrate – had been used extensively to treat common illnesses and to maintain good health. There’s our starting point (3). The search for this magic elixir persists for the next eleven centuries. We never give up… do we? The ingenuity of the alchemists spoke to them: it told them to mix in a few other ingredients to the saltpetre. With the trio of saltpetre, sulfur and charcoal, gunpowder was henceforth born into this world (4). The alchemists must have been in for a surprise when their “potion of immortality” sparked and exploded before them. So how does gunpowder explode? Why don’t other flammable items like match tips and dry wood explode when we set them alight? It comes down to a few key things. First is our perception of explosions. Chemicals don’t simply “explode” – it’s not an inherent quality of reactions – however, they can combust. Combustion is the release of energy from a fuel. Wood and matches combust, but they do so in a way that is relatively slower than gunpowder. Gunpowder combusts rapidly – so there is a large amount of energy release within a short period of time. Secondly, it’s about the availability of oxygen. Items that combust slowly typically have to wait for the oxygen to trickle in from the surrounding air, since oxygen is a critical component of combustion. This does not apply to gunpowder. The oxygen for its combustion is right there in the nitrate compound (of potassium nitrate – or saltpetre). So unlike burning wood or matches, the combustion does not need to wait for oxygen to arrive from the surrounding environment – it’s already in there with the rest of the powder (5)! To go further on that point: the closer the atoms are, the faster the combustion reaction can progress, because chemical compounds don’t need to wait long for the heat to get to them. Since gunpowder is… well… a powder, it’s rather compact and all the molecules of potassium nitrate, sulfur, and carbon sit tightly next to one another. It is this physical arrangement that permits the fast transfer of heat between molecules, ensuring that a lot of energy can be released at once. Ultimately, when all these physical and chemical phenomena occur in perfect unison, the high temperatures rapidly increase the kinetic energy of surrounding air molecules, causing them to shoot outwards at great speeds to form a “barrier” of sorts. When this barrier, also known as a shockwave, hits your eardrums, the gunpowder delivers what it does best: BOOM! Now, let’s combust some gunpowder, build up some gaseous pressure, and launch ourselves into the modern day. It’s been about twelve centuries – what have we been doing with all the gunpowder? As it turns out, we humans are very inventive, but also violent (Wow – who knew?). We quickly realised that the physical properties of the resulting gases can be harnessed to quickly move very heavy objects (6). Said heavy objects could then be guided in the direction of, say, a human being or a structure. Weaponry derived from gunpowder has existed for a very long time, albeit rather inefficient at first. The introduction of gunpowder to warfare came in the early 10th century, when soldiers applied gunpowder to arrows that would ignite and create fire arrows. Of course, whilst it might have been effective in creating a hole in humans, it was significantly less so when it came to creating holes in walls and structures. Only after 300 years did we then invent cannons and guns. However, those guns were slow – really, really slow – to the point that bows and arrows were actually preferred during warfare of that era. It would be another 600 years before we realised that there were more effective ways of reloading a gun; brandishing a new trend of military technology that would set the stage for the First and Second World Wars (7). By that point, the most terrifying of weapons had begun to stray away from the use of gunpowder. Missiles and rockets began employing other chemicals as propellants, owing to the advantage it had over gunpowder (7). It would also be remiss of this article to omit the exploitation of atomic power – pervading the world with such destruction that gunpowder appeared like a child’s toy (8). The tragic irony of a supposed innovation in immortality leading to mortality by war and conflict will forever embed itself into our history. Even with the right intentions, the invention by the great minds of alchemy has sparked a chain reaction for widespread destruction and warfare. It only makes you wonder – what are we making now that will lead us further astray in the future? References 1. Glancey J. The army that conquered the world. BBC. Accessed August 24, 2025. https://www.bbc.com/culture/article/20170411-the-army-that-conquered-the-world 2. Guharay DM. A brief history of the periodic table. ASBMBTODAY. Accessed August 28, 2025. https://www.asbmb.org/asbmb-today/science/020721/a-brief-history-of-the-periodic-table 3. Butler A, Moffett J. Saltpetre in Early and Medieval Chinese Medicine. Asian Medicine . 2009;5(1):173-185. doi: 10.1163/157342109X568982 4. Paradowski, R.J. Invention of Gunpowder and Guns. EBSCO Research Starters. 2022. Accessed August 24, 2025. https://www.ebsco.com/research-starters/history/invention-gunpowder-and-guns 5. Stanford University. Detonation and Combustion. Stanford University. Accessed September 4, 2025. https://cs.stanford.edu/people/eroberts/courses/ww2/projects/firebombing/detonation-and-combustion.htm 6. Britannica. Ammunition | Bullets, Shells & Cartridges. Britannica. 2025. Accessed September 25, 2025. https://www.britannica.com/technology/ammunition 7. Beyer G. How Did Gunpowder Change Warfare? TheCollector. 2025. Accessed October 4, 2025. https://www.thecollector.com/how-did-gunpowder-change-warfare/ 8. ICAN. History of Nuclear Weapons. ICAN. Accessed October 4, 2025. https://www.icanw.org/nuclear_weapons_history Previous article Next article Entwined back to

Curious what an OmniSci Editor-in-Chief actually does? We spoke to Rachel about drawing anatomy, interviewing a med student hero, and helping build the the science communication universe! Rachel is a writer and Editor-in-Chief at OmniSci, now in her first year of the Doctor of Medicine. For Issue 4: Mirage, she is writing an interview with science communicator, Dr Karen Freilich. Meet OmniSci Writer and Committee Member Rachel Ko Rachel is a writer and Editor-in-Chief at OmniSci, now in her first year of the Doctor of Medicine. For Issue 4: Mirage, she is writing an interview with science communicator, Dr Karen Freilich. interviewed by Caitlin Kane What are you studying? I am currently studying a Doctor of Medicine and I’m in my first year. Before that, I was studying a Bachelor of Biomed. What first got you interested in science? Exposure through education, stuff I’d studied in school. It sparked interests outside of school and I realised it was something that I wanted to pursue as a career. Something that really reinforced my love for science was doing a major in human structure and function, so anatomy. I really enjoyed that I could weave it in with my other passions in things like art and drawing and painting. I was able to look at science in a way that was really the artsy side of science. It's something I’ve tried to pursue with OmniSci as well. Do you have any advice for younger students? Don’t be afraid of trying all areas of science. Because I loved a specific area of science so much, I wanted to make sure that was what reeled me in as compared to other things. I tried a bunch of research projects, some of them I didn’t really love and I had to stick it out to the end, but then I could tick that off my list as having done that, and never have to do it again. But then I did another project which was 3D modelling a bone. It was just me sitting there for hours with a pen, drawing the bone in 3D space, which was very much up my alley. Don’t be afraid of trying everything, even if it feels like a waste of time in the moment. It isn't, it’s the process of filtering out and finding out what you love. And I’m still in that process. I have no idea what kind of medicine I want to go into, but I’m going by process of elimination and finding where I fit in the realm of science in that way. How did you get involved with OmniSci? Like I said, I like the artsy side of science. I actually sought out a few non-science related magazines at uni. I’ve always been into journalism and I love writing as well, so it made sense for me to look into that in my undergrad years. OmniSci emerged during those undergrad years and I thought, “Perfect!” I was a columnist first and I started doing some illustrations as well. Then I dropped my role at Farrago completely just to concentrate on this because I found it was a really nice intersection of what I love to do. My column was about vestigial features, like useless body parts, which I thought would be a fun, light column–I just wanted something cute and fun. So I started that, and now… I’m in the committee. What is your role at OmniSci? I am an Editor-in-Chief at the moment, and I have also written one of the pieces for Issue 4, purely because of my love for writing and contributing. I might step in as an illustrator at some point… I’m hoping in this break I can sit down and draw a little more than I used to. As Editors-in-Chief, we work with the committee to coordinate the things being published and try to envision what role OmniSci plays within the science communication universe. And whilst figuring out what we’re publishing and putting out to the world, we’re also trying to include the rest of the student community. We also have social events so that we can share our love for…whether it’s science or art or writing… any of the parts that OmniSci encompasses. We're there to keep everything chugging along!. What is your favourite thing about contributing at OmniSci so far? The people that you meet along the way. I do eventually want to pursue science communication myself, alongside medicine. I don’t know what that will look like, but I know that the people who will be involved in that space are the people you meet at the moment. Even with the committee, chatting about things and discussing interests has been super enlightening. When you expand that to the rest of the OmniSci community, I think it’s super super rewarding. Also seeing something tangible come out of it all… I just love seeing the magazine come together. When we printed it—though not ideal for the environment for every issue—to have the paper magazine in our hands from last year was super rewarding to see. Can you give us a sneak peak of what you're working on this issue? Well as Editor-in-Chief, the whole issue is kind of our collective baby! Personally I interviewed Dr Karen Freilich, a GP specialising in sexual health and working in education as well. I was lucky enough to have her as one of my sexual health elective tutors. She also started a podcast when she was in medical school called Humerus Hacks. It is basically super famous within the med student community. It sounds like such a simple thing, but just to hear her and the friend she started the podcast with talk things through and make things entertaining… it was such a fresh way of getting the information out. It’s kind of what we do at OmniSci: make science more accessible to people who might feel intimidated by those bigger, wider topics that they might never have ventured into. And the whole point of a magazine is to get information out to more people, and to spark interest, and show people that these things exist. As a med student, I kind of came across it as naturally as you could have. And as she was my tutor, I thought it was such an important opportunity to talk to her about why she did it and where she sees science communication going. What do you like doing in your spare time (when you're not contributing at OmniSci)? Well, there’s the anatomical art. I haven’t had a lot of time to do that… and I’ve been really wanting to try and incorporate it into my study but I spend a lot of time on one painting so it wouldn’t have been time efficient. But my plan for this break is to go to a bar, get myself a drink and just paint on my own… relax in that way. Otherwise, I play the violin, something I like to destress. It’s actually been a surprisingly big part of my life in med because there's a medical student orchestra. The rehearsals are quite long but it’s actually quite worth it to be sitting there not thinking about medicine. And yeah, just catching up with friends, going cafe hopping, bar hopping, that’s what I like to spend time doing. Which chemical element would you name your firstborn child (or pet) after? Let me pull up a visual aid. I actually don’t mind chemistry, but after year twelve I’ve kind of put a line between myself and it. Have you seen that trend online where people are pulling up words that would be really pretty baby names if they didn’t mean what they meant? Ooh, I’m going to go with Livermorium, Liv for short. Element 160. There’s some good ones—you could go Rutherfordium, Ruth for short. Read Rachel's articles Silent Conversations: How Trees Talk to One Another Wiggling Ears Our Microbial Frenemies Hiccups The Evolution of Science Communication Law and Disorder: Medically Supervised Injection Centres “Blink and you’ll miss it”: A Third Eyelid? Mighty Microscopic Warriors!

The Greenhouse Unpacking the Latest IPCC Report - What Climate Science is Telling Us By Sonia Truong The most comprehensive climate science report to date, this sixth assessment report reveals the reality of climate change and stresses that we need to take action urgently. Edited by Jessica Nguy & Yen Sim Issue 1: September 24, 2021 Illustration by Jess Nguyen On the 9th of August 2021, the United Nations Intergovernmental Panel on Climate Change (IPCC) released its first instalment of the IPCC Sixth Assessment Report from Working Group I, Climate Change 2021 — The Physical Science Basis of Climate Change. The IPCC is one of the world’s leading authorities on climate change and its reports provide an important scientific framework for governments to develop climate policies. With the collaborative effort of 234 leading climate scientists and more than 1,000 contributors, the latest IPCC report provides the most up-to-date information about the scientific basis of climate change and the effects of human activity on Earth’s systems. The report can be found online — it features a ‘Summary for Policymakers’ document exploring key findings across four topic areas as well as a comprehensive ‘Full Report’ which assesses and compiles peer-reviewed literature on climate science from across the globe. The report also features the IPCC WGI Interactive Atlas which explores observed and projected regional climate changes across different emissions and warming scenarios. Three key takeaways from the IPCC report are described below. #1: Human activity has contributed to climate change It in unequivocal that human influence has warmed the atmosphere, ocean and land. Headline statement from the IPCC’s ‘Summary for Policymakers’, AR6 2021 Advancements in attribution studies have allowed scientists to better simulate Earth’s responses to natural and anthropogenic factors and estimate the extent of human influence on observed climate trends. For the first time, the IPCC report has been able to state with a very high level of certainty that anthropogenic factors have been the main driver of increasing temperature extremes since the mid-19th century. Figure SPM.1 shows that simulated natural factors do not come close to explaining the observed increase in global surface temperature since the mid-19th century. Figure SPM.1: A powerful comparison of changes in global surface temperature since 1850 with and without human factors. This figure shows that the effects of natural climate drivers on global warming have been negligible compared to human influence on the climate. IPCC AR6, ‘Summary for Policymakers’ Atmospheric greenhouse gas concentrations are higher than what they have been in the last two millennia and have been increasing at an unprecedented rate, mainly due to human activities in greenhouse gas combustion and deforestation. According to the report, greenhouse gas emissions from human activities have caused warming of approximately 1.1°C above pre-industrial average. In fact, human activities have caused enough emissions for even greater warming, but this has been partially counteracted by the cooling effect of aerosols in the atmosphere. Some recent heat extremes would have been virtually impossible without the influence of human forcing factors. Siberia’s prolonged heatwaves of 2020, for example, would have occurred less than once every 80,000 years without human-induced climate change. Moreover, the onset of Siberia’s wildfire season saw record-high temperatures throughout 2020 and 2021 as well as the burning of over 16 million hectares of land. Even in today’s climate, such extreme weather events are unlikely, but have been predicted to become more frequent by the end of this century. #2: Every region will experience environmental changes due to climate change The IPCC report states that the “widespread, rapid and intensifying” effects of climate change will be experienced by every region in a multitude of ways. Since the release of the last IPCC report in 2018, the world has observed an increase in acute weather events such as widespread flooding, storms, drought, fire weather and heatwaves. These are predicted to increase in frequency and severity as a result of human-induced climate change. Many changes in the climate system become larger in direct relation to increasing global warming. They include increases in the frequency and intensity of hot extremes, marine heatwaves, and heavy precipitation, agricultural and ecological droughts in some regions, and proportion of intense tropical cyclones, as well as reductions in Arctic sea ice, snow cover and permafrost. B.2 from the IPCC’s ‘Summary for Policymakers’, AR6 2021 Several environmental changes due to climate change are already irreversible. Notably, global sea level rise and ocean acidification are set in long-term motion and will proceed at rates which will depend on future emissions. Glacial retreat is occurring synchronously across the world and glaciers will continue to melt for decades or centuries. All emission scenarios within the 21st century described in the report have revealed that global temperature changes will exceed a 1.5ºC increase, even in the lowest emissions scenario (SSP1-1.9). Thus, warming will reach a critical level regardless of actions that the world takes now. We can, however, prevent further temperature increases with deep reductions in global greenhouse gas emissions (especially carbon dioxide and methane). Figure SPM.5: All regions of the world (with one exception) will experience warming as a result of climate change, although not at an equal level. IPCC AR6, ‘Summary for policymakers’ Environmental changes at a 2ºC warming will be more pronounced and widespread, and extremes are likely to exceed critical tolerance thresholds in human health, ecological systems and agriculture. Australia, in particular, is vulnerable to experiencing scarce water resources in drought-prone areas and flooding and landslide events due to heavy rainfall events. Australia’s coastlines are also prone to erosion and flooding from rising sea levels and extreme meteorological events. The IPCC report examines evidence for climate ‘tipping points’ which, due to uncertainty about the Earth’s feedback systems, “cannot be ruled out” in climate projections. These tipping points are key thresholds that will lead to large-scale and irreversible damages to the Earth’s systems if breached. One of these tipping points is the loss of the Greenland ice sheet which is melting at an unprecedented rate. Surface melt of this major ice sheet involves a number of positive feedback loops which exacerbate the melting as the ice surface gets darker and less reflective of solar radiation. Scientists warn that, while highly unlikely, there is a possibility that we will reach a tipping point with current warming trends. #3: We need to make drastic reductions in greenhouse gas emissions immediately The Sixth Assessment Report tells us, with greater certainty than ever before, that human activities over the past six decades have caused global warming trends and affected climate extremes globally. These trends are likely to continue on a long-term scale. Most importantly, the report stresses that if we want any chance of limiting global temperature rise to 1.5ºC above pre-industrial levels, we must urgently make strong, sustained reductions in global greenhouse gas emissions. The current global carbon budget to remain below 1.5ºC warming is estimated to be at an additional 500 billion tonnes of greenhouse gas. To remain within this budget, we need to achieve net zero carbon dioxide emissions by 2050. Reductions in greenhouse gas emissions will only be achieved with meaningful climate action. If we can drastically reduce emissions now, we will still have a chance of averting the climate crisis. The two succeeding instalments of the IPCC Sixth Assessment Report will cover the impacts of climate change and mitigation of climate change and are planned to be released in 2022. References: IPCC, 2021: Summary for Policymakers. In: Climate Change 2021: The Physical Science Basis. Contribution of Working Group I to the Sixth Assessment Report of the Intergovernmental Panel on Climate Change [MassonDelmotte, V., P. Zhai, A. Pirani, S.L. Connors, C. Péan, S. Berger, N. Caud, Y. Chen, L. Goldfarb, M.I. Gomis, M. Huang, K. Leitzell, E. Lonnoy, J.B.R. Matthews, T.K. Maycock, T. Waterfield, O. Yelekçi, R. Yu, and B. Zhou (eds.)]. Cambridge University Press. In Press.

Exciting technological leaps are being made in the futuristic field of visual prostheses. Australians suffering from visual impairment can be helped by emerging treatments including Bionic Eyes: a sight for sore eyes. This piece takes a look at the prevalent impairments and our ocular opportunities to treat them. Bionics: Seeing into the Future By Joshua Nicholls While the Bionic Eye might seem like a technology of the far future, exciting advancements are being made in the field of visual prostheses. This piece points a keen eye at emerging treatments for some of the most prominent diseases, along with their possible bionic treatments. Issue 1: September 24, 2021 Illustration by Friday Kennedy Visual prostheses, colloquially known as bionic eyes, are a set of experimental devices designed to restore — or partially restore — vision to those with varying levels of blindness (1). While once viewed as “science fiction”, these technologies are becoming a reality for thousands of Australians with visual impairments. Since its inception in 1956 by the Australian inventor Graham Tassicker (2), the idea of restoring vision using electronics has undergone several developments, ranging from rudimentary cortical stimulation to modern advancements in state-of-the-art retinal implants. As of 2018, it was estimated that over 13 million Australians have some form of visual impairment. Of these 13 million, 411,000 have cataracts or the clouding of the lens; 244,00 have macular degeneration, which degrades fine detail vision; and 133,000 are either partially or entirely blind (3,4). The economic burden of blindness in Australia is substantial. In 2009, it was estimated that the total cost of vision loss per person aged 40 and over was $28,905 — a nationwide total of 16.6 billion AUD (5). Figure 1: Categorisation of Total Economic Cost of Vision Loss in 2009 (5) Age-related macular degeneration (AMD) is one condition for which visual prosthetics may be applicable. AMD refers to the irreversible loss of high-acuity, colour-sensitive cone cells in the centre field of vision. This structure of the retina is responsible for reading, recognising faces, driving, and other visual tasks that require sharp focal vision. In fact, you are using these cells to read this article right now. Its typical onset is later in life, affecting 12% of people aged 80 or over (6). As the leading chronic eye condition for elderly Australians (7), it accounts for 48% of all cases of blindness nationwide (8). According to AIHW4, there is also a higher prevalence amongst females than in males — between 4.9%–6.8% and 3.6–5.1%, respectively. Macular degeneration exists in two forms: dry and wet. Dry macular degeneration is caused by thinning of the macula; it is the most common form of the disease and progresses slowly over many years. Wet macular degeneration is a potentially more severe variation of the disease which is caused by the sudden development of leaky blood vessels around the macula (9). With no known cure — and most treatments being directed towards prevention and delaying progression — interventions relying on prosthetics may be the best hope for the restoration of lost eyesight (10). Graham Tassicker was the first to realise the potential utility of cortical stimulation in restoring sight to those with vision loss. In 1956, Tassicker developed a photosensitive selenium cell which, when placed behind the retina, resulted in phosphene visualisation — the phenomenon of seeing light without light actually entering the eye (2). This was the first evidence of non-cortical stimulation to elicit visual experience. It was in the 1990s that visual prostheses took a radical development; sophisticated retinal surgeries and the creation of biomaterials led to a surge of novel inventions, including cortical implant miniaturisation and artificial retinas — the latter of which is the most advanced to date. There is currently a state-of-the-art retinal bionic system that has recently undergone clinical trial research: the Argus II Retinal Stimulation System. The Argus is an epiretinal (above the retina) implant which has been designed by SecondSight; as of 2013, it was FDA approved for retinitis pigmentosa (RP) but has potential utility for dry AMD. It consists of a device that is implanted in the patient’s eye and an external processing unit worn by the user. The system consists of sixty electrodes, each of which is two-hundred-micrometres in diameter. Images that have been captured by a small camera on glasses are converted into electrical impulses to stimulate surviving ganglion cells on the retina. It is currently the most widely used retinal prosthetic system in the world, with more than 350 RP patients being treated to date. The cost of this device is 150,000 USD — a price that excludes surgery and post-operative training (11). Figure 2: The design of the Argus II (12) In 2015, a case study was performed by the Argus II study group on the impact the implant would have on restoring visual function to subjects who had complete blindness from RP. The results from this study were quite promising; it showed that of the 30 patients who received the Argus II system, all significantly performed better on a white square test than they did without the prosthesis. (None of the subjects scored any points with the device absent.) The Argus also showed reliability for 29 subjects, all of whom still had functioning devices after three years (13). In 2020, a clinical trial of this device for dry AMD was completed. The study, which consisted of five patients, assessed the safety and feasibility of the device. According to Mills et al. (14), no patients reported confusion when operating the Argus alongside their healthy peripheral vision. Adverse events occurred in two patients who experienced proliferative vitreoretinopathy — or tractional retinal detachment. However, due to recent events surrounding the COVID-19 pandemic, the company declared that they would be performing “an orderly wind-down of the company’s operations”. SecondSight is now focusing on a new device: The Orion. This device is designed to stimulate the visual cortex of the brain — a return to the original conception of visual prosthetics. The Orion is planned to expand the pool of patients who are eligible for visual prosthetics. It will essentially bypass the requirement for healthy ganglion cells and a functioning optic nerve, which retinal prosthetics require. The only forms of blindness not encompassed by this technique are congenital forms of blindness or people who are ‘cortically blind’ from suffering damage to the visual cortex area V1. The Orion is modelled after the Argus II with its 60 cortical-stimulating electrodes receiving input from a camera on the user’s glasses. Under the Breakthrough Device Pathway, the FDA approved Orion for an early feasibility study. Six human subjects have been fitted with the device — one woman and five men between the ages of 29 and 57. Of these six, one had endophthalmitis, two had glaucoma, and three suffered trauma. After one year of wearing the device, four of the patients could accurately discern the location of a palm-sized white square on a computer screen, and five could locate its movement in space. The Orion has shown a good safety profile after 12 months of use, and follow-ups on its progress will occur for five years (15). Visual prostheses have a promising and bright future of development ahead of them. While it is still in its infancy, the results of ongoing clinical trials show promise for sight restoration. With multiple models and modes of intervention available, artificial vision is slowly becoming a reality for the visually impaired, but further developments in the field are still required. It would be promising to see advancements from mere two-dimensional grey-scale images to the rich, three-dimensional, and full-colour experience that we take for granted as normal vision. For now, two essential factors need to be improved for the full realisation of artificial vision: cost and electrode density. The Argus costs 150,000 USD — an expense that excludes surgery and training. This figure may be unfeasible for the thousands of Australians who would benefit from such a device. If the current trend of Moore’s Law continues, electrode density will increase whilst the cost of the device will decrease — a trend analogous to the increase in power and improved price of computers in the last century. This pixel density will hopefully improve to the point of achieving near-normal visual acuity. The 60 pixels, while helpful in regaining some functionality, cannot compare to the some 96 million photoreceptor cells in the retina — 5 million of which are located in the cone-dense macula. Nevertheless, artificial vision is an exciting and innovative technology currently under development. While much research is still needed, further advancements in bionics will one day make visual prosthetics a ubiquitous and affordable technology to those in need. About the writer: Joshua Nicholls was the 2021 winner of the Let's Torque competition. Joshua : I am a 5th-year neuroscience and biochemistry student at the Swinburne University of Technology. I finished my Health Science degree a few years ago, majoring in neuroscience. I am now completing my final few subjects in my Bachelor of Science, with biochemistry as my major. For the state-wide Let’s torque competition, I changed my pitch to artificial vision, hence its title, Bionics: Seeing into the Future—a catchy pun, if I do say so myself. I made the rather complex topic of visual prosthetics approachable and understandable to the general audience by, as stated previously, conveying a story. I asked my audience to consider losing vision, if not completely, at least partially. Considering this, I then asked them to imagine what life must be like for the some 13 million Australians of whom suffer from some form of visual impairment. This exercise brought home the very real phenomenon of visual impairment, which many of us have—or will—be impacted. The solution for currently untreatable vision loss is already underway: The Bionic Eye, as it is colloquially known. While it may sound like science fiction, bionics (or prosthetics) are nothing new; artificial hearing through the cochlear implant and artificial limbs are becoming rather ubiquitous. I briefly detailed a few diseases for which visual prosthetics may be appropriate, such as age-related macular degeneration and retinitis pigmentosa, and spoke about past and current clinical trials demonstrating their efficacy. To end my pitch, I talked about the lasting impact these devices will have on people’s lives and the future developments required. In doing so, I relayed the past, present, and future of the bionic eye, which detailed a coherent and relatable story to my audience. I was successful in my pitch and won first place among the state! It was an absolute privilege even to have been a part of this competition; coming first place was an added honour and will remain one of the highlights of my life. I believe this experience will serve as a footstone toward my career in science and science communication. If anyone has any desires to get their foot in the door of this field, get your name and face out there and just go for it! References: Ong, J. M., & da Cruz, L. (2012). The bionic eye: a review. Clinical & experimental ophthalmology, 40(1), 6-17. Tassicker, G. (1956). Preliminary report on a retinal stimulator. The British journal of physiological optics, 13(2), 102-105. Australian Bureau of Statistics. (2018). National Health Survey: First Results, 2017–18. Canberra: ABS Retrieved from https://www.abs.gov.au/statistics/health/health-conditions-and-risks/national-health-survey-first-results/latest-release Australian Institute of Health and Welfare. (2021). Eye health. Canberra: AIHW Retrieved from https://www.aihw.gov.au/reports/eye-health/eye-health Taylor, P., Bilgrami, A., & Pezzullo, L. (2010). Clear focus: The economic impact of vision loss in Australia in 2009. Vision2020. Retrieved from https://www.vision2020australia.org.au/wp-content/uploads/2019/06/Access_Economics_Clear_Focus_Full_Report.pdf Mehta, S. (2015). Age-related macular degeneration. Primary Care: Clinics in Office Practice, 42(3), 377-391. Foreman, J., Xie, J., Keel, S., van Wijngaarden, P., Sandhu, S. S., Ang, G. S., . . . Taylor, H. R. (2017). The prevalence and causes of vision loss in Indigenous and non-Indigenous Australians: the National eye health survey. Ophthalmology, 124(12), 1743-1752. Taylor, H. R., Keeffe, J. E., Vu, H. T. V., Wang, J. J., Rochtchina, E., Mitchell, P., & Pezzullo, M. L. (2005). Vision loss in Australia. Med J Aust, 182(11), 565-568. doi:10.5694/j.1326-5377.2005.tb06815.x Calabrese, A., Bernard, J.-B., Hoffart, L., Faure, G., Barouch, F., Conrath, J., & Castet, E. (2011). Wet versus dry age-related macular degeneration in patients with central field loss: different effects on maximum reading speed. Investigative ophthalmology & visual science, 52(5), 2417-2424. Cheung, L. K., & Eaton, A. (2013). Age‐related macular degeneration. Pharmacotherapy: The Journal of Human Pharmacology and Drug Therapy, 33(8), 838-855. Luo, Y. H.-L., & Da Cruz, L. (2016). The Argus® II retinal prosthesis system. Progress in retinal and eye research, 50, 89-107. SecondSight. (2021). SecondSight: Life in a New Light. Retrieved from https://secondsight.com/ Ho, A. C., Humayun, M. S., Dorn, J. D., Da Cruz, L., Dagnelie, G., Handa, J., . . . Hafezi, F. (2015). Long-term results from an epiretinal prosthesis to restore sight to the blind. Ophthalmology, 122(8), 1547-1554. Mills, J., Jalil, A., & Stanga, P. (2017). Electronic retinal implants and artificial vision: journey and present. Eye, 31(10), 1383-1398. Pouratian N., Yoshor D., & Greenberg R. (2019). Orion Visual Cortical Prosthesis System Early Feasibility Study: Interim Results. Paper presented at American Academy of Ophthalmology Annual Meeting.

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