New Chinese Technology Converts Cotton Waste into Potent Water Purification Catalyst

A research team in China has developed a new technology based on converting cotton waste into an effective catalyst capable of significantly improving water purification efficiency. Researchers from Shenyang Agricultural University in China explained that the innovative technology converts simple agricultural waste into a high-value material used in water purification, promoting the concept of a circular economy and reducing waste. The results were published on Thursday in the journal 'Biochar'.

Ozone-based water treatment relies on using ozone gas as a strong oxidant to kill microorganisms and break down organic pollutants in water, oxidizing harmful compounds into simpler, less dangerous substances, thereby improving water quality and reducing odors and color. However, ozone alone may not be sufficient in some cases to treat stable or complex pollutants, so additional catalysts are used to enhance its efficiency and accelerate the complete degradation of pollutants.

The new technology relies on converting cotton waste – residues from agricultural processes related to the cotton crop – into an advanced functional material known as nitrogen-doped biochar, designed to act as a catalyst that enhances the efficiency of ozone-based water treatment. This biochar is produced through a thermal decomposition process of agricultural waste with the addition of a nitrogen source such as urea, to reshape the material's surface structure.

The researchers were able to develop a specific material from this nitrogen-doped biochar known as 'N-BC-800', manufactured from cotton waste using urea as a nitrogen source, through a two-stage thermal decomposition process.

The results showed that the new material is capable of significantly increasing water treatment efficiency, especially in removing DEET, one of the most widely used insect repellents, which is considered a persistent and difficult-to-degrade pollutant in aquatic environments.

The technology managed to remove about 74 percent of this compound when combined with ozone, clearly outperforming the use of ozone alone or unmodified biochar.

The process also recorded a significant increase in reaction speed, with the reaction rate increasing by about 106 times compared to ozone alone, and about 25 times compared to ozone with traditional biochar, reflecting a substantial improvement in treatment efficiency.

According to the study, the mechanism of action lies in the fact that the catalyst material not only directly purifies water but also activates ozone molecules within the water, transforming them into a more powerful and effective oxidation system. This results in the formation of highly reactive oxygen species responsible for breaking down chemical bonds in complex organic pollutants.

The researchers explained that this outstanding performance is due to the chemical modification of the biochar surface, where the introduction of nitrogen contributed to increasing the surface area and improving electron transfer.

The effectiveness of the material was not limited to DEET; it also proved effective in removing other pharmaceutical and agricultural pollutants, such as ibuprofen, ketoprofen, atrazine, and primidone, enhancing its potential for widespread use in treating polluted water.

Experiments also showed that the new material has a good degree of stability, retaining about 80 percent of its activity after 5 consecutive use cycles, and remained effective even in real wastewater, retaining about 73 percent of its efficiency.

The Rotterdam Arab Film Festival celebrates Palestinian cinema in its 26th edition, held from June 10 to 14. The festival is betting on diaspora cinema this edition and pays special attention to films reflecting human rights issues. The festival also witnesses a remarkable presence of Palestinian cinema, a presence that the festival management is keen to establish in all its editions.

The poster for the edition reflected this interest, carrying symbolic connotations inspired by the 'Freedom Flotilla' and including an image of 26 white boats cutting through the sea. The festival also dedicated this edition to the souls of three departed figures: Palestinian poet Mohamed Abu Leil, one of the festival's founders, Egyptian director Daoud Abdel Sayed, and Tunisian actor Fathi Hadaoui.

The opening ceremony, held on Wednesday, honored a number of Arab cinema stars, including Egyptian actress Leblba, Syrian actor Jamal Suleiman, Syrian actress Dima Kandalaft, and Tunisian actor Lamain Nahdi, alongside Egyptian director Khaled Youssef, who chairs the long narrative film competition jury.

The festival organizes three competitions for long narrative films, short films, and long documentary films, with the participation of about 70 films from 30 countries.

Actress Leblba expressed her happiness with this honor, saying while receiving the festival's shield that she is attending for the first time and that this visit is her first to the Netherlands. She thanked the audience who supported her from childhood until today, and also thanked the great directors she worked with, emphasizing their significant contribution to her artistic career. She added that despite her participation in about 100 films during her artistic journey, she still looks forward to presenting new works and roles that gain the audience's admiration.

Festival founder, Khaled Shaukat, affirmed during the opening ceremony that 'Arab cinema, and Tunisian cinema in particular, has achieved remarkable successes in international forums and has proven its ability to compete globally.' Meanwhile, artistic director of the festival, Roshdi Abufattah, said that 'the festival has, since its inception, been biased towards the Palestinian cause,' considering that cinema is not just a space for artistic creativity, but also a platform for defending freedom.

The festival program includes the premiere of the film 'Chronicles of the Siege' by Palestinian director Abdullah Al-Khatib, which addresses the tragedy of 'Yarmouk Camp' in Syria and the Palestinian diaspora experience, after its participation in the last edition of the Berlin Film Festival. The film 'It's a Pleasure to Meet You Dead' by Palestinian director Tawfiq Barhoum also participates in the short film competition.

The festival dedicates a day to Palestine under the title 'An Eye on Palestine,' during which four films that garnered wide attention last year will be screened: 'The Voice of Hind Rajab,' 'What Remains of You,' 'Palestine 36,' and 'The Last Doctor.' It also highlights a number of Arab issues through other events, including 'New Syria' and 'Arab Women Creators.'

The Rotterdam Arab Film Festival is considered one of the oldest Arab film events in Europe. Its program for this edition includes a number of parallel artistic and cultural events, including the 'Production Market' dedicated to supporting young talents, and the 'Arab Market,' which extends over 3 days and includes Arab and Eastern cuisines, along with musical performances and an Arabic book fair.

Critic Sayed Mahmoud praised the 'Rotterdam Arab Film Festival,' saying in statements to 'Asharq Al-Awsat' that 'the festival has had a remarkable impact through its editions spanning more than a quarter of a century, as an artistic festival based on the good selection of its films and guests. This is evident in this year's honors, which included artists and directors with cinematic history and a firm standing in Arab cinema, in addition to its continuous attention to Palestinian cinema.'

Mahmoud believed that Arab film festivals in Europe, whether in Rotterdam, Paris, or Malmö, represent important bridges for Arab cinema abroad, especially with the presence of large Arab communities. He added that these festivals provide a vital space for directors and filmmakers, especially from the Maghreb countries, Palestine, and Iraq, to showcase their work and introduce it, in addition to their most prominent role in strengthening communication between Arab cinema and its accumulated achievements over long decades, and its European counterparts.

State theaters in Egypt are witnessing a boom in the shows they offer, some of which carry a heritage or classical character, and their tickets are offered at symbolic prices, as part of efforts to attract audiences and theater lovers to theatrical performances.

The 'Fine Arts House for Theater' is currently presenting a collection of shows on the stages of Cairo and Alexandria, ranging from classical, contemporary, and performance art, giving the audience an opportunity to follow multiple theatrical performances that reflect the diversity and vitality of the theatrical movement.

Ticket prices for these shows range from 30 Egyptian pounds per ticket (the dollar is equivalent to about 52 pounds) at Al-Hanager Theater, which presents the play 'Plus One' written by Mohamed Adel El-Nagar, with poetry by Yousry Hassan, and directed by Mahmoud Fouad Sedky, to 110 pounds, which is the maximum ticket price for the play 'King Lear' at the National Theater (downtown Cairo), written by William Shakespeare, starring Yehia El-Fakharany, and directed by Shady Sorour, as announced by the Egyptian Ministry of Culture.

Among the shows currently being presented in state theaters are the play 'Metwally and Shafika' at Al-Talia Theater, written by Mohamed Ali Ibrahim, directed by Amir El-Yamani, and the play 'Teatro' written by Ahmed El-Melwany, directed by Ahmed Fouad, at Al-Salam Theater, which also hosts the show 'Right on First Left' written by Mahmoud Gamal Hadini, directed by Abdullah Saber.

Egyptian art critic Ahmed Saad El-Din believes that 'Egyptian theater was based on two main pillars: the public sector and the private sector. When the private theater sector declined over the past 15 years, almost disappearing except for rare instances, the public sector theater was able to fill this gap.'

He added to 'Asharq Al-Awsat' that 'some shows are re-presented within the repertoire system, and the audience accepts them despite having seen them before, such as: (The Grandson), (King Lear), and (Hello, Gentlemen), which have been presented more than once. The audience is also usually attracted to the name of the star of the work, such as Yehia El-Fakharany in the play (King Lear).'

Saad El-Din pointed out that when the private sector theater produces a play, its ticket prices are exaggerated, sometimes reaching about 1500 pounds, making them out of reach for the majority of the audience.

He affirmed that 'there are plays that do not necessarily rely on the presence of stars, but rather on a good script, such as (Teatro) and (Metwally and Shafika), which makes them attractive to the audience, especially during the summer season.' He points out that 'despite the public sector theater's ability to fill the void left by the private theater, it remains limited in its audience reach because public sector plays, unfortunately, are not filmed. If they were filmed and shown on television screens, they would achieve greater success and become more attractive to the audience.'

According to a report issued by the Central Agency for Public Mobilization and Statistics in 2022, there are 41 state-affiliated theaters (public sector) in Egypt, many of which have witnessed remarkable activity recently, especially during holidays and vacations.

Egyptian art critic Mohamed Abdel Rahman points out that 'despite all the crises that state theater is going through, it still confirms its ability to return with the least possible resources.' He added to 'Asharq Al-Awsat': 'When the show has attractive elements, such as the star's name, as in the case of Yehia El-Fakharany and the play (King Lear), or the comedic element as in (Teatro), or the traditional song and story as in (Metwally and Shafika), the audience accepts it because its artistic compass has not been corrupted yet.'

Abdel Rahman expressed his hope that 'this situation will represent a message to those in charge of this file to update the mechanisms of state theater and increase its capabilities, without raising ticket prices. Although the current ticket prices are below average, there are many ideas that can contribute to the renaissance of state theater. Greetings must also be extended to the directors working in state theater, despite other offers and opportunities that may be available to them outside Egypt.'