It was August 2 when Nature published the latest stunning study, introducing to the world the first human embryos edited in the US by Shoukhrat Mitalipov. Not even a month had passed, and on August 28, those results have been challenged on a much younger and quick medium: the bioRxiv pre-print website. I felt like a déjà vu happening. It reminded me of the Nature Methods study questioning CRISPR’s precision in June. Within three weeks bioRxiv has already challenged the controversial data about off-target mutations by posting two critical analyses which soon became three. In short, this server is rewriting a part of CRISPR’s science and it is becoming an emergency tool for correcting mistakes that, inevitably, sometimes tarnish the most respected peer-reviewed publications. How does it work? Continue reading
It’s mid-August, but CRISPR never goes on vacation. Not to be missed this week is the Science paper by George Church’s team. They have cloned 15 PERV-free piglets, meaning porcine retrovirus sequences have been edited out. The animals can now “serve as a foundation pig strain, which can be further engineered to provide safe and effective organ and tissue resources for xenotransplantation,” researchers write. According to the Harvard geneticist, the first pig-to-human transplants could occur within two years. Another article in the same journal feels the pulse of public perception of human genome editing, concluding that opinions are nuanced and the challenge is to find the best way to engage people in discussions about genome-editing regulation.
A few artists are already interested in using CRISPR to explore the border between biology and art, but scientists have so far been able to develop the artistic potential of genetics more elegantly and surprisingly. In this Nature paper, George Church’s group recalls the beginnings of cinematography by introducing old images of a galloping horse into a dividing bacterial population. Harvard researchers have chosen a historical sequence captured by British photographer Eadweard Muybridge in 1887, using a code based on nucleotide triplets to specify pixels tonalities. The exploit is technically astonishing, and it is not just a divertissement. It represents a proof of concept that one day perhaps we will be able to build cellular recorders, that can collect and store what is going on inside cells. But enthusiasm for futuristic research applications is joined here by an ancient sense of wonder. That galloping horse turns upside down proportion and hierarchy: it is the great in the small, the elegant in the primitive, the mammal in bacteria. Science has become magic. Art indeed.