Science
Industrial chemicals have reached the middle of the oceans, new study shows
New research shows the chemicals we use to kill pests, heal our bodies and package our foods are spread throughout the ocean, intermingling with the microorganisms that feed marine life. They’ve reached even the most distant and remote places on the planet.
In a new study, Daniel Petras, a biochemist at UC Riverside — together with 29 researchers from around the world — looked at 2,315 seawater samples collected from estuaries, coastal regions, coral reefs and the open ocean. The samples came from the North Pacific, the Baltic Sea and the coast of South Africa, among other places. For each sample, the researchers used a relatively new technique that allowed them to see every chemical present — not just ones they were looking for or suspected.
What they found was disconcerting: Human-made chemicals were everywhere, even in water hundreds of miles from land.
The study was published Monday in Nature Geoscience.
“This presents a pretty sobering view of just how widespread these chemical pollutants have become in the ocean,” said Douglas McCauley, an associate professor in the Department of Ecology, Evolution, and Marine Biology at UC Santa Barbara. McCauley was not involved in the research.
At the mouths of rivers and along the coasts, the research team found large concentrations of pharmaceuticals such as beta blockers, antidepressants and antibiotics. They also discovered cocaine and methamphetamine, as well as insecticides and pesticides, such as DEET and Atrazine. In some cases, including samples taken near Puerto Rico, signatures for these pollutants constituted nearly 20% of the dissolved organic matter.
As the distance from coasts increased, the number and concentration of industrial chemicals decreased, but did not disappear. The researchers found that even hundreds of miles from North America’s Pacific coastline, or floating through the California current, significant levels of other industrial chemicals — namely ones from petroleum-based plastics — were present in the organic material at levels between 0.5% and 4%.
“This finding provides further evidence that plastic-derived carbon, including micro- and nano-plastics, contributes a substantial portion to the marine carbon pool,” wrote the authors, who took care to account for any plastic materials inadvertently introduced in the laboratory or during collection.
“As an ecologist, what is a bit scary here is trying to wrap my head around what this means for ocean health,” McCauley said. “I think there is going to be a lot we need to learn now about how these chemicals, in the concentrations they are being detected … are affecting ocean species — from plankton to whales.”
He said the open ocean samples upped “the ante on concern about the penetration of pollutants associated with plastics and plastic pollution. We discovered how widespread big pieces of plastic were in the ocean, then micro plastics, then nano plastics. These results highlight the even more invisible risk of chemicals leaking out of plastics and turning some parts of the ocean into a petrochemical soup.”
Petras said the work they did was novel in that it used a method of chemical detection in which the sample is screened not for specific chemicals, but everything in it — a relatively new technology that allows researchers to go beyond targeting the chemicals they suspect might be there.
What’s new, he said, is the technology not only “sees” all the different chemical structures, but identifies them, “so we can give those chemical compounds names, and hypothesize about their origin. I think that this is the first large-scale meta analysis, where we could propose where the different chemicals are coming from. Before that, this kind of analysis was not really possible.”
Researchers looked at 21 publicly available data sets comprising 2,315 samples acquired by three laboratories. Each lab used the same instruments and technologies, allowing Preta’s team to sift through a standardized set of open-source mass spectrometry data to do its own analysis.
Petras said the analysis provides the scientific community with a variety of new questions to ask and test. For instance, how will these industrial pollutants affect or integrate into global carbon cycling?
The carbon cycle is a continuous, biogeochemical exchange of carbon among the atmosphere, oceans, land and geological reservoirs, such as rocks and fossil fuels. The cycle regulates the planet’s temperature and supports life.
“The vast majority of ocean water samples typically consist of metabolites that are made by microbial communities, like the ones that fix carbon through photosynthesis. They release molecules such as sugars and peptides and lipids … they’re elementally important for carbon cycling,” Petras said. Now, because of this research, as well as other studies on microplastics, “we assume that there might also be a substantial contribution of human made molecules in this cycling. But to what degree this might influence microbial communities and global carbon cycling, is largely unknown.”
In the best-case scenario, he said, the microbes simply incorporate, ingest or “breathe” these chemicals in, recycle them, “and then respire them as carbon dioxide.” But it’s possible these chemicals could be altering this system.
“If herbicides or other molecules are there in large amounts, or if they act in synergy with them, they may have certain effects on the microbial communities … and those questions we need to address and experimentally test in the laboratory,” he said.
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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