Scientists making fishy robots for naval research

Updated 24 October 2012
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Scientists making fishy robots for naval research

NEW ORLEANS: An eel undulating through coastal waters, powered by batteries and checking for mines. A jellyfish is actually a surveillance robot, powered by the atoms around it. Fins pick up intelligence while propelling a robot bluegill sunfish.
The US Office of Naval Research is supporting baby steps toward making those visions of the future a reality. For instance, the jellyfish work is focused on how the creatures move in water, and how to mimic or even surpass their abilities. The robojellyfish is currently tethered to hydrogen and oxygen tanks, and ONR project manager Robert Brizzolara said he doesn’t plan to try making it move autonomously yet.
There’s plenty still to learn about basic hydrodynamics.
“We, as engineers, haven’t created anything that swims nearly as well as a very basic fish,” said Drexel University’s James Tangorra, who is working on a robotic bluegill. Partners at Harvard and the University of Georgia are studying the actual fish; he uses their findings to engineer imitations. “There are great things we can learn from fish ... The way they propel themselves; the way in which they sense water.”
Ultimately, the Navy wants “the next generation of robotics that would operate in that very Navy-unique underwater domain,” said Jim Fallin, a spokesman for Space and Naval Warfare Systems Center Pacific, which is doing separate work in San Diego. One aspect is finding long-lived power sources to let drones loiter a long time to collect information, he said.
Possible uses include spying, mapping and mine detection and removal. The Navy is not the only agency paying for such research. In 2007, the Defense Advanced Research Projects Agency offered small business innovation research money for an underwater robot that could navigate rivers, inlets, harbors and coastal waters to check for general traffic, obstacles, things on and under the bottom and “specific vessels of interest.”
The ONR studies are more basic. The grants aren’t aimed as much at creating drones as at understanding how things move forward underwater, Brizzolara said.
The Navy uses torpedo-shaped drones and tethered vehicles to detect mines and map the ocean floor. But propellers and jets can be easily tracked on radar and sonar. Robots modeled after water creatures could be both more efficient and harder to detect, and could move through perilous waters without endangering people, researchers say. The work isn’t all at universities. The Office of Naval Research opened a robotics laboratory this year. A prototype dubbed Razor, developed at the Naval Undersea Warfare Center in Newport, Rhode Island, uses flippers for stealth.
Like the jellyfish work and the University of Virginia studies on manta rays, the eel research at the University of New Orleans is all about hydrodynamics. The spark is UNO professor emeritus William Vorus’ theory that sinuous undulations, though a slow way to swim, should allow forward movement without creating a wake. Brandon M. Taravella, who studied under Vorus and is now an assistant professor of naval architecture and marine engineering at UNO, sees the robot eel as a possible surveillance tool. But the Office of Naval Research’s three-year, $900,000 grant is focused on making an eel and seeing whether it can swim without disturbing the water around it.
Other scientists have checked real eels, Taravella said. “It’s pretty high-efficent ... but still has some wake. That’s why we’re not dropping eels into the tank.” Computer-generated models indicate just how a robot eel should move to get through the water without any drag. Creating one to do that is far from easy.


At Jazan festival, Suad Al-Asiri paints memory, land and leadership

Updated 13 January 2026
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At Jazan festival, Suad Al-Asiri paints memory, land and leadership

  • Local artist channels personal hardship into works that reflect Jazan’s identity, heritage
  • Jazan: A Nation and a Prince, places region at the heart of a composition featuring Prince Mohammed bin Abdulaziz and Prince Nasser bin Mohammed bin Abdullah bin Jalawi

RIYADH: At the Ahad Al-Masarihah pavilion at Jazan Festival 2026, Suad Al-Asiri’s paintings blend memory, place and personal history, offering visual narratives shaped by beauty and hardship. 

A novelist and visual artist, Al-Asiri has long used art as a storytelling tool. After a near-fatal car accident in March 2024, her work took on a new urgency. Bedridden for 11 months, cut off from the public world for more than a year, she describes that period as one of the most painful in her life — yet also transformative. 

“First of all, praise be to God for granting me life, as the accident was extremely severe,” she said. “By God’s grace, I was given a new life. All my thinking after the accident was about becoming an inspiration to others — about enduring pain and obstacles, and still leaving an impact.” 

Her return to public life came in 2025, when she participated in National Day celebrations with the ministry of interior. By the time she arrived at Jazan Festival, she was ready to channel that experience into her art. 

The centerpiece of her display, “Jazan: A Nation and a Prince,” places the region at the heart of a composition featuring Prince Mohammed bin Abdulaziz and Prince Nasser bin Mohammed bin Abdullah bin Jalawi, governor and deputy governor of Jazan respectively. 

Visitors linger over the details: the painting incorporates coffee beans, sesame and khudair — materials drawn from local products.

“I wanted people to recognize these products immediately,” she said. “They are part of Jazan’s daily life, and using them makes the work more tangible, more connected to everyday experience.” 

The painting sparks conversation. Visitors discuss leadership, identity, and the intimate relationship between people and their environment. 

Beyond the central piece, Al-Asiri presents individual portraits of the two princes, expanding the dialogue into a broader exploration of heritage and memory.  

Her journey into art is tied to her life as a storyteller. Early experiments with charcoal and pencil evolved into abstract art, drawn by its expressive freedom. 

From there, she explored realism, surrealism, and eventually modern art, particularly pop art, which has earned her wide recognition in artistic circles. Her novels and media work complement her visual practice, earning her the title “the comprehensive artist” from the governor.

Yet what stands out most in this exhibition is how Al-Asiri’s personal resilience flows through each piece. Her experience of surviving a devastating accident, enduring months of immobility, and returning to the public eye informs every brushstroke. 

Visitors sense not just her artistic skill, but her determination to turn life’s hardships into inspiration for others. 

Walking through the pavilion, one can see it in the way she blends heritage symbols, southern landscapes, and scenes of daily life. 

Each painting becomes both a document and a dialogue — a celebration of Jazan’s culture, a reflection on identity, and a testament to the power of human perseverance. 

At Jazan Festival 2026, Suad Al-Asiri’s art is a quiet, persistent inspiration for anyone who pauses long enough to listen.