Science
A Landslide in Alaska Set Off a Tsunami. There May Be More to Come.
Nearly 500 feet up a near-vertical rock face, scraped clean of soil and alder trees, Bretwood Higman, a geologist, looked down across the Tracy Arm fjord in southeast Alaska at a scene of devastation.
At 5:26 a.m. on Aug. 10 last year, a mass of rock with a volume 24 times larger than that of the great pyramid of Giza crashed down the mountainside, sending a wave of water 1,578 feet up the opposite wall and setting off a tsunami that roared down the fjord. It swept over the ridge that Dr. Higman was now standing on. The whole thing took about a minute.
Dr. Higman was part of an international team investigating the aftermath of the geologic event, the second largest landslide-generated tsunami on record. Using computer models, the researchers were able to recreate the landslide and tsunami, as well as a standing wave called a seiche that sloshed back and forth for 36 hours after the landslide.
Among other things, the new study, published on Wednesday in the journal Science, revealed how tricky it is to predict such catastrophic landslides before they take place.
The Tracy Arm landslide was preceded by an unusually rapid retreat of the South Sawyer Glacier, leaving the rock slope that ultimately collapsed bare and unsupported. That same rearrangement of land elements is increasingly occurring throughout Alaskan fjords and around the world. As glaciers retreat and thawing permafrost lubricates slopes, these giant landslides may become more frequent.
Scientists have been sounding the alarm about the emerging hazards of climate-linked giant landslides in Alaska for years. In 2020, Dr. Higman discovered a slow-moving landslide in the Barry Arm fjord that he worried could collapse catastrophically and inundate the nearby town of Whittier with a tsunami.
“We’re rapidly approaching a totally new landscape that has way fewer glaciers in the Alps and really everywhere, and a lot of new lakes,” said Mylène Jacquemart, a glaciologist at ETH Zurich who was not involved in the study. She studied the Blatten landslide that buried a Swiss village in rock, ice and water last year.
Jackie Caplan-Auerbach, a seismologist at Western Washington University and an author on the new study, was among the first to hear about the tsunami: Her neighbors, whose boat was anchored at sea some 50 miles from the landslide, texted her about a strange surge of water that had hit their vessel. Other firsthand accounts trickled in from Harbor Island, where camping kayakers said their gear had been carried away by the wave, and from a 150-passenger cruise ship, the National Geographic Venture, that was sitting just outside the fjord.
The stakes are high for detecting these events ahead of time. Although no vessels were in Tracy Arm fjord proper when the landslide hit, that mostly came down to luck: It was early morning and not many boats were about.
But three large cruise ships carrying thousands of passengers and numerous small tour boats visit the fjord daily, ferrying tourists right up to the glacier’s calving face. Had the Venture been up the fjord, instead of at its mouth, the wave would have been “unsurvivable,” Dr. Higman said.
Increased cruise-ship tourism to glacial fjords, and more oil and gas exploration in the Arctic, mean “we, as a global society, are putting more infrastructure and people in harm’s way,” said Dan Shugar, a University of Calgary geomorphologist and the study’s lead author.
Scientists at the U.S. Geological Survey and its state counterpart in Alaska look for slopes along the vast coastline that are moving toward collapse, using satellite radar and optical imagery. Because resources are limited, only Barry Arm is monitored in real time, with on-the-ground scientific instruments. Detailed assessments of a handful more moving slopes are underway in Glacier Bay National Park, which is also frequented by cruise ships.
Dr. Shugar said Tracy Arm “throws a wrench in” the strategy of looking for slope deformation “because it happened, as far as we can tell, without much warning.” Scientists were unable to detect any deformation in the slope before the collapse.
But when Dr. Caplan-Auerbach dug deeper into the seismic data from the landslide, she noticed patterns of land movement similar to those that she had studied for decades, which sometimes preceded landslides on volcanic slopes.
These tremors were “probably tiny bits of slip on the base of the landslide, and it can do that only so much before it’s got to break apart and fall,” she said. Tiny coalescing fractures within the mountain eventually reach a crescendo, a threshold at which point the rock can no longer hold itself together, and the slope gives way.
It is not yet clear how many landslides display these seismic signals as precursors, but since there were no other cautionary signs, they provide a hope of early warning. If the signals are subtle — the slopes “whispering to us, not yelling,” as Dr. Caplan-Auerbach put it — it is possible the seismometer network in Alaska is spread too thin to typically pick them up.
“The bar is, can we do better than missing most of these,” said Noah Finnegan, a geomorphologist at the University of California, Santa Cruz, who was not involved in the study. “So getting a handle on why these precursors happen and what their relationship is to catastrophic collapse is an area many people are interested in.”
Last month, three cruise lines notified customers that their ships would not visit Tracy Arm this year, opting instead for nearby Endicott Arm and Dawes Glacier. “That’s probably a wise move, but there’s no reason why Endicott is any safer than Tracy,” Dr. Shugar said.
Stephen Hicks, a seismologist at the University College London and an author on the study, said the planet is entering a new era when warming has penetrated geology.
“When we think about climate change, we think about impacts in the atmosphere and rising sea levels,” he said. “We sort of look up and across, but we don’t often look down,” he added, but now “the ground has moved beneath all our feet.”
Many open questions remain. But among the biggest, Dr. Higman said, is whether we can expect a significant increase in such events as a result of climate change, as some studies suggest.
“If it’s a dice you roll every 50 years, well, maybe that’s all right,” he said. “But if it’s one you’re rolling once or twice a year, then this is really, really urgent.”
Science
Her Self-Experiment with Drug Detox Almost Broke Her
A 27-year-old woman began an experiment on herself early one morning in December 2024. Her laboratory was her childhood bedroom, tucked into a second-floor corner of a pale yellow house in the Boston suburbs. On a bookshelf behind her sat a small stuffed sloth and some favorite books, including “Siddhartha” by Hermann Hesse. Her parents were asleep in the room next door.
Her name is Rebecca, but she goes by Becks. Sitting at her desk in a gray T-shirt, she opened a small plastic bag filled with white powder. The bag was stamped “SR-17018,” and “NOT FOR HUMAN CONSUMPTION.”
She extracted some powder with a red microscooper, poured it onto a digital scale and carefully weighed out 25 milligrams. She gathered this into a blue and white pill capsule and sealed it, and then swallowed the capsule with water. It was 4:27 a.m.
“It’s my turn to be a guinea pig,” Becks wrote in the online diary she was keeping of her experience. In sharing her story with The New York Times, she asked that her last name not be used so potential employers don’t discover her drug history.
Becks had joined the vanguard of a dangerous, highly speculative do-it-yourself approach to getting sober. For a decade, on and off, she had been addicted to various drugs, most recently kratom, an opiate-like substance, which cleared her head and covered up her pain but required constant dosing. She feared the call of fentanyl, which she’d tried a few times.
“Every morning, I woke drenched in sweat from overnight withdrawals. It was a grim existence,” she wrote of her kratom use. She tried various methods to get sober, including three short inpatient detox stays and one monthlong rehabilitation treatment. She had periods of sobriety but couldn’t sustain it.
Then she heard about SR-17018, one of many new and unpredictable synthetic drugs made largely in China and sold online even though it is not approved or shown to be safe, and can pose lethal risks.
Most of these compounds, known as novel psychoactive substances, are designed to get people high. Among those substances, SR-17018 stands virtually alone in that people are using it to try to free themselves of addiction, and some claim it helps.
Excitement about SR-17018 grew after Reddit users discovered a 2019 study suggesting it could free drug-addicted mice of their dependence.
Science
RFK Jr. clears path for minors’ use of tanning beds, much to the dismay of dermatologists
Days before the 2024 presidential election, future Health and Human Services Secretary Robert F. Kennedy Jr. posted a statement on X promising to end the U.S. Food and Drug Administration’s “aggressive suppression” of such alternative therapies as raw milk, ivermectin, psychedelics and, somewhat perplexingly, “sunshine.”
While the post did not explain how the FDA was limiting Americans’ access to the sun, many dermatologists were dismayed when Kennedy abruptly withdrew a proposed FDA rule that would have banned minors from using devices that mimic sunlight — indoor tanning lamps.
The rule, which was withdrawn March 16, would have also required indoor tanning facility users to sign a form acknowledging the risk of cancer, early skin aging and other health effects.
Kennedy’s action comes at a time when many adherents of his Make America Healthy Again movement have adopted regular sun exposure as a core principle of wellness, with social media influencers encouraging followers to abandon sunscreen and build up their “solar callus,” or sun tolerance, instead.
The trend has frustrated many dermatologists, who warn that the damage of frequent sunburns and tans accumulates over a lifetime, and those acquired early in life appear to play a disproportionate role in later risk of skin cancer. The Skin Cancer Foundation notes also that you cannot build up a tolerance to sun exposure and “there is no such thing as a ‘solar callus.’”
Dermatologists have long cautioned that indoor tanning lamps are no less dangerous, since they expose users to ultraviolet light at concentrations far above natural sunlight. Like sunlight, the lamps emit two different types of ultraviolet wavelengths: UVA, which are longer and penetrate more deeply into the skin, and UVB, which are shorter and more easily burn the outer layers.
Both light sources darken skin through the same biological process: UV rays change the structure and chemical profile of DNA in the skin, which then produces more melanin in order to prevent further damage.
A tanning bed session exposes users to UVB rays akin to those at noon at the equator — an intense experience, but at least one with a terrestrial equivalent, said Hunter Shain, an associate professor of dermatology at UC San Francisco. The UVA radiation in a tanning bed is roughly 15 times that found anywhere on the surface of the planet.
“They’re really blasting you with these super physiological doses of UV radiation that you couldn’t even find in a natural environment,” he said.
The World Health Organization counts UV-emitting tanning beds as a Group 1 carcinogen, alongside other known human carcinogens like tobacco cigarettes and asbestos. One study Shain co-authored found that tanning beds accelerate DNA mutations in parts of the body not typically exposed to the sun, leading to a nearly threefold increase in indoor tanners’ lifetime melanoma risk. Rates of melanoma diagnoses have increased by 46% in the last decade.
The tanning lamp rule, which was first proposed in 2015, focused on age as a specific risk factor. Tanning bed usage before the age of 35 is associated with a 75% increase in the risk of melanoma, the most serious and frequently fatal form of skin cancer.
The rule drew more than 9,000 public comments from both physicians and cancer research organizations supporting its implementation and from tanning bed industry representatives and business owners opposed.
Kennedy, who was photographed leaving a Washington tanning salon last year, was ultimately unconvinced of the need to ban minors from such establishments.
“In light of the scientific and technical concerns raised in the comments on the Proposed Rule, concerns regarding possible unintended consequences of certain proposals in the Proposed Rule, and potential alternatives proposed in comments received on the Proposed Rule, FDA is withdrawing the Proposed Rule in order to reconsider the best means for addressing the issues,” Kennedy wrote in the withdrawal letter.
Health and Human Services did not respond to questions about what scientific concerns and unintended consequences Kennedy was referring to.
Nineteen states (including California) and the District of Columbia have already banned people under 18 from indoor tanning salons. Roughly two dozen more have some kind of regulations regarding minors and indoor tanning, such as requiring parental permission or barring only younger children.
The collapse of the proposed federal ban has left many dermatologists disappointed.
“As you can see, when it’s left to the states, the implementation and the guardrails to minimize the exposure to carcinogens are not consistent. … Why are you going to default to a system that we know isn’t working correctly?” said Dr. Clara Curiel-Lewandrowski, chair of dermatology and co-director of the Skin Cancer Institute at the University of Arizona.
Minors in sun-baked Arizona are free to patronize indoor tanning establishments as long as they have a note from their parents. Curiel-Lewandrowski has treated many former sunbed enthusiasts for advanced melanoma in their 20s and 30s, she said.
“There’s a lot of regret. Regret for not knowing more, for not getting more help to understand the threat,” she said. “This is an age group that has a very hard time assessing risk. At that age, they don’t view carcinogens as a real threat.”
The U.S. is a bit of an outlier in its permissive approach to youth indoor tanning. Australia and Brazil have banned cosmetic indoor tanning entirely for people of all ages. Most western European countries ban minors from indoor tanning, as do most Canadian provinces.
“After the proposal lay dormant for more than a decade, I can’t say I was surprised to hear that the FDA withdrew it,” said Dr. Deborah S. Sarnoff, president of the Skin Cancer Foundation. “On the positive side, we made the public very aware of this issue, and this fight is far from over. We won’t be satisfied until tanning beds are banned in this country.”
Science
In Venice, an Ocean-Inspired Exhibition Takes Visitors Under the Sea
Over the next month, if you take a ferry from the center of Venice to the island of Giudecca and walk into a former 15th-century convent, you will find yourself figuratively plunging underwater.
The haunting songs of humpback whales will flow around you. A fish will sing its evensong from the sea grass meadows of the Mediterranean. Boats recorded from beneath the surface of the Venetian lagoon will buzz like insects. A galaxy of bioluminescent plankton will glimmer in the sloshing waves.
This audiovisual symphony is part of “As Above, So Below,” a collateral exhibit running during the first month of the Venice Biennale, from Saturday through June 8. The exhibition brings together works by seven artists and art collectives who combine cutting-edge science and technology with traditional methods. Their installations surround visitors with natural sounds, merge their perspectives with those of other species and take them on an immersive journey into the sea, the soil and even a tree to highlight humans’ interdependence with the natural world.
As Elizabeth Zhivkova, a co-curator of the exhibition, put it: “‘As Above, So Below’ emerged from a shared urgency to rethink our relationship with nature, not as something separate from us, but as an interconnected system in which human, ecological and cosmic rhythms reflect one another.”
In addition to the exhibition, “As Above, So Below” is an ongoing research project that includes artist residencies and a podcast featuring conversations with artists and ocean advocates.
The project was born out of a partnership between Zeitgeist19, an environmental curatorial collective founded by Zhivkova and the show’s other co-curator, Farah Piriye Coene, and One Ocean Foundation, a scientific conservation organization based in Milan.
The name, “As Above, So Below,” comes from the Principle of Correspondence in Hermeticism, a spiritual tradition that blends Greek and Egyptian philosophies. It serves as a reminder that everything is connected. “The sea, the soil, the atmosphere, the human body are not separate realms; they are part of one relational field,” Coene said. “The exhibition asks whether art can help us feel that relation again.”
The exhibition’s setting in the former convent and church of Santi Cosma e Damiano — now a science and art innovation hub — fosters a contemplative atmosphere. In lieu of a central altarpiece, visitors encounter an immersive installation from the London-based artist collective Marshmallow Laser Feast, titled “Seeing Echoes in the Mind of the Whale.” In the work, a large-screen video immerses viewers in the sensory perspectives of a bottlenose dolphin, a humpback whale and a sperm whale as they dive and resurface to breathe.
The video plays recordings of dolphins’ trilling whistles, humpbacks’ meditative melodies and sperm whales’ Morse code-like clicks, which resonate throughout the space. To illustrate the use of echolocation to “see” through sound, these vocalizations are coordinated with visual effects. Shimmering swirls and pulsating pixels surround you, giving a sense of what bottlenose dolphins might “see” as they sweep sonar beams across colorful coral reefs, or what sperm whales might sense by blasting clicks to spy giant squid in the dark depths.
Ersin Han Ersin, one of the Marshmallow Laser Feast artists, explained in a video interview that the aim was for audiences to “disembody their own body, and momentarily embody what it is like to be a bottlenose dolphin or a whale.”
While visually speculative, the video is rooted in research. The members of the collective pored over scientific papers, compiled extensive hydrophone recordings and underwater videography, and collaborated with marine biologists and bioacousticians to dive into the sensory experiences of whales and dolphins, Ersin said.
In the process, he said, the artists became more sensitive to the ways noise pollution — the squeals of military sonar, the drumming of shipping traffic and the boom of seismic blasting to find fossil fuels — may be turning the ocean into an acoustic dystopia for animals and plants that live underwater.
“One part of me wants to scream that we are ruining these oceans, but the other part of me knows the best action is always cultivated from a place of love,” Ersin said. That is one goal of the installation, he added: To “make people fall in love with species that they never thought they can relate to.”
In another installation, “Fish String Theory,” Antoine Bertin, an artist who splits his time between Paris and Alicudi island, Italy, amplifies the surprisingly talkative world of fish. Bertin was inspired by reports of a “kwa” sound emanating from Mediterranean seagrass meadows. Scientists found that the kwa chorus most likely comes from scorpionfish. These venomous creatures have a muscular apparatus that functions like an internal violin.
Bertin made underwater recordings of scorpionfish and created fish-shaped sculptures with strings. When his recordings of scorpionfish play, the frequencies from the recordings activate electromagnets that vibrate the strings on the fish sculptures, creating a sound similar to a guitar or harp. The installation also includes Bertin’s underwater recordings of the Venetian lagoon, forming a dialogue between the scorpionfish song and the city’s aquatic soundscape.
Bertin is fascinated by the fact that life emerged in primordial seas, and said in an interview that he hoped that his installation would help people “return to the ocean as listeners.” His aim, he added, was to “create an experience that connects humans and fish in a sort of co-presence, to find out if we can resonate together.”
In “Water Older Than the Sun (Caspian),” the Kazakhstan-born artist Almagul Menlibayeva connects viewers to the Caspian Sea, which is shrinking because of climate change and water diversion — and being contaminated by drilling for oil and gas.
Menlibayeva pointed out that modern societies often see water as a resource to be used. She said in an interview that her installation positions water as an archive of deep time and as a “cosmic, alive entity.” As the title suggests, water is older than the sun because this cosmic compound formed as a result of supernovae explosions, then eventually came to Earth and condensed into oceans that gave rise to life. As such, “water has a memory,” Menlibayeva said, adding: “Water witnessed us as we appeared.”
At the center of Menlibayeva’s installation is a textile made from hand-sewn fabrics and A.I.-generated images of her artwork printed on synthetic silk that depict water, animals and robot-like humans. Fishing nets collected from the Caspian Sea dangle around the textile. Screens placed on the floor like a shoreline show surreal images, such as hands sewing water. Projected behind these pieces is “Requiem for the Caspian” by the London-based filmmaker Suad Gara, a short documentary that reveals the impact of the sea’s collapse on local people.
Just inside the entrance of the church, the Azerbaijan-born artist Elnara Nasirli has turned a reclaimed Italian olive tree into an instrument in “Whispering Forest.” Nasirli translated trees’ bioelectric rhythms into music and vibrations that softly play from contact points triggered by motion detection. Only by touching or hugging the tree, or leaning in very close and listening carefully, can visitors fully hear its whispered song.
Also in the exhibition, artworks bring viewers up close to underground mycelial networks, a holographic jellyfish and bioluminescent plankton that spell out “No blue, no green,” a quote from the marine biologist Sylvia Earle about the vital importance of marine ecosystems.
Altogether, the exhibition invites people to attune to the intelligence and voices of other species and, as Bertin said, to “stretch their sense of self to include the vastness of the ocean.”
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