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Hands-on science can be cool
After spending many long days conducting experiments to find a new way to combat bacterial infections in crops, Misha Hegde and Mia Soleil Maurer have been rewarded with international recognition and access to top research facilities. But these are not typical scientists. They are 16-year-old German high school students.“Our supervisor told us that in order to start a project, you need to begin with either a question or a problem,” says Misha, adding that she and Mia had read about antibiotic resistance in certain plants being treated for bacterial infections. “We found out that antibiotics overuse is very common in agriculture,” explains Mia. “Our aim was to create an alternative to antibiotics and to try to raise awareness of the problem of overusing antibiotics.”Their subsequent research has focused on harnessing bacteriophages, the natural predators of bacteria, to eliminate pathogens threatening food crops treated with antibiotics. At the Schuldorf Bergstraße Jugend forscht MakerLab in Seeheim-Jugenheim, located in the German state of Hesse, they discovered a novel phage that infects the Rhizobium rhizogenes bacterium, which causes the hairy root disease that can reduce yields of tomatoes, carrots, soya beans and other food staples.The students believe their method could curb antibiotic use, while protecting plants from infections without disturbing the natural soil microbiome. “The application of phages is host-specific, so they would only kill the targeted pathogen or disease-causing bacteria,” explains Mia. It may also offer environmental benefits, since applying antibiotics can contaminate groundwater.Getting to this point has not been easy. The childhood friends admit to feeling frustrated when their trials did not yield the expected results. “We spent six months on our first experiment, just doing the same thing over and over and over again, to the point where we thought, is it even worth it? Why are we doing this?” Misha says. “You just need to be brave enough to take that first step and keep going.”The benefits of inquiry-based learningTheir determination has paid off. In 2025, the pair won first prize in biology at Jugend forscht, Germany’s national competition for young people interested in science, technology, engineering and mathematics. They were also among the winners of the German Research Foundation Europa-Preis, which is awarded to selected national winners at Jugend forscht, and took third place in the 2025 European Union Contest for Young Scientists.The Jugend forscht Foundation opens doors for young people to connect with scientists as well as industry professionals. Jessica Bönsch, executive director of the Foundation, sees Misha and Mia as prime examples of how young people can develop a deeper understanding of science through their own research projects. “The experience of working on your own research question is very important,” she explains, adding that “inquiry-based learning engages with real-life problems in a way that can be more motivating than traditional classroom teaching.”The Jugend forscht Foundation offers financial support through sponsor pools in Germany’s federal states. Some projects are developed in cooperation with student research centres, university labs or informal collaborative learning areas called makerspaces. Other activities start as hands-on “garage projects” and can grow within the Jugend forscht network and infrastructure.The Jugend forscht Foundation is also a partner of Science Comes to Town, an EU initiative to strengthen public awareness about science and create bridges between researchers and communities. The EU-financed project involves universities, research institutions and other stakeholders in three host cities — Brest (France), Kiel (Germany) and Split (Croatia).“It's so important for people not to live in a bubble, because I think science can be very scary if you misunderstand it,” Mia says of SCTT. The initiative’s aim of raising awareness about science is “absolutely amazing,” Misha adds. “I think it's the best way to kind of make science digestible for the public. In a world where misinformation in science is getting more radical, more dangerous, becoming more of a threat to the trust in scientific infrastructure and foundations, we need such programmes.”Misha and Mia also believe that SCTT can help break down gender stereotypes in science by encouraging young women to study and pursue careers in scientific fields. Both students have benefited from female mentors and encouragement they had when they were much younger. Mia’s love of science began with a class trip to a lab, while Misha — with a smile on her face — says she wanted to study history until “a teacher kind of coerced me into joining a school science club.”Recognition beyond EuropeIn May, Misha and Mia were among the finalists at the Regeneron International Science and Engineering Fair held in Phoenix, Arizona, and involving nearly 1,700 pre-university students from over 60 countries. “It was very crazy because there were so many people and so many teenagers interested in science,” Mia recalls. The event was also challenging. “It was eight hours of continuously presenting your project,” adds Misha.Attending the fair was a chance for the young women to see first-hand the value of international collaboration as well as how research cultures differ. “America is a bit more willing to take risks, and I think that's something we can learn about here in Europe,” Misha explains. However, she continues, “I think Europe has the talent, has the innovation and has the resources” to be competitive.Misha and Mia plan to continue their phage experiments in the new school year, inspired by the project’s hands-on nature and the support they receive from their supervisors. They have also attracted the interest of professional scientists and received invitations to leading research facilities, including the Centre for Synthetic Microbiology, jointly run by the University of Marburg and the Max Planck Institute for Terrestrial Microbiology in Germany. “It is so cool that we can do something to try to move the world in our school and at this age,” Mia says.After completing secondary school, Mia plans to study microbiology and pursue a career in medical research, focusing on Ebola and other infectious diseases. “This has been my dream for so long,” she says. Her friend Misha is interested in biological research with a focus on medicine. “I've gotten addicted to the process of going to the lab, planning out experiments, then failing, trying again,” Misha says. “I think there's just so much to be discovered, so much to be done.”The students' names and photos were published with the permission of their parents.Science|Business, which connects policymakers, academics and industry through its news reporting, analysis and events, is an SCTT partner.
Jaguar Land Rover recalls 23,000 SUVs over risk of sudden drive power loss
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How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
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The first thing to know about the Nova Games Foundation is that it isn’t about The Game Awards. And it’s not about PlayStation. The ambitious new grant program is the brainchild of Geoff Keighley and Mark Cerny. Keighley is the host of The Game Awards, Summer Game Fest and Opening Night Live. Cerny is a game designer of some 45 years and the lead architect for the PlayStation 4 and 5. But this new thing, which they’re revealing through Game File, isn’t about their day jobs. It’s an unaffiliated, standalone philanthropic project. It’s a bet on the artistic future of video games and a way, they tell me, to give back. “I’m nearing the end of my career,” Cerny recently told me over email. “I’m not done yet, but paying it forward—in the best way possible—is very much on my mind these days,” The Nova Games Foundation is a university-affiliated fellowship program, intended to offer six-figure grants to 20 young game designers each year, potentially for decades to come. It will offer no-strings-attached funding along with mentorship from games industry leaders, a combination intended to aid the development of groundbreaking new games, Cerny and Keighley told me. Nova will begin accepting applications in December, from class of 2026 and 2027 students from 13 affiliated gaming programs at universities in eight countries. The schools working with Nova include the New York University and the University of Southern California in the U.S., along with Abertay University in Scotland, Cnam-Enjmin in France, TH Köln in Germany, and the Royal Melbourne Institute of Technology in Australia, Cerny and Keighley said. The plan: $100,000 per recipient, with about a quarter of Nova fellows eligible for up to $500,000 more for projects that are shaping up particularly well. Payments will be delivered based on development milestones, and recipients will own their games. Nova will help promote the work, and developers will be free to pursue the publishers and platforms of their choice. Nova can help introduce fellows to publishers, but won’t take a cut. “I’ve always wanted to give back, but given my role in the industry, I’ve never felt it appropriate to commercially invest in games,” Keighley told Game File. “I’ve never owned stock in a game company or taken a financial stake in a game. Nova is philanthropy: we aren’t taking equity or looking to recoup the grants. The return we’re hoping for is creative—helping new voices make games and find their footing. “Mark and I have each made multi-million-dollar donations to establish the foundation, and we intend to keep contributing. We hope others will join us.” Cerny and Keighley have already hired an executive director, John Maconga, and a head of grants, recent Game Developers Conference director Ashley Corrigan, to help launch the effort. They’re working to recruit game industry leaders to join the effort. Keighley says “dozens of leading game directors have already expressed interest in contributing their time.” To name one, they’ve already gotten Josef Fares, lead designer from It Takes Two and Spit Fiction studio Hazelight on board with a donation and pledge to help out. “I’m proud to support Nova because it gives the next generation of creators the freedom to explore their creativity and hopefully bring their unique visions to life,” Fares told Game File. A plan forged from a friendship Keighley and Cerny have known each other a long time. It’s been so long, Cerny isn’t even sure exactly when they met. “We travel in much the same circles and I’m sure first intersected in the 90s or early 2000s,“ Cerny said. Keighley thinks it might have been during his stint writing a column about the mid-’90s console 3DO for a gaming magazine while Cerny was working on games with Crystal Dynamics or on Way of the Warrior with Naughty Dog. They became genuine friends about a 10 years ago, Keighley said, as they bonded over a shared love of games and a hope to improve the industry. “About a decade ago, we started having dinner a few times a year in LA,” Keighley said. “Just to catch up on life and the industry. Those conversations continued over Zoom during COVID. Nova grew out of that friendship and a question we kept coming back to: ‘What could we do to help the next generation of game directors get started?’” Keighley credits Cerny with the idea to figure out a way to put their money and time back into the industry. At one of those dinners, Keighley proposed the idea of a fellowship program. He’d recalled applying for a Rhodes Scholarship when he was younger. “Spoiler: I didn’t get it,” he said. He’d admired the MacArthur Foundation’s so-called “genius grants.” He liked these kinds of programs that recognized people’s talents and gave them the financial boost and the freedom to realize their potential. With Cerny, he had pondered what a game industry version of that could be. Keighley liked the idea of centering the fellowship on students, drawing inspiration from the accomplishments of Jenova Chen, the USC game design graduate who went on to lead the creation of gently moving, ambitious games such as Flower and Journey. Keighley also thought it could be useful to help promising graduates bridge the transition from student to professional. “Joining an established studio isn’t always possible—especially in today’s market—and even then, it isn’t the right path for everyone,” Keighley said. A fellowship, he realized, could give “graduates the time, resources and guidance to pursue a game of their own and not worry about the commercial viability.” As the idea took shape, Cerny also saw an opportunity to enable more games of a certain type: “The target with the grants is games as an artistic medium,” Cerny told me. “We like to say games with ‘artistic, literary and societal value.’” He added: “I’m a pretty big gamer myself, though I tend to gravitate towards the smaller and more unique or artistic titles, games like Neva, Abzu, Gorogoa, Stray or Outer Wilds. I was just playing and Roger on a flight to Japan, and was getting misty eyed to a degree that I was concerned that a flight attendant would ask me if I was OK. “So one fun benefit here is the games that will come out of the Nova Games Foundation – I can’t wait to play them myself.” Cerny believes it will also be useful for Nova fellows to hone their craft and team leadership skills. “We are looking for the next generation of visionaries,” he said. “The trick is that they will also need to have the executive function necessary to drive a small project to completion.” Game File is a reader-supported publication. To receive new posts and support my reporting, please consider becoming a free or paid subscriber. Subscribe Going big with this Keighley and Cerny may have started Nova and may be the ones primarily backing it right now, but they’re dreaming of something that goes beyond them. “Mark and I may have helped get it started, but one of our measures of success is that Nova grows into something the entire games industry feels a sense of ownership in,” Keighley said. “Our ambition is to build a lasting endowment supported by people and companies across the industry, and an equally broad community of creators willing to give their time and experience to the next generation.” The industry has a lot of knowledge that it can pass to the next generation, Keighley said: “Nova can hopefully become a way to connect that generosity with talented young creators at the moment when it can make the biggest difference.” Cerny, who told me he believes Nova can mature “over the next 10 or 20 years,” sees an opportunity to give generations of game makers momentum. “The industry has changed immeasurably since I started in games in 1982,” he said. “These graduates have talent, training and tools that outclass what we had back in the day by an astonishing amount. But they face a tough road ahead getting traction in the industry, and many could benefit from our support. We want to be there to give it to them.” “There’s a personal side to this, too,” Keighley said. “I don’t have children, and I’ve spent a lot of time thinking about what I can do for future generations. Games have been my entire career. I’ve been incredibly fortunate, and helping someone else build a life in this industry feels like a meaningful way to give back.” Cerny’s oeuvre dates back to Marble Madness and Sonic the Hedgehog 2. He has stood on stage multiple times to reveal the future of PlayStation hardware. He’s been an executive producer for a string of modern PlayStation classics such as The Last Guardian and Marvel’s Spider-Man. Nevertheless, of Nova, he said, “It’s certainly not like anything I’ve done before.” Nova Foundation applications will be due in December and the first wave of fellows will be announced in March 2027. A full list of participating universities and steps students and recent graduates can take to apply to become a Nova Fellow is forthcoming.
AI for better food safety: How tech helps uncover emerging outbreaks
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The science behind the beauty business
Some of Europe’s industrial champions may be in retreat, but its cosmetics sector remains a global leader, buoyed by healthy demand, recognised brands and a reputation for innovation."The fact is, the science in cosmetics is better here in Europe than anywhere else in the world,” says Pierre Morvan, CEO of Technature, a private label cosmetics manufacturer located near Brest in France’s northwestern Brittany region. “You have to have good science in order to make the difference, and that is why we invest so much in research and innovation.”Across Europe, the beauty and skincare products sector supports an estimated 3.6 million jobs, including 265,000 employed directly in the industry, according to the Cosmetics Europe trade group.. Cosmetics production contributes an estimated €11 billion to the EU economy, and generated €30 billion in export revenue last year, a €400 million rise from 2024.Technature itself has a global footprint, supplying products for 1,500 brands in 65 countries. Its range of skin gels, facial masks, nail treatments and other products include natural ingredients and extracts derived from plants, such as seaweed, that are developed and refined through science-based analysis and testing.While industry projections point to sustained growth for the foreseeable future, driven by emerging economies and wider availability of exclusive brands that were once chiefly sold by high street retailers, the sector is not immune to the impact of geopolitics and trade wars. The Trump Administration’s tariff threats have dented cosmetics exports to the EU industry's largest overseas market. After the European Parliament approved the EU-US Turnberry Agreement in June, setting a 15% levy on many EU goods, the French Federation of Beauty Companies warned that “exports are falling sharply” and urged the EU to negotiate an opt-out for cosmetics.Technature’s CEO flags South Korea as an emerging competitor, partly due to its assertive marketing efforts. “I would have to say I am a little bit scared,” Morvan says, regarding the growth potential of the South Korean cosmetics industry. “This is why science and innovation are so important if Europe is to remain the leader.”With a workforce of 200, including biologists, chemists and other scientists, around 15% of Technature’s staff work in three research and development (R&D) labs. A similar number work in four quality control and assurance facilities, where science plays a crucial in ensuring product safety in a sector that is subject to the European Cosmetics Regulation.Educational exchange between industry and academiaIn recognition of Technature’s research and innovation, Morvan was selected as one of Brest’s ambassadors to Science Comes to Town (SCTT), a European initiative to strengthen communications and understanding between science and society. Brest is one of three coastal cities in the EU-funded programme, alongside Split (in Croatia) and Kiel (in Germany). From 7-11 September, Brest will host the EU TalentOn contest featuring 100 early-career researchers from across Europe.Morvan appreciates the value of engagement with educational and scientific institutions as well as the home community. For instance, Technature collaborates closely with university partners to enhance its in-house R&D. In addition, it invites students to its labs and sends its own researchers to local institutions. "We absolutely want the students to know what the industry is all about,” Morvan says, noting that seeing science in action can help young people “understand that they can do something real with science, to create something with what they are learning.” He says another important benefit: encouraging new generations of young people to consider a career in cosmetics.Community involvement also raises awareness about Technature and the skincare industry as a whole. “The public gains recognition of the innovative company that we are, and this is important for getting new customers,” Morvan says. One of its recent innovations — tiny, colourful cosmetic pearls that release skin moisturisers on application — was showcased at this year’s VivaTech event in Paris.Morvan holds a master's degree from the Brest Business School and studied animal production and biology in Brest at the University of Western Brittany (UBO), an SCTT partner, and at the University of Tours. He got his start in business in 2002, initially working on using seaweed as a raw material in the food industry before transitioning to cosmetics. Morvan has always been interested in connecting science and business, reflecting one the goals of SCTT to enhance public-private collaboration.The invitation to participate in SCTT was unexpected. “It was a surprise to get a call from the city of Brest saying that they wanted me on this programme,” Morvan recalls, adding that officials were drawn by his company’s R&D. “It's not only theory and science fundamentals. Our science is something that is applicable to the global market — and important for the community.”Science|Business, which connects policymakers, academics and industry through its news reporting, analysis and events, is an SCTT partner.
The business of educating black parents, teachers and kids
Bolanle Ambonisye knew she had stumbled onto something when parents began using her name to get their children to behave. “Lil’ Johnny was acting up last night. I told him I’m going to tell Mama Bolanle and he straightened right up,” she recalled parents telling her when she was a teacher at the Frederick Douglass […]
Super Bowl LXIII announcement recalls unforgettable Chiefs moment
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‘Full House’ creator recalls ‘miraculous’ on-set moment with 1-year-old twins Mary-Kate and Ashley Olsen
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Rob Lowe reveals his ’80s ‘dastardly’ nemesis who got the roles he auditioned for
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Epinephrine injection recalled over potentially fatal health risks
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Terri Irwin recalls final days, ‘long and sweet goodbye’ with husband Steve Irwin 20 years after his death
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Epinephrine injection recalled over potentially fatal health risks: FDA
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Christine Taylor recalls being asked to lose 10 pounds to play Marcia Brady in ‘The Brady Bunch Movie’: ‘So ’90s’
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FDA finalizes recall due to heart devices sending delayed alerts—software update on the way
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Arsenal include recall clause in loanee’s contract
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This environment is antagonistic to local business
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Astros SP Burrows Has Setback While on Rehab Assignment
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