Does Optogenetic Inactivation of TRPA1-expressing Neurons Diminish Heat Avoidance in Drosophila Larvae?

Posted on May 30, 2025 by Tess Everett

Authors: Claire Colvin ’27, Tess Everett ’27, Shiv Patel ’27.

For our Neuroethology class (NSCI 324/BIOL 314) with Professor Charlotte Barkan, we decided to explore the extent to which TRPA1, an ion channel expressed by heat-sensing neurons, is involved in heat sensation. We wished to use optogenetics to investigate how the inactivation of cells expressing this channel influenced heat avoidance behaviors in Drosophila larvae. In order to inactivate the channel under blue light, we crossed two fly lines (UAS-ACR2 and GAL4-TRPA1) and used their resulting progeny.

Students in Neuroethology 324 class collaborate with the Makerspace to create a dual-chamber water bath

To observe heat avoidance in ambient versus blue light, we wanted to create a model that could maintain a heat gradient with a cold and hot side of the arena (a Petri–dish). This led us to partner with the Makerspace to bring this experimental design to life. We helped design and then Makerspace student worker Izzie Tarantino ‘28 modeled and 3D printed a dual-chamber water bath that allowed us to cool and heat each side individually. The arena was partially submerged within the model, allowing for the creation of a temperature gradient to observe larval behavior. Heat avoidance behavior was quantified by recording the number of larvae present on each side of the arena at 30–second intervals over 5 minutes. We hypothesized that the inactivation of TRPA1 (blue light condition) would disrupt heat detection, manifesting as reduced heat avoidance of the hot side of the arena.

Early data acquisition: small change in temperature

During our data collection, we learned that the temperature of the water did not exactly reflect the temperature of the arena. This was due to the material within the Petri-dish, called agar. While this substance is crucial because it facilitates larval movement, agar is not particularly conductive to heat. The cold side of the arena was warmer than the surrounding cold water beneath it, and the hot side of the arena was cooler than the surrounding hot water. This led us to adjust our methods. First, we opted for more extreme water temperatures within each chamber to achieve a true temperature gradient. We also decided to use an infrared thermometer to ensure we knew the exact temperature experienced by the larvae on the surface of the arena, instead of using the temperatures of the water below as a proxy. With these adjustments, we gathered much better data.

Later data acquisition: larger change in temperature

Our preliminary results showed that the inactivation of TRPA1 partially leads to the reduction of heat avoidance behaviors, following our hypothesis that TRPA1 is involved in heat sensation, but demonstrating that TRPA1 is not the only ion channel involved in temperature detection. We would like to note that due to the few trials performed, these results are not statistically significant, and more experiments are required to confirm the viability of our findings.

Special thanks to Jason Mativi (Senior Science Center Shop Engineer) and David Keiser-Clark (Makerspace Program Manager) for supporting our work.

For more in-depth information about our project and results, our final presentation and lab report are linked below:

Final presentation: TRPA1 & Heat Avoidance: Ft. Drosophila Larvae (PDF, 16 slides)
Lab report: Does Optogenetic Inactivation of TRPA1-expressing Neurons Diminish Heat Avoidance in Drosophila Larvae? (PDF, 7 pages)

Just us being goofy

Mayan Tenon: Bringing the Past to Life with 3D Printing

Posted on May 14, 2025 by Harris Longfield

Background

Mayan “Human Head Emerging from Monster Jaws”, Late Classic, 600-900 CE, 125 lb., Object number: 1870.1.2

College campuses hold a wealth of history, blending the stories of their institutions and community with those of the wider world. The epitome of this fascinating history can be found in the Williams College Museum of Art (WCMA). Among the thousands of objects housed here, some carry tales of adventure, cultural exchange, and intrigue that transport us back in time. Between 1870 and 1871, two Williams students took a Lyceum-sponsored trip to Honduras and Belize where they acquired two Maya tenons in the town of Corozal and brought them back to Williams College, where they remain today. These tenons are now studied as part of anthropology and art history courses at the college and have been on view in Object Lab and other exhibitions at WCMA. More information about these artifacts can be found in a student research paper written in 2019.

Given their fascinating history with the college, the WCMA wanted to send the above pictured tenon, object number 1870.1.2, to the Beatriz Cortez x rafa esparza: Earth and Cosmos exhibition in New York City. The Earth and Cosmos exhibit celebrates cultural and artistic ties to ancient civilizations, making the tenon a fitting addition. However, the tenon is fragile, sculpted from soft limestone, and heavy, about 125 pounds. If it were to be shipped to the show, it would have been a miracle if it arrived in one piece. This logistical nightmare prompted Beth Fischer, WCMA’s Assistant Curator of Digital Learning and Research and Lecturer, to reach out to the Makerspace and request a 3D printed copy at a 1:1 scale model. She even shared the high-resolution photogrammetry 3D scan that she had completed during the pandemic.

Although shipping a reproduced object eliminates any fear of damage to the original, 3D printing still raises a series of challenges. First, the tenon is significantly larger (23 1/4″ × 8 1/2″ × 18″) than our largest printing bed, meaning we must print it in quadrants and glue them together in the post-processing stage. Second, 3D-printed objects can be fragile, and they may chip or crack if they are jostled during shipping. Third, how do you best transform a 100% plastic object into a material resembling aged limestone?

One quadrant of the 3D printed tenon fills most of the available bed space on the Makerspace’s Prusa XL 3D printer; note the “tree supports” are still attached

Printing

We resolved the oversized nature of this object by dividing our model into four roughly equal parts. We printed each quarter separately, and the actual printing times ranged between 10 and 34 hours per each quarter—for a total of about four days of nearly continuous printing.

We briefly experimented with adding mass to the 3D print by pausing the print midway through, then adding steel BBs into the hollow interior infill, and then completing the print. We decided there was little benefit to adding mass, as the object would be on display and would not be handled by the public. We instead focused on durability for shipping purposes. We selected our settings and printed a test piece (representing 1/32 of the entire object) that we then dropped and kicked to subject it to the kind of rough handling it might experience during shipping. We found that a 3mm shell provided a sturdy and durable object. We printed in Sunlu PLA Meta 1.75mm filament (white) with the following specifications: 0.2mm layer height (speed), 15% infill density, triangular fill pattern (low density, strong, fast), and organic tree supports (easy to remove). We configured the Prusa XL to auto-swap filament rolls as each successive 1kg PLA roll ran out. For the largest (34-hour prints), we used 2.3 rolls, and this hot-swapping meant increased efficiency because we did not have to babysit it.

We created the model’s stone-like appearance using a post-processing technique that the Williams Makerspace learned last spring semester from two (then) local 5th graders: Elizabeth Heeringa (she invented the technique) and Anderson Keiser-Clark. Together they applied this technique to a pair of large-format 3D printed Spruces Lions that supported Giuseppina Forte’s ARTS 222 Critical Practice of Architecture: Theories, Methods, and Techniques course. These lions were exhibited in the Williams 2024 Spring Big Arts Show.

Post-Processing Recipe

We used luthier’s woodworking tools (scrapers) to remove extraneous plastic from the flat sides of each quadrant. We then superglued the four quadrants together with CA (cyanoacrylate) glue, and applied three layers of 3M Bondo (a thick epoxy putty used in automobile repair) to hide the seams. We let that dry and then hand-brushed two thin coats of DRYLOK Original Concrete & Masonry Waterproofer; this helped convert the plastic PLA surface texture to the more sandy and gritty nature of the DRYLOCK paint.

We used luthier’s woodworking tools (scrapers) to smooth the flat sides of the PLA blocks

3D printed tenon: 3 of 4 printed quadrants (organic tree supports remain on the lower right block)

3D printed tenon: 4 of 4 printed quadrants (organic tree supports remain on the two blocks on right side)

Applying the third layer of 3M Bondo (a thick epoxy putty used in automobile repair) to hide the seams

Finally, we created an acrylic wash solution by filling two spray bottles (one black, one brown) with a solution of 15% acrylic paint and 85% water. We sprayed on 4 coats, allowing 24 hours to dry between each. It sprays on quite dark, but then dramatically lightens as it drips off. Iterative coats allowed us more control over achieving our final desired outcome.

The 3D printed tenon after being painted with two coats of DRYLOK Original Concrete & Masonry Waterproofer

We were excited to accidentally discover that using a painting hood with strong ventilation (to reduce our exposure to the DRYLOK fumes) changed the spray bottle output and turned it into a very fast-moving and fine mist (think: atomized), and that nearly eliminated drippy streaks. We attempted to use our two colors to recreate the variegated tones of natural limestone by adding extra solution to nooks and crannies, and then we dry-brushed the visual highlights with a stiff, fine brush (using pure acrylic paint) to add some texture. Our goal was never to color match the original Mayan tenon, but rather to create a realistic looking substitute that could be interpreted as being limestone. The painting was completed by Lisa Dorin, Deputy Director of WCMA, and David Keiser-Clark, Makerspace Program Manager.

Lisa Dorin, Deputy Director of the WCMA, spraying the 3D printed tenon with an acrylic wash

The 3D printed tenon after being painted with two coats of DRYLOK Original Concrete & Masonry Waterproofer

Side view of the final 3D printed tenon, after post-processing, weighs about 20 pounds

Front view of the final 3D printed tenon, after post-processing, weighs about 20 pounds

NYC Exhibition

The final 3D printed tenon was visually stunning, weighed about 20 pounds, and was successfully shipped to Earth and Cosmos, where it is being exhibited from January 29 through May 17, 2025. Beatriz Cortez was very happy with the result and hopes to be able to borrow the print again for future exhibitions. This exhibition-quality 3D print acts as a fascinating interface between artistic expression and cutting-edge technology. Although it was artificially fabricated, it still carries the history and cultural significance of the original piece in a manner that can be transported from location to location and shared with the broader community. This work is a part of Williams College’s story, but also a part of many other stories, and I’m thankful to have had the opportunity to share it.

3D printed tenon being wrapped for shipment to exhibition in New York City

3D printed tenon on display at Earth and Cosmos exhibition, New York City

Acknowledgments

This project was made possible thanks to the collaborative efforts of Beth Fischer and Lisa Dorin (WCMA) and Makerspace student workers Harris Longfield ’27 (me) and Elena Sore ’27, with support from David Keiser-Clark.

Publications Mentioning this Work

ARTnews, March 25, 2025: At the Americas Society, a Show Honoring Olmec Art Challenges Museum Protocol
AS/COA, December 20, 2024: Americas Society Presents – Beatriz Cortez x rafa esparza: Earth and Cosmos, Americas Society Presenta – Beatriz Cortez x rafa esparza: Earth and Cosmos (Spanish)
Arte al Día, December 13, 2024: BEATRIZ CORTEZ X RAFA ESPARZA: EARTH AND COSMOS, A JOURNEY THROUGH THE ANCIENT CULTURES
September 8, 2022: Artist Talk by Beatriz Cortez

Life After Williams: Stitching Memories Workshop

Posted on May 12, 2025 by Aracely Watson

Contents of upcycled mending kit includes a block printed “Strive for Zero Waste” by Leni Fried of the Old Stone Mill Center.

As a Resident Director, one of my responsibilities is to plan and execute a Life After Williams (LAW) event. LAW events are designed to teach students practical skills that will be useful after we leave Williams, skills that we might not learn in the classroom. For my LAW event, I decided to partner with the FabLab to hold a mending and hemming workshop. Participants were invited to learn basic sewing skills and take home a mending kit, promoting both self-sufficiency and sustainability.

To plan this event, I reached out to David Keiser-Clark, Makerspace Program Manager, who was truly invaluable throughout the process. He connected with the Old Stone Mill Center, a zero-waste makerspace in nearby Adams, MA, and sourced mending kits for our workshop including upcycled materials such as antique sewing scissors, button thread, regular thread, denim scraps for patches, embroidery thread, cork, pins, safety pins, sewing needles, a few buttons, chalk, and a thimble. The Old Stone Mill assembled these materials into custom zippered pouches that they created from upholstery samples.

Students participating in the Life After Williams workshop created by the Residential Life Team

50 upcycled mending kits for this and future mending workshops, created by the Old Stone Mill Center in Adams, MA

Students participating in the Life After Williams workshop created by the Residential Life Team

Final elements, such as fabric tape measures, in-house 3D printed sheaths (for the scissors), seam rippers, and industrial thread, were added to each kit the day before the event. Each kit was a unique work of art and clearly made with care. The event was held on the final day of Earth Month, and I’m grateful to the Zilkha Center for helping to publicize it.

Reflecting on the event itself, I would say it was a great success. I am grateful to Maile Ruiz ‘26, a FabLab student worker, for sharing her expertise as an instructor. Nine students attended, and two of them learned to sew for the first time. I personally mended one of my favorite scrunchies and helped a fellow senior fix the cuff of her sweater. As we all sat around the table, our conversation revolved around the emotional and environmental value of caring for clothing. The senior reflected that she had brought the sweater with her to study abroad and therefore it held memories for her. In repairing it, not only was she able to decrease clothing waste, she was also able to retain the physical reminder of her memories. It was gratifying to know that these kits might empower students to take more agency in maintaining their clothes and, by extension, in reducing waste.

(Thank you to Anderson Keiser-Clark for contributing his Fusion360 design for the scissors sheath. We 3D printed these in flexible TPU (50% infill) and they offer a perfect grip.)

PrusaXL 3D printing a batch of scissors guards

Fusion360 design for the scissors sheath.

Alumni Reflection: My Experience in the Makerspace (Mohammad Faizaan ’23)

Posted on May 8, 2025 by Mohammad Faizaan

Mohammad Faizaan ’23

During the tour of campus at First Days my freshman year, I heard that Sawyer Library had a room full of 3D printers, a VR headset, video gaming rooms, and production studios. It sounded awesome! But in the whirlwind of starting college, learning how to college, and figuring out where the good study spots were, I forgot about it.

That changed about a month into the semester during my Chemistry 151 class. We had a virtual lab in the library and were handed these tiny 3D-printed water molecules. I was fascinated. They weren’t just models—this represented water! Something we drink every single day and is vital to sustaining life. Someone had taken the time to turn their PyMOL rendering of water tangible. That moment is what led me back to the Makerspace.

Walking into the room for the first time felt like stepping into a playground for creativity and experimentation. I was hooked. I loved tech, had always been the kind of kid to open up old phones to see what was inside (sometimes even managing to put them back together—other times… not so much. Sorry Dad!). Even though I was leaning toward medicine, not engineering or computer science, the Makerspace gave me an outlet to nurture that side of me—the part that loved to build, break, problem-solve, and tinker.

During that first visit, I met Matthew Roychowdhury ’21, who would later become my student mentor. He mentioned that they were hiring, and I happened to be looking for a campus job. After meeting with the Director of OIT, Jonathan Leamon, he handed me a key. Neither of us knew that this key would unlock a really formative part of my Williams experience.

From day one, the Makerspace was a place where curiosity came first. You didn’t need to know how additive manufacturing works or a background in engineering; all you needed was a willingness to try, to ask questions, and to experiment. As such, I started small: printing fun models, learning the quirks of different printers, experimenting with different filament types. Eventually, I was assembling machines, running workshops, and helping classmates bring ideas to life—and occasionally causing disasters.

I’ll never forget the infamous Blob of Death. We, at the makerspace, had been struggling with build-plate adhesion for a while my first year. After trying to mess around with different options—turning up the build plate temperature, attaching masking tape, or using a glue stick—I decided to solve it my own way: slow down the print by 80%, crank up the build plate temperature, and let it run overnight. Little did I know. I came back the next morning to find out that my model had not adhered. The filament kept coming, thus forming a giant blob that melted into the extruder head and damaged it. I felt terrible. But it was also a turning point. I learned how to fix the extruder, how to not fix adhesion (pro tip: use glue sticks!), and most importantly, how to take responsibility for mistakes and learn from them.

Later, I became a student manager, which meant mentoring others, troubleshooting constant printer issues, and helping lead through unpredictable challenges like COVID-era policies when the library would cut power at 11 p.m., destroying all overnight prints. We got creative, supported each other, and laughed through the chaos. It was teamwork, community, and a kind of joyful resilience (which we needed when all printers were down).

What stood out to me, however, was how interdisciplinary the Makerspace was. It wasn’t just about technology. It was a space for expression, creativity, learning, and most importantly experimentation. I used the VR room to walk around a chemical model of a protein and explore ß-sheets and α-helices. I became an architect for a day when I helped design a room in blender (and gave structural, get it?, advice on why we wouldn’t be able to print a model with a floating roof). I saw studio art majors, computer scientists, and biology students all using the same machines for completely different goals. That kind of intellectual cross-pollination is rare, and it’s something that I now realize prepared me well for the kind of collaboration and creative thinking needed to solve problems.

Now, as a medical student, I’m not building 3D models every day, but I am working to solve problems, think critically across disciplines, and striving to be creative in doing so. Medicine, like the Makerspace, is about adaptability, collaboration, and understanding how different systems work together. The hands-on experiences I had building, fixing, experimenting, and supporting others in the Makerspace genuinely helped shape the kind of thinker—and person—I am today.

In fact, one of the most unexpected things the Makerspace gave me was a sense of advocacy even during my first days in undergrad. When I first joined, our machines were outdated and constantly breaking. As fun as it was to come up with creative solutions, we needed more reliable tools. So, Roychowdhury ’21 and I came up with a case for a new printer, presented it, and learned how to effectively present it to Leamon. Not only did Leamon help us purchase two new printers, but this experience helped me grow closer to him—to the point wherein he wrote one of my letters of recommendation for medical school! That experience helped shape the confidence I relied on for my undergraduate advocacy and current day advocacy in religiously informed healthcare, Muslim representation in medicine, and health equity, more broadly.

The Makerspace gave me a space to be curious, to grow into a leader, and to build confidence in skills I didn’t even know I had. It helped shape not just how I work, but how I think, and who I want to be. I’m endlessly grateful for the community I found there, and I hope future students continue to find the same joy, creativity, and purpose—whether their path lies in tech, art, science, medicine, or something else entirely.

Mohammad Faizaan
Rush Medical College ’28
Williams College ’23
BA in Chemistry and Religion

Williams College: Makerspace & FabLab

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Monthly Archives: May 2025