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Vesuvius Erupted, but When Exactly?

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Vesuvius Erupted, but When Exactly?

When Mount Vesuvius erupted in A.D. 79, fiery avalanches of ash and pumice assaulted Pompeii, displacing some 15,000 inhabitants and killing at least 1,500 more. Volcanic debris “poured across the land,” wrote the Roman lawyer Pliny the Younger, and blanketed the town in a darkness “like the black of closed and unlighted rooms.” Within two days Pompeii had vanished, leaving little more than a legend until 1748, when the chance discovery of a water line prompted the first deliberate excavation.

In his late-18th-century travelogue “Italian Journey,” Goethe observed that no calamity in history had given greater entertainment to posterity than the eruption that had buried Pompeii. For scholars and armchair archaeologists, that entertainment has involved wrangling over pretty much every facet of the disaster. They still can’t agree on the day Vesuvius blew its top, the height of the umbrella-shaped cloud or the length and the aggression of the blasts. Two new research projects add kindling to those embers.

A report published by the Archaeological Park of Pompeii resurrected the once widely accepted belief that the cataclysm began to unfold on Aug. 24, the date put forward by Pliny, who was 17 when he witnessed the event from a villa across the Bay of Naples. His letters to the historian Tacitus, written more than 25 years after the fact, are the only surviving firsthand account and the only documents that offer a precise date.

Pliny the YoungerCredit…DeAgostini/Getty Images

We no longer have the original letters, only translations and transcriptions of copies, the first of which was made in the fifth century A.D. “Many manuscripts of Pliny’s letters came down to us with differing dates,” said the classicist Daisy Dunn. Her 2019 biography of Pliny, “The Shadow of Vesuvius,” is the definitive guide to him and his uncle, the naturalist Pliny the Elder, who died during the eruption. “Aug. 24 was chosen as the most secure on textual grounds,” Dr. Dunn said.

In sticking by Pliny, the park walked back some of the recent enthusiasm for Oct. 24 as a possible start date for the eruption, a theory that had been fueled by the 2018 discovery of a scrap of graffiti on a wall of the site’s freshly excavated House of the Garden. The charcoal scrawl records a date that translates to Oct. 17 in the modern calendar, suggesting that the eruption might have occurred after this time. The find, which did not specify a year, seemed to corroborate other unearthed clues that pointed to cooler weather than is typical in August: remnants of unripe autumnal fruits such as chestnuts and pomegranates; heavy wool clothing found on bodies; wine in sealed jars, indicating that the grape harvest was over; and wood-burning braziers in homes.

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Massimo Osanna, general director of the park at the time of the discovery, was convinced that the graffiti was idly doodled a week before the explosion. “This spectacular find finally allows us to date, with confidence, the disaster,” he said. Dr. Dunn found it improbable that Pliny would have forgotten such a momentous date; still, she said, “in my view, the traditional date of Aug. 24 is just too early in the year to be accurate.”

The park’s recent about-face from October to August relied in part on a forensic analysis of Pliny’s letters by Pedar Foss, a classicist at DePauw University in Indiana. For his 2022 book, “Pliny and the Eruption of Vesuvius,” Dr. Foss examined 79 early hand-copied manuscripts of the letters and mapped out how textural errors had been compounded. He concluded that a simple scribal mistake, made in the 1420s, of switching a “u” for an “n” had resulted in an incorrect eruption date of Nov. 1. The error appeared in the second print edition of Pliny’s letters, in 1474, and gave rise to further misreadings, misunderstandings and misuses.

By the 20th century, seven different possibilities were in circulation — eight, counting Nov. 9, which Mark Twain casually proposed in “Innocents Abroad,” his 1869 travel narrative. “Those many options gave the appearance of doubt concerning what Pliny actually wrote but, upon examination, I was able to explain away each of the mistaken alternatives,” Dr. Foss said.

He also explained away each of the archaeological alternatives to Aug. 24, some of which he believes fail based on the evidence; some, on the basis of faulty reasoning. He argued that the pomegranate rinds were used for dyeing, not eating; that the Romans commonly used braziers for cooking, not just heating; that wool clothing was standard gear for Roman firefighters; and that Roman agricultural and storage practices allowed for the preservation of fruits beyond their natural harvest seasons.

As for the House of the Garden doodle, on Oct. 12, 2023, researchers commissioned by Dr. Osanna’s successor, Gabriel Zuchtriegel, left their own charcoal message on the same wall on which the graffito appeared. Ten months later — on Aug. 24, 2024 — the text was still perfectly legible. “The inscription could have been put on the wall during October of any number of previous years,” Dr. Foss said.

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So much for dating the disaster with confidence.

Claudio Scarpati, a volcanologist at the University of Naples Federico II, favors the traditional date. “In my mind, the eruption occurred in August, on a sunny day,” he said. Dr. Scarpati is the lead author of two recent studies of the catastrophe published in The Journal of the Geological Society. One offered an hour-by-hour reconstruction, extending the chronology from the previously estimated 19 hours to 32 hours. The other revealed a dynamic sequence with 17 distinct “pyroclastic density currents,” many of them previously undocumented.

Pyroclastic currents are hot, swift-moving mixtures of volcanic particles — ash, pumice lava fragments and gas — that flow according to their density in relation to the surroundings. Dr. Scarpati said that contrary to popular belief, Pompeians were neither entombed by molten lava nor poisoned by gas. “No lava reached Pompeii, and the gas was predominantly vaporized water and, to a lesser extent, carbon dioxide,” he said. “According to our studies, the victims died primarily from asphyxiation caused by inhaling ash.”

To measure the distribution and the volume of the ash and the pumice layers, the team measured the thickness of the single layers over a 775-square-mile area around Mount Vesuvius. The deposits recorded dramatic, increasingly violent pulses from the volcano.

At noon on Day 1, Vesuvius began to eject a plume of rocky volcanic fragments and gas into the air, known as an eruption column. The mushroom cloud that Pliny observed at 1 p.m. was typical of what is now known as a Plinian eruption, in tribute to his richly detailed testament.

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Dr. Scarpati said that the first currents had flowed to the town of Herculaneum, west of Vesuvius, bringing intense heat that essentially roasted inhabitants and, in one documented case, turned human tissue into glass, a process known as vitrification. At Pompeii, south of the volcano, the currents were cooler, and only the final eight penetrated the town.

During the first 17 hours, Dr. Scarpati said, Pompeii was blanketed with pumice lapilli from the column, which fluctuated like a giant fountain through 12 distinct pulses. At 2 p.m., the volcano began to spew pumice mixed with gas. Over the next four hours, roofs began to cave in under the weight of the pumice lapilli, causing some supporting walls to crumble as well. After 17 hours, the debris in Pompeii was up to nine feet thick. Enough was ejected to bury Manhattan roughly 450 feet, or 45 building stories, deep.

The eruption peaked when the column reached its maximum height of 21 miles, at about 1 a.m. on Day 2. “The column rose as long as its density was lower than that of the air, like a balloon,” Dr. Scarpati said. At daybreak, enormous amounts of fine ash and pumice collapsed the eruptive column, forming pyroclastic currents.

During a brief lull, Pompeians presumably tried to flee the town. Then, just after 7 a.m., the 13th and most lethal current struck — a thick concoction of ash was disgorged for nine hours, spreading detritus 16 miles across the plain and into the Lattari Mountains. In Pompeii, many victims of the volcano were found in the streets encased in this layer.

Around 4 p.m., the magma in the volcano’s conduit interacted with groundwater, causing the magma to break up into fine ash. No human remains were found in any of the layers after the 13th, suggesting to Dr. Scarpati that the morning’s devastation left no survivors. The eruption ceased at 8 p.m.

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Paul Cole, a volcanologist at the University of Plymouth in England who was not involved with the project, said, “The work places a finer timeline on the events of 2,000 years ago, and also provides fresh evidence for how the hazard from such large, explosive eruptions can change even during the event.”

Rumpus involving Vesuvius may go on endlessly, but unlike Pliny’s letters, the geological history of the eruption seems to have been written in stone.

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Her Self-Experiment with Drug Detox Almost Broke Her

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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.

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“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.

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RFK Jr. clears path for minors’ use of tanning beds, much to the dismay of dermatologists

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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.

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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.

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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.

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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.

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“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.”

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In Venice, an Ocean-Inspired Exhibition Takes Visitors Under the Sea

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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.

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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.”

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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.

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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.

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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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