Printing Ochre

The discipline of geology was relatively new at the start of the United States Geological Survey (USGS) in the late 1800s, but through the organisation of an efficient government bureau and the voice of its printed page, it became a dominant perspective in the way generations of citizens relate to and view the natural world, human and nonhuman, life and nonlife. I choose to position my press in direct opposition to the maintenance of these dualisms. I will argue the critical role of print in facilitating USGS domination of terrestrial beings in a practical sense, yet beyond the methods and reach of publication, I believe the products of the USGS mediate our understanding of and relation to these beings. Instead, design practices can be directed towards changing attitudes and understanding between humans and nonhumans. Monika Bakke argues for the importance of artistic endeavours in addressing our collective futurity: Drawing on both life’s mineral origins and its key role in shaping mineral species, artists are turning to technoscience in order to develop, outside expert circles, better understanding of physical, chemical, and biological environments, not just of the geological past but also those to come in the future. ... Yet, their methodologies are specific to art which offers creative ontological and ethical contributions to public debate. (2017, p. 43) I am developing a design research paradigm relating to ochre as an epistemic tool for human and nonhuman intersubjectivity and ontological reconciliation or reunification between life and nonlife. I model my practice after a simplification of the USGS: to survey (observe, describe, collect) and to report (archive, document, record), with some critical variance in method and outcomes.