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4 Eyeless Creatures Have Emerged From One Cave After Hiding in the Dark for Centuries

4 Eyeless Creatures Have Emerged From One Cave After Hiding in the Dark for Centuries

Yahoo15-07-2025
Here's what you'll learn when you read this story:
Pseudoscorpions can be found in habitats around the world, including bookshelves in your home.
A study by South Korean scientists discovered four new species of dragon pseudoscorpions in a cave while doing field research.
These new species—which are likely endemic to this single cave or karst system—are stunning evidence of the immense biological diversity that can be found in some of the world's most isolated ecosystems.
In Aristotle's De historia animalium (one of the founding texts of zoology), the great Greek thinker pens the very first description of a strange creature that is 'found in books' and 'look[s] like scorpions; they have no tails, and are very small.' This is a humble pseudoscorpion—a pint-sized false scorpion (as its name suggests) that nonetheless looks a lot like it's more-dangerous, bigger cousin.
While a member of the class Arachnida, they shouldn't inspire as much fear as other poisonous members of this group. These creatures use poison to subdue prey, but pose no danger to humans, and can actually be immensely beneficial for pest control—they'll munch on moth larvae, mites, and small flies. And true to Aristotle's original observation, they can often be found within the pages of books, as one of their favorite prey species (booklice) feasts on the starch typically found in bookbindings. This explains their nickname: 'book scorpions.'
But not all pseudoscorpions call literary habitats their home. A new study—published in the journal PLOS One and led by scientists at Jeonbuk National University—details four new species of 'dragon pseudoscorpions,' named as such because of their dragon-like jaws. Far from the cozy confines of a bookshelf, the scientists found these miniscule critters (stretching only between one and three millimeters) in a cave system during a field study. They examined the species using genetics, ecology, and morphology and determined that they had found four new species in total: Spelaeochthonius dugigulensis, S. geumgulensis, S. magwihalmigulensis and S. yamigulensis
'In Korea, pseudoscorpions are a 'neglected' invertebrate taxon with presently 28 species in 13 genera that belong to eight families,' the authors wrote. 'However, a recent preliminary barcoding study has indicated that the species biodiversity in surface habitats must be significantly higher. The subterranean fauna is probably also diverse, but to date, only five pseudoscorpion species have been recorded from caves in South Korea.'
This new discovery nearly doubles that number.
Because these creatures live in caves, they have numerous adaptations that are considered 'troglomorphic,' due to living in constant darkness. For example, these four new species lack eyes and possess very little body pigmentation, causing them to range from light orange to brown. The pseudoscorpions also possess massive jaws (in relation to their body size), which likely comes in handy when searching for food in complete darkness.
The researchers theorize that these species are likely endemic to one single cave or karst system, but South Korea is chock-full of caves, with an estimated 2,000 spread across the Taebaek and Sobaek mountain ranges.
'Many people have believed there is only one species (Spelaeochthonius dentifier) distributed in Korea,' Kyung-Hoon Jeong, a master student and lead author of the study from Jeonbuk National University, told IFLScience. 'However, our result was totally different. Each species in the cave has big differences, both in morphology and genetically.'
Like all ecosystems on the planet, caves are threatened by climate change, and understanding the wide variety of animal life in these caves can help scientists conserve them. In order to save a species, it helps to know where to look—and sometimes you won't find the answer in the pages of a good book.
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China's Research Masks A Military Agenda From Alaska To Manila
China's Research Masks A Military Agenda From Alaska To Manila

Forbes

timea day ago

  • Forbes

China's Research Masks A Military Agenda From Alaska To Manila

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Mezzion Pharmaceuticals Reaches Key Enrollment Milestone in World's Largest Fontan Clinical Trial
Mezzion Pharmaceuticals Reaches Key Enrollment Milestone in World's Largest Fontan Clinical Trial

Yahoo

time2 days ago

  • Yahoo

Mezzion Pharmaceuticals Reaches Key Enrollment Milestone in World's Largest Fontan Clinical Trial

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Artist Xin Liu Gives Voice To Aging Satellites In Orbit
Artist Xin Liu Gives Voice To Aging Satellites In Orbit

Forbes

time6 days ago

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Artist Xin Liu Gives Voice To Aging Satellites In Orbit

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Tell me about your background and how you became interested in art. I grew up in Karamay, Xinjiang, which is a small, remote city in northwestern China. My parents are both surgeons. When I was a kid, I really loved math, physics, chemistry. No one I knew was remotely working in the creative industry; everyone was a doctor or working on the oil fields or for the government. I never thought of the possibility of becoming an artist until very much later in life. I think it's common for children who did not grow up in big cities like Shanghai and Beijing to think that art is a luxury. I only had access to art when I went to college, and for the first time entered an art museum of any sort. I decided to study art after my undergrad. During college, I took a second degree in digital art, mostly because I was interested in gaming. And that was also when social media started to appear in China. I wanted to understand this new industry and the way self-expression was enabled through the Internet. After a couple of years learning game design and interaction design, I just got really hooked with all the possibilities in the arts and ended up applying for grad school. Xin Liu, NOAA-18: The Devoted Idealist, 2025. Commissioned by Hyundai Artlab Photo Xin Liu Studio What did you learn from your time at Rhode Island School of Design and MIT? Why did you decide to study both art and engineering, why do you view yourself not only as an artist but also as an engineer, and what role do research and experimentation play in your artworks? At Rhode Island School of Design (RISD), I had to start from scratch. I had to 100 % learn art history myself because all of my classmates and professors were way ahead of me. I spent most of my first year in the library just reading books on art history and modern and contemporary art. I remember I had this 'wow' moment with Duchamp's work. After RISD, I ended up going back to the tech field because I never saw myself going to grad school to become a professional artist; it was rather a desire to have a comprehensive education for myself. I think it's a pity nowadays that we have all these disciplines that are polishing one's knowledge and ability, but diminishing the potential of individuals to understand the world through various aspects, including technology, art, philosophy, science and even fiction. Education is the soil for my mind, for the construction of my world. I've never felt like there was a distinct separation between art and engineering. They are asking the same questions about what it means to be human in the 21st century. And how do we reconcile all the varieties of practices that take risks, make guesses, act on the edge, iterate and, ultimately, take a leap of faith to create an experiment to propose a theory and to create a piece of art? Describe to me your artistic language and philosophy. What is the most important consideration when you first start creating an artwork? Do you know exactly how it will look like when you start, or are you surprised by the end result? When I first start creating artwork, I often start with a moment that I want to achieve. I think film might be a big influence for me, as storytelling and a moment in a story that we reach is something I seek in my art: a concentration of energy and time you can capture in a sculpture, painting or installation, and slowly you sense it going through you even after you have left the exhibition. That's really what I'm looking for. I don't really know how the work will end up visually or the format of the entire work until much later on, in most cases. However, the sensation that I talked about and the moment that I tried to create do stay truthful to themselves, from the beginning to the end. Why do you choose to live and work in London? I work on probably two or three projects actively at any given moment, and probably two or three group shows every month. I moved to London because my partner's new job relocated us, but I'm also very excited to live in Europe for the first time. I grew up in China and I've studied and worked in the US for almost a decade. Europe is a new, exciting change, and I've been learning a lot already. Xin Liu and her partner Gershon Dublon capturing satellite images in Riis Beach, New York Photo Xin Liu Studio Tell me about your work with decommissioned NOAA weather satellites. This work actually started in 2020 in the midst of the pandemic. Living in New York City, I climbed to the rooftop of my Brooklyn apartment. I used a self-made antenna out of broomsticks to receive data from remote satellites. For me, in many ways, technology and innovation are like the satellites that orbit earth really far away, but that are continuously watching and taking care of us and providing access and connectivity. When I talked with the team at BMW about the IPA system and the iDrive system, I learned that the intelligence and technology are really about companionship. I immediately thought about what I did during the pandemic with the satellites because that was my only activity and entertainment during the lockdown, when I climbed to the roof and tried to connect to remote things, which were satellites that had been decommissioned for already 20 years, but that kept orbiting the earth to bring data back. Barely anyone could hear them except for amateur artists like myself. I thought how I could push further on that and how perhaps my attempt to connect could bring some emotions to them or allow for creativity. That's why I imagined a wild dance for them and the video is actually a live simulation that I wrote for the algorithm. The little squares represent vehicles that are being pushed and pulled by the planets that are represented by circles. They give these trajectories that I imagined, where they're hopefully having their own dance while watching us. What were the biggest challenges in the process of making 'NOAA', a commission by BMW first presented in Shanghai, where you were asked to propose a view on the future of AI and automobiles? There is a sound piece in the background and there's noise that is actually data from satellites in space. In the meantime, I think people see technology as providing really exciting opportunities for the future, but also as something a bit intimidating if they don't have the background or knowledge themselves. So for this piece, I tried to make an emotional connection and help people to go to a place that is a little bit farther away from this really exciting metropolitan city. The way I hope that I've managed to do that was to invite my husband to whistle a song that I really like and that's going around in this space.

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