Biological materials from bonetospider-silk and wood are lightweight fibre composites arranged in a complex hierarchical structure, formed by directed self-assembly to demonstrate outstanding mechanical properties. When such bioinspired stiff and lightweight materials are typically developed for applications in aircraft, automobiles and biomedical implants, their manufacture requires energy and labor-intensive fabrication processes. The manufactured materials also exhibit brittle fracture characteristics with difficulty to shapeandrecycle, in stark contrast to the mechanical properties of nature. Existing polymer-based lightweight structure fabrication is limited to 3-D printing, with poor mechanical strength and orientation, while highly oriented stiff polymers are restricted to construct simple geometries. In an effort to combine the freedom of structural shaping with molecular orientation, 3-D printing of liquid-crystal polymers was recently exploited. Although desirable shape-morphing effects were attained, the Young’s modulus of the soft elastomers were lower than high-performance liquid-crystal synthetic fibers due to their molecular structure.
To fully exploit the shaping freedom of 3-D printing and favorable mechanical properties of molecularly oriented liquid-crystal polymers (LCP), a team of scientists at the Department of Materials, ETH Zürich, proposed a novel approach. The strategy followed two design principles that are used in nature to form tough biological materials. Initially, anisotropy was achieved in the printing process via self-assembly of the LCP ink along the print path. Thereafter, complex-shaping capacity offered by the 3-D printing process was exploited to tailor the local stiffness and strength of the structure based on environmental loading conditions. In the study, Silvan Gantenbein and co-workers demonstrated an approach to generate 3-D lightweight, recyclable structures with hierarchical architecture and complex geometries for unprecedented stiffness and toughness. The results are now published in Nature.
From textbooks to artwork to newspapers, printed items are a part of our everyday life. But the ink used in today’s printers are limited in colors and resolution. Now in a new study in ACS’ journal Nano Letters, scientists have found a way to expand the printable color spectrum with a novel nanostructure system.
The current color range for computers and printers is based on the sRGB (standard Red Green Blue) color space, which was developed in 1996 by Microsoft and Hewlett-Packard. But the hues in the sRGB system only encompass a subset of colors that the human eye can see. Researchers have been trying to develop a better system to surpass sRGB that would broaden the printable color spectrum while maintaining high resolution.
For example, they have used metallic nanostructures for color printing, but this has resulted in either high-resolution images with less-rich colors, or images with vivid colors but lower resolution. Also, the use of metals like silver and gold would likely be too expensive for wide adoption. So researchers have turned to silicon because it has unique properties that might be optimal for expanding computer and printing colors at a lower price. But so far, silicon color systems have shown poor color saturation and range. So Joel Yang and colleagues wanted to design a novel silicon nanostructure that could potentially overcome these limitations and compete with the sRGB system.
One of the most enduring “Holy Grail” experiments in science has been attempts to directly observe atomic motions during structural changes. This prospect underpins the entire field of chemistry because a chemical process occurs during a transition state—the point of no return separating the reactant configuration from the product configuration.
What does that transition state look like and, given the enormous number of different possible nuclear configurations, how does a system even find a way to make it happen?
Now in the journal Applied Physics Letters, researchers at the Max Planck Institute for the Structure and Dynamics of Matter are reporting “ultrabright” electron sources with sufficient brightness to literally light up atomic motions in real time—at a time scale of 100 femtoseconds, making these sources particularly relevant to chemistry because atomic motions occur in that window of time.
After seeing the first atomic movies of phase transitions in bulk thin films using high-energy (100 kilovolt) electron bunches, the researchers wondered if they could achieve atomic resolution of surface reactions—occurring within the first few monolayers of materials—to gain a better understanding of surface catalysis.
Advanced nuclear magnetic resonance (NMR) techniques at the U.S. Department of Energy’s Ames Laboratory have revealed surprising details about the structure of a key group of materials in nanotechology, mesoporous silica nanoparticles (MSNs), and the placement of their active chemical sites.
MSNs are honeycombed with tiny (about 2-15 nm wide) three-dimensionally ordered tunnels or pores, and serve as supports for organic functional groups tailored to a wide range of needs. With possible applications in catalysis, chemical separations, biosensing, and drug delivery, MSNs are the focus of intense scientific research.
“Since the development of MSNs, people have been trying to control the way they function,” said Takeshi Kobayashi, an NMR scientist with the Division of Chemical and Biological Sciences at Ames Laboratory. “Research has explored doing this through modifying particle size and shape, pore size, and by deploying various organic functional groups on their surfaces to accomplish the desired chemical tasks. However, understanding of the results of these synthetic efforts can be very challenging.”
With a simple twist of the fingers, one can create a beautiful spiral from a deck of cards. In the same way, scientists at the University of California, Berkeley, and Lawrence Berkeley National Laboratory (Berkeley Lab) have created new inorganic crystals made of stacks of atomically thin sheets that unexpectedly spiral like a nanoscale card deck.
Their surprising structures, reported in a new study appearing online Wednesday, June 20, in the journal Nature, may yield unique optical, electronic and thermal properties, including superconductivity, the researchers say.
These helical crystals are made of stacked layers of germanium sulfide, a semiconductor material that, like graphene, readily forms sheets that are only a few atoms or even a single atom thick. Such “nanosheets” are usually referred to as “2-D materials.”
“No one expected 2-D materials to grow in such a way. It’s like a surprise gift,” said Jie Yao, an assistant professor of materials science and engineering at UC Berkeley. “We believe that it may bring great opportunities for materials research.”
Techniques could lead to personalized wearable and implantable devices
Hearing aids, dental crowns, and limb prosthetics are some of the medical devices that can now be digitally designed and customized for individual patients, thanks to 3-D printing. However, these devices are typically designed to replace or support bones and other rigid parts of the body, and are often printed from solid, relatively inflexible material.
Now MIT engineers have designed pliable, 3-D-printed mesh materials whose flexibility and toughness they can tune to emulate and support softer tissues such as muscles and tendons. They can tailor the intricate structures in each mesh, and they envision the tough yet stretchy fabric-like material being used as personalized, wearable supports, including ankle or knee braces, and even implantable devices, such as hernia meshes, that better match to a person’s body.
As a demonstration, the team printed a flexible mesh for use in an ankle brace. They tailored the mesh’s structure to prevent the ankle from turning inward – a common cause of injury – while allowing the joint to move freely in other directions. The researchers also fabricated a knee brace design that could conform to the knee even as it bends. And, they produced a glove with a 3-D-printed mesh sewn into its top surface, which conforms to a wearer’s knuckles, providing resistance against involuntary clenching that can occur following a stroke.
“This work is new in that it focuses on the mechanical properties and geometries required to support soft tissues,” says Sebastian Pattinson, who conducted the research as a postdoc at MIT.
For decades, materials scientists have taken inspiration from the natural world. They’ll identify a biological material that has some desirable trait — such as the toughness of bones or conch shells — and reverse-engineer it. Then, once they’ve determined the material’s “microstructure,” they’ll try to approximate it in human-made materials.
Researchers at MIT’s Computer Science and Artificial Intelligence Laboratory have developed a new system that puts the design of microstructures on a much more secure empirical footing. With their system, designers numerically specify the properties they want their materials to have, and the system generates a microstructure that matches the specification.
The researchers have reported their results in Science Advances. In their paper, they describe using the system to produce microstructures with optimal trade-offs between three different mechanical properties. But according to associate professor of electrical engineering and computer science Wojciech Matusik, whose group developed the new system, the researchers’ approach could be adapted to any combination of properties.
“We did it for relatively simple mechanical properties, but you can apply it to more complex mechanical properties, or you could apply it to combinations of thermal, mechanical, optical, and electromagnetic properties,” Matusik says. “Basically, this is a completely automated process for discovering optimal structure families for metamaterials.”
You don’t have to be perfectly organized to pull off a wave, according to University of Chicago scientists.
Using a set of gyroscopes linked together, physicists explored the behavior of a material whose structure is arranged randomly, instead of an orderly lattice. They found they could set off one-way ripples around the edges, much like spectators in a sports arena – a “topological wave,” characteristic of a particularly unusual state of matter.
Published Jan. 15 in Nature Physics, the discovery offers new insight into the physics of collective motion and could one day have implications for electronics, optics or other technologies.
The team, led by Assoc. Prof. William Irvine, used gyroscopes – the top-like toys you played with as a kid – as a model system to explore physics. Because gyroscopes move in three dimensions, if you connect them with springs and spin them with motors, you can observe all kinds of things about the rules that govern how objects move together.
Two years ago, the team observed an odd behavior in their gyroscopes: at certain frequencies, they could set off a wave that traveled around the edges of the material in one direction only. This was strange, but had some counterparts in other branches of physics. It’s a behavior characteristic of a recently discovered state of matter called a topological insulator.
Carbon cage molecule formed inside pores of zeolites is a negatively curved schwarzite
The discovery of buckyballs surprised and delighted chemists in the 1980s, nanotubes jazzed physicists in the 1990s, and graphene charged up materials scientists in the 2000s, but one nanoscale carbon structure – a negatively curved surface called a schwarzite – has eluded everyone. Until now.
University of California, Berkeley, chemists have proved that three carbon structures recently created by scientists in South Korea and Japan are in fact the long-sought schwarzites, which researchers predict will have unique electrical and storage properties like those now being discovered in buckminsterfullerenes (buckyballs or fullerenes for short), nanotubes and graphene.
The new structures were built inside the pores of zeolites, crystalline forms of silicon dioxide – sand – more commonly used as water softeners in laundry detergents and to catalytically crack petroleum into gasoline. Called zeolite-templated carbons (ZTC), the structures were being investigated for possible interesting properties, though the creators were unaware of their identity as schwarzites, which theoretical chemists have worked on for decades.
Over hundreds of millions of years of evolution, nature has produced a myriad of biological materials that serve either as skeletons or as defensive or offensive weapons. Although these natural structural materials are derived from relatively sterile natural components, such as fragile minerals and ductile biopolymers, they often exhibit extraordinary mechanical properties due to their highly ordered hierarchical structures and sophisticated interfacial design. Therefore, they are always a research subject for scientists aiming to create advanced artificial structural materials.
Through microstructural observation, researchers have determined that many biological materials, including fish scales, crab claws and bone, all have a characteristic “twisted plywood” structure that consists of a highly ordered arrangement of micro/nanoscale fiber lamellas. They are structurally sophisticated natural fiber-reinforced composites and often exhibit excellent damage tolerance that is desirable for engineering structural materials, but difficult to obtain. Therefore, researchers are seeking to mimic this kind of natural hierarchical structure and interfacial design by using artificial synthetic and abundant one-dimensional micro/nanoscale fibers as building blocks. In this way, they hope to produce high-performance artificial structural materials superior to existing materials. However, due to the lack of micro/nanoscale assembly technology, especially the lack of means to efficiently integrate one-dimensional micro/nanoscale structural units into macroscopic bulk form, mimicking natural fiber-reinforced composites has always been a major challenge.
Screens on even the newest phones and tablets can be hard to read outside in bright sunlight. Inspired by the nanostructures found on moth eyes, researchers have developed a new antireflection film that could keep people from having to run to the shade to look at their mobile devices.
The antireflection film exhibits a surface reflection of just .23 percent, much lower than the iPhone’s surface reflection of 4.4 percent, for example. Reflection is the major reason it’s difficult to read a phone screen in bright sunlight, as the strong light reflecting off the screen’s surface washes out the display.
Researchers led by Shin-Tson Wu of the College of Optics and Photonics, University of Central Florida (CREOL), report on their new antireflection coating in Optica, The Optical Society’s journal for high impact research.
“Using our flexible anti-reflection film on smartphones and tablets will make the screen bright and sharp, even when viewed outside,” said Wu. “In addition to exhibiting low reflection, our nature-inspired film is also scratch resistant and self-cleaning, which would protect touch screens from dust and fingerprints.”
Sea sponges known as Venus’ flower baskets remain fixed to the sea floor with nothing more than an array of thin, hair-like anchors made essentially of glass. It’s an important job, and new research suggests that it’s the internal architecture of those anchors, known as basalia spicules, that helps them to do it.
The spicules, each about half the diameter of a human hair, are made of a central silica (glass) core clad within 25 thin silica cylinders. Viewed in cross-section, the arrangement looks like the rings in a tree trunk. The new study by researchers in Brown University’s School of Engineering shows that compared to spicules taken from a different sponge species that lacks the tree-ring architecture, the basalia spicules are able to bend up to 2.4 times further before breaking.
“We compared two natural materials with very similar chemical compositions, one of which has this intricate architecture while the other doesn’t,” said Michael Monn a Brown University graduate student and first author of the research. “While the mechanical properties of the spicules have been measured in the past, this is the first study that isolates the effect of the architecture on the spicules’ properties and quantifies how the architecture enhances the spicules’ ability to bend more before breaking.”
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so let’s dive right in :)
First off let’s just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag’s Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag’s Pyramid structure consists of:
Introduction:the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards…
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
2. The Hero’s Journey
the hero’s journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero’s journey was inspired by Joseph Campbell’s concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero’s everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they’ve learned.
Return with the Elixir: after succeeding they return to their old life.
the hero’s journey can be applied to any genre of fiction.
3. Three Act Structure:
this structure splits the story into the ‘beginning, middle and end’ but with in-depth components for each act.
Act 1: Setup:
exposition:the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint:an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax:the hero must chose between acting or failing.
climax:they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
4. Dan Harmon’s Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell’s hero’s journey.
the benefit of Harmon’s approach is that is focuses on the main character’s arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don’t know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn’t what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon’s story circle.
5. Fichtean Curve:
thefichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2.The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you’re writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Midpoint [55].Aplot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a “Call to Adventure” of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
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