The previous post ended with a reflection on how algal communities in rivers changed. This one picks up that theme and takes it forward, looking at a very different reason. First, we need to move from the shadow of the Wastwater screes to a chalk stream flowing through Dorset, an altogether more gentle landscape. It was beside this stream that Helen Rosenkranz, a PhD student I co-supervised, ran some experiments on what happens to stream algae when they are exposed to herbicides.
The graph below summarises the situation. The bars represent (from left to right): the control treatment (water from the River Frome), samples treated with the herbicide chlorotoluron, samples treated with glyphosate and samples treated with both herbicides. The two herbicides were applied at quite high concentrations for 12 hours, simulating the situation if the spray had accidentally drifted to the water course or if the herbicide had washed off the plants and soil following rainfall. Helen measured a number of characteristics of the algae, but I have just shown one of her measurements.
Ratio between total number of cells of diatoms and green algae in control (CON) and herbicide-treated biofilms (CLT = chlorotoluron, GBH = glyphosate, GHBC = chlorotoluron and glyphosate combined. Bars show mean values; vertical lines show standard errors. See Rosenkranz et al. (2023) for more details. The photograph at the top of the post shows the upper reaches of the River Wylye in Wiltshire, an example of a southern English chalk stream.
Because a lot of stream monitoring around Europe uses diatoms, we know less about how pollutants affects other groups of algae. In this case, we did see an effect of the herbicides (particularly glyphosate) on the diatom species but more interesting was an overall shift in the proportions of green algae and diatoms. The glyphosate seems to have encouraged the green algae but suppressed the diatoms whilst not affecting the overall quantity of algae at all. Helen also showed that the changes to the diatom assemblage affected the Trophic Diatom Index (TDI), the basis for UK’s assessments of the health of benthic algae. This is important because the TDI is used primarily to assess the impact of nutrients from rivers, so another pollutant that affects the TDI potentially influences the decisions that the Environment Agency make about how a river should be managed.
The problem is that pesticides have always been a blind spot in the UK’s river management strategy. Everyone knows that they are there, but measuring their effect is difficult. Our knowledge of the chemical composition of river water is based on a network of sites sampled four times a year. They used to be sampled monthly, but that was trimmed back a few years ago. Let’s say it takes ten seconds to dip a bottle into a river to collect a sample. Four samples spread through the year means that we have an accurate idea of conditions for 0.001 per cent of the year. That’s not a problem if we can assume that those four brief moments are representative of the year as a whole. The effluent from a sewage works, for example, runs continuously, so there is no particular reason to presume that one sample is wildly different from another.
However, we know that pesticides are only applied at certain times of year, and also that rainfall events around those peak spraying periods are when the risk to river ecology is greatest. That means we really need to focus our sampling on those brief periods. That’s the ecologist in me speaking, but try scheduling that into the work programmes of a team of public sector workers. The result is a very imperfect understanding of the extent to which pesticides affect stream biology.
Two recent German studies tried to overcome this by using automatic samplers that switched on when it started to rain. These measured substantially more pesticides in the water than a conventional sampling programme, and they found that pesticide concentrations in the water were probably the most important source of stress on aquatic invertebrate communities. If that is the situation in Germany, then there is no reason why this is not also the case in the UK.
It’s a question that’s easy to ask but which will be difficult to answer. As in many situations with environmental health, the issue is not the technology itself but finding the resources and the willingness to deploy it. The importance of agriculture to the UK economy and food security means that pesticides in rivers s a subject that the government would prefer to kick into the long grass. It is a manifestation of what philosophers call the “trolley problem”: there are losers whatever they do and that does not make for easy political messaging.
References
Liess, M., Liebmann, L., Vormeier, P., Weisner, O., Altenburger, R., Borchardt, D., … & Reemtsma, T. (2021). Pesticides are the dominant stressors for vulnerable insects in lowland streams. Water Research, 201, 117262.
Rosenkranz, H., Kelly, M. G., Anesio, A. M., & Yallop, M. L. (2023). A Multi-Faceted Approach to Quantifying Recovery of Stream Phytobenthos Following Acute Herbicide Incidents. Phycology, 3(1), 25-46.
Weisner, O., Arle, J., Liebmann, L., Link, M., Schäfer, R. B., Schneeweiss, A., … & Liess, M. (2022). Three reasons why the Water Framework Directive (WFD) fails to identify pesticide risks. Water Research, 208, 117848.
Some other highlights from this week:
Wrote this whilst listening to: Elderly vinyl copy of Elgar’s Cello Concerto with Jacqueline du Pre and Daniel Barenboin which has a scratch on the final bars. It does mean that a piece of music that you wish could last forever literally does, so long as you don’t mind listening to endless repetitions of half a crescendo.
Currently reading: The Wonderful Adventures of Mrs Seacole in Many Lands: the autobiography of a pioneer nurse working during the Crimean War. Realised, amidst all the grim news from Ukraine that the Crimean War (1853-1856) was also a confrontation between Russia and the West fought out in Ukraine, and that I knew very little about it.
Cultural highlight: Tár, film starring Cate Blanchett exploring the question of whether a monster can make great art. The plot centres on rehearsals for performances of Mahler’s 5th Symphony and Elgar’s Cello Concerto (see above).
Culinary highlight: Vegan ragu, made to recipe by Felicity Cloake in The Guardian, with homemade tagliatelle