A kind of cultural and political localism with an ecological foundation, cited by environmentalist movements advocating political boundaries coincide with bioregions.
Similar to many indigenous cultures’ relationships to land, bioregionalism is first and foremost based on observation and recognition of what grows where, as well as an appreciation for the complex web of relationships among those actors. More than observation, it also suggests a way of identifying with place, weaving oneself into a region through observation of and responsibility to the local ecosystem.
Jenny Odell, How to Do Nothing: Resisting the Attention Economy
What is bioregionalism? To achieve sustainable development, to halt the forth coming extinction crisis, to mitigate & adapt to climate change we must reconnect with the world around us. Consume less, live more #sdgs4all
#foodcitizenship
Mark Twain once said something along the lines of, “The fear of death follows from the fear of life. A government logo who lives fully is prepared to die at any time.” And over the years since our countrymen first started drawing circles with eagles inside of them, many logos–along with their organizing bodies–did die.
Plucked from university digital library troves, Google Books, Wikipedia, the National Archives, obscure depths of government websites, creepy personal blogs, and other dusty corners of the internet we do not recommend visiting, these are some of the retired, dormant, or long-dead federal agency logos we found the most interesting (both visually and existentially). Cropped, edited, enhanced, and sometimes reproduced entirely, they are presented below in no particular order:
National Photographic Interpretation Center (NPIC), 1961-1996
Dwight Eisenhower created the NPIC in the final days of his presidency in 1961. A scrappy agency under the leadership of the CIA at the time, it would probably have been most occupied by matters involving the Cold War and the Cuban Missile Crisis. The seal reveals the defining moment our national symbol the bald eagle, became an omniscient and self aware photographic analysis expert, entangling itself in an old film strip of random vacation photos. The eagle was trained to interpret images as it saw fit in the name of national security.
National Photographic Interpretation Center (NPIC) official seal enhanced and inverted, via scan of public historical document on cia.gov archives.National Photographic Interpretation Center (NPIC) official seal in color, via nga.mil archives.
United States Information Agency (USIA), 1953-1999
The USIA was a very large public relations agency–the largest in the world at the time–whose primary target audience was everyone alive. Established by Eisenhower in 1953, the boutique experiential creative studio would spread cheer, good vibes, and decidedly anti-Soviet propaganda across the globe (mostly in the form of radio broadcasts and media pieces) until 1999 when it extended its usefulness beyond practicality and was dissolved.
United States Information Agency (USIA) seal (not official version), enhanced and inverted, originally from the cover of The United States Information Agency by John W. Henderson, circa 1969.
The logo displayed here was not the official seal but an alternative and much cooler version used on John W. Henderson’s thick historical account of the agency. According to Robert Elder’s The Information Machine: The United States Information Agency and American Foreign Policy, “[t]he USIA flexed it’s PR muscles with “personal contact, radio broadcasting, libraries, book publication and distribution, press motion pictures, television, exhibits, English-language instruction, and others”.
USIA poster by Peter Max from the Library of Congress archives, circa 1972.
Vinyl records produced by the USIA in the 1960’s and 70’s. Original photos via discogs.com.
United States Office of War Information (OWI), 1942-1945
OWI was created during WWII to control messaging through radio broadcasts, newspapers, posters, photographs, and other forms of media. The serifed font along the perimeter of the seal is actually typeset really well by most standards–let alone for a 1940’s-era government design–with tight kerning and thoughtful balance. Per usual, the eagle is present doing anthropomorphized tough-guy poses.
United States Office of War Information (OWI) seal, enhanced and inverted, originally from Wikipedia and the public domain.United States Office of War Information (OWI) seal, enhanced and edited, originally from Wikipedia and the public domain.
Office of Strategic Services (OSS), 1942-1945
The OSS was a WWII-era precursor to the CIA and had a pretty bad logo all around. The beloved cooking teacher and television personality, Julia Child, would likely have seen this underwhelming and frankly quite phoned-in logo on many of the documents she would file and transcribe when she worked at the agency as a typist and shark-repellent expert. In this logo the beloved eagle appears more like a squab, which Julia also made famous with a recipe paired with liver canapés.
Office of Strategic Services (OSS) logo enhanced and inverted from original via the CIA Twitter account circa 2015.
United States Office of Technology Assessment (OTA), 1972-1995
The Office of Technology Assessment was created in 1972 as a mechanism for Congress to understand the advantages and pitfalls of technology as it relates to national security, bureaucracy, and government-doing. The logo is pretty standard as far as 20th century federal seals go. The eagle is there, spread, holding some weapons and leaves, surrounded by his favorite dead-language phrase. The type treatment and kerning is pretty decent and stylistically above average on this particular logo.
United States Office of Technology Assessment (OTA) seal enhanced and inverted from original via George Washington University National Security Archive.United States Office of Technology Assessment (OTA) seal enhanced and edited from original via George Washington University National Security Archive.
Preparing for an Uncertain Climate Vol. 1 by the Office of Technology Assessment circa 1993, original publication via the University of North Texas Digital Library.
A cover illustration from a 1995 OTA report, Health Care Technology and its Assessment in Eight Countries, via the University of North Texas Digital Library.
United States General Land Office (GLO), 1812-1946
GLO was a federal agency created in 1812 to handle “public domain” land. It is anyone’s guess what this actually meant in the context of a continent under occupation by colonizers. Regardless, the department appears to have made use of the new nation’s favorite opportunistic seabird, the bald eagle. It is really hard to decipher what the eagle is doing in this ancient logo–every copy online is extremely low res and poor quality. The bird is either carrying a lost duck to safety or tearing its head off.
Logo of the United States General Land Office enhanced and inverted from original via Wikipedia.
United States Grazing Service, 1939-1946
The US Grazing Service, an outfit of the Department of the Interior, was created in 1939 to enforce regulations on farmers and ranchers grazing on public lands. The ancient and kind-of cool logo uses at least two appropriated symbols from the Native American culture that was destroyed and colonized by its founders. The original arrowhead shape of the logo is still used by the National Park Service but has since been simplified down into an upside down triangle by the Bureau of Land Management.
United States Grazing Service logo enhanced and inverted from original via Wikipedia and the public domain
United States Metric Board (USMB), 1975-1982
The United States Metric Board is exactly what it sounds like. Set up under Gerald Ford as a response to the The Metric Conversion Act of 1975, it would attempt–and ultimately fail–to encourage or achieve metrication in the US. We’re still on the empirical system of measurement and the USMB logo is still extremely cool. Ronald Regan, notable UFO-enthusiast and failed actor, abolished the board in 1982 when he learned what the metric system was.
United States Metric Board (USMB) logo reproduction based on a low-res original from Wikipedia.
April 1979 US Metric Association Newsletter organizational chart via usma.org.
USMB meeting, San Diego, 1982. Image enhanced and edited from original via usma.org.
United States Life-Saving Service, 1848-1915
The US Life-Saving Service was apparently some kind of humanitarian effort at the time to help “save the lives of shipwrecked mariners and passengers”.
The US Life-Saving Service logo looks like a benevolent pirate flag.
United States Revenue Cutter Service, 1790-1915
The Life-Saving Service would ultimately merge with the US Revenue Cutter Service in 1915 to form the Coast Guard. These two maritime-focused agencies did a pretty decent and pragmatic job of using symmetry, typography, and symbology to craft their logos at a time when people still believed in sea monsters.
The US Revenue Cutter Service seal had absolutely zero eagles on it.
The Civilian Conservation Corps (CCC), 1933-1942
The CCC was possibly the most popular of the New Deal programs. It would give work and hope to hundreds of thousands of young citizens who would be out developing and maintaining natural resources across the country. Missions included tree planting, firefighting, stream improving, trail building, mosquito control, among other outdoorsy pursuits.
The US Civilian Conservation Corps seal was a monument to mysticism and lakefront camping.Suspiciously absent from the CCC logo, which had three uppercase C’s masquerading as crescent moons, were eagles.
The seal uses a geometric sans-serif typeface that kind of resembles Futura. The symmetry and kerning of the arch is pretty good and holds it’s weight as a mark even by modern standards. The interior illustration–some kind of idyllic natural landscape–resembles a lot of contemporary design trends but the typographic-based triple crescent moon situation reveals the age of the logo.
Poster by Albert M. Bender, produced by the Illinois WPA Art Project Chicago in 1935 for the CCC
The Reconstruction Finance Corporation appears to have been a massive money pumping machine created to stimulate lending into the battered economy during and immediately after the Great Depression. It is unclear what the 13 stars around the flat-headed eagle represent–one can assume these inappropriately reference the original colonies, which had their own economic issues, or perhaps the 13 circles of hell small businesses would find themselves in once owing back interest on their federal loans.
The Reconstruction Finance Corporation (RFC) logo somehow manages to look eagle-centric, authoritarian, and vaguely Native American-appropriating all at once.
National Advisory Committee for Aeronautics (NACA), 1915-1958
NACA was founded in 1915 to undertake, promote, and institutionalize aeronautical research. It was dissolved and merged into NASA in 1958. Most iterations of the logo are some variation of a central shield flanked by two wings with the geometric sans-serif acronym in the center.
National Advisory Committee for Aeronautics (NACA) logo enhanced and inverted.NACA was the original NASA before NASA was NASA.
The NACA logo as seen above an F-86 test plane in front of hangar 211 at Ames Research Center in California. Photos from NASA Image Archives.
Various National Advisory Committee for Aeronautics (NACA) files from the University of North Texas digital library archives.
The Interstate Commerce Commission (ICC), 1887-1996
The ICC was established by the Interstate Commerce Act of 1887 in order to reign in the completely out-of-control railroad industry, which at the time abused its monopoly on power and transportation by taking over towns and bribing politicians and journalists with free rides. The seal itself is not entirely surprising for an agency of the time and pretty standard as far as eagle marks go.
The Interstate Commerce Commission (ICC) seal.Alternative The Interstate Commerce Commission (ICC) seal with slightly weirder, more deranged font.
Student Loan Marketing Association (SLMA), 1972-2004
The SLMA was set up in 1972 as a federal entity to issue student loans. This would later become fully privatized and given the disarming, misleading, and haunting name Sallie Mae. The illustration below was taken from a 1980’s era bond certificate. While not technically a logo, it is at least what some hapless prospective education-havers at the time would come to know as the face of the organization and as the face(s) of their nightmares.
A bizarre and unsettling illustration with a frankly quite threatening aura from a 1980’s SLMA bond certificate.
Farm Security Administration (FSA), 1937-1946
The FSA was a New Deal agency created in 1937 to combat rural poverty during the Great Depression. Its logo features an outer shield and a very hand-drawn, folksy-feeling geometric sans-serif.
The Farm Security Administration (FSA) logo enhanced and inverted.
Scan and detailed close up of Farm Security Administration labels (from sometime between 1937-1942), retrieved from the Library of Congress Office of War Information Photograph Collection.
A film safety negative of the Farm Security Administration (FSA) emblem (from sometime between 1937 and 1942), retrieved from the Office of War Information Photograph Collection at the Library of Congress.
Enhanced detail of Farm Security Administration defense emblem (1942), retrieved from the Office of War Information Photograph Collection at the Library of Congress.
This list of logos is not exhaustive and if your favorite logo is missing let us know. Many government logos that came to power and were dissolved into other agency emblems were not mentioned here (like the original Social Security Administration logo, the NASA logo, and others). Please keep paying your taxes and pay your logo designers a living wage.
Eindhoven, Netherlands’ Onomatopee Projects, with Nicolas Nova and Dislocation.org, use reflective silver ink on 255 pages of matte black paper to illustrate and explain to us what kinds of strange, wonderful, and terrifying things we might expect to encounter in the latest epoch of geological time.
An illustration from A Bestiary of the Anthropocene demonstrates what it looks like when scientists become determined to turn already-weird-and-paranoid Albatrosses into militant eco-radicals and transoceanic spies.
The A5 size publication, while quite thick, feels accessible and reads more like a field guide than a dense scientific paper. If you like rubbing your fingers over shimmering silver-capped embossed reliefs of predatory birds wrestling drones out of the sky, leafing through thick black pages of scientific knowledge while inhaling deeply what can only be described as the pungent metallic-like odor of darkroom chemical soup, and knowing how to tell the difference between a normal dragonfly and a cyborg dragonfly, this book may be for you.
Drone-catching eagles are, as this spread from A Bestiary of the Anthropocene suggests in no uncertain terms, taking our jobs.
The illustrations throughout the book are delightful, consistently weird, and have a vintage science book quality about them. This feeling lends itself to the method in which they were produced. Each illustration, by Disnovation.org-affiliated designer Maria Roszkowska, began as a digital image collage of some kind. It was then turned into a hand drawing and finally digitized back into original vector art and printed with beautiful silver ink.
The eagles did not always do what was expected of them and were occasionally distracted by other things happening around them during training sessions
Nicolas Nova, A Bestiary of the Anthropocene
This particularly unsettling spread from A Bestiary of the Anthropocene shows us what it looks like when the power of imagination is combined with a total loss of humanity, kindness, and empathy. Where is the WWII memorial for all of our fallen rats? And is there a gift shop?
The conclusive excerpt on World War II-era rat bombs, “However, their discovery prompted a continent wide hunt for hundreds of potentially explosive rats”, somehow seems to encapsulate both the fragility of the human spirit and the essence of life within the Anthropocene at once.
A Bestiary of the Anthropocene is the perfect companion for the popular road trip game “Tree or Cell Phone Tower?”
The core cases, or specimens of the book are split into categories or “Kingdoms” (“Kingdom of Minerals”, “Kingdom of Animals”, “Kingdom of Plants”, and “Kingdom of Miscellaneous”). These kingdoms are somewhat loose and playful (i.e. “Kingdom of Miscellaneous”), binding and reinforcing the book’s seminal emphasization of the hybridization of our environment.
[this bestiary] aims at encouraging us to pay attention, to perceive the nuances and assemblage of a dark ecology that arose in the last decades.
Nicolas Nova, A Bestiary of the Anthropocene
For instance, “Artificial Snow”, “5G”, and “Radioactive Mushrooms” were placed in the “Kingdom of Miscellaneous”, as they are kinds of post-natural phenomena existing somewhere between natural and artificial.
Radioactive mushrooms are discussed in brief. It is difficult to imagine the bad luck needed to purchase one of these from a Belarusian Chernobyl-Exclusion-Zone-sourced farmers market.
Notably, the book has a case study on SARS-COV-2 complete with a really wonderful and terrifying illustration of the corona-shaped, crown-covered profile that has been burned into all of our brains by this point in time.
Also notable is the book’s observation that while the virus itself is of zoonotic origins, the COVID-19 pandemic is a disaster product of the Anthropocene “due to our actions that contribute to weakening natural ecosystems, thus promoting the spread of pathogens.”
No field guide to the Anthropocene would be complete without reminding us that SARS-COV-2, the strain of coronavirus that causes COVID-19, is an unfortunate thread in the fabric of our new reality.
A keystone and important block of this book’s DNA lies dormant beneath the “Disclaimer” section in the back. The author invokes the right to make the book and its contents exist in the public domain. Furthermore, details on the acquisition of imagery–as found or acquired objects, reappropriated artistically beyond recognition without permission–in the name of science, freedom of expression, and not-for-profiteering, are revealed.
This is a really wonderful and refreshing approach to independent publishing and we hope to see this kind of boldness and transparency in future works of art, literature, and information sharing.
“LOST ROOMBA – Bob – Male, neutered, purebred roomba red in appearance. Has scratch marks on the side and top – Location: Last seen cleaning the corner of California and Pine – Date: May 18th, 2017 – DO NOT CHASE, it gets agitated if cornered“
In the lengthy section dedicated to “ferality” Nicolas Nova ruminates on his love/hate fantasy with the “feralisation” (U.K. spelling) of nature and robotics. Using musings brought on by public experimentation with the feralization of Roombas (via Twitter posts and “missing Roomba” posters), he goes on to explain “Ferality allows border tempering, It interrogates the way the things are, it is possible because the feral has agency.”
Two found posters from A Bestiary of the Anthropocene preview a world in which humans exist alongside the ferality of robotic vacuum cleaners.
‘A Feral Roomba! So Cool!’ But is it?
Nicolas Nova, A Bestiary of the Anthropocene
The collective terror, packaged and exported in robot-dog format by children’s birthday party entertainment booking startup Boston Dynamics, we have all become comfortable with, like it is some ill-behaved but loved family pet, can now live on your bookshelf next to your bed (in case you need to identify one crawling through your apartment window at night).
A Bestiary of the Anthropocene was published in 2021 by Onomatopee Projects, an editorially-led public gallery and print shop in Eindhoven, Netherlands. It was edited and authored by Nicolas Nova and Disnovation.org, a kind of post-growth-forward situation-developing art collective and working group. The design and wonderful illustrations were done by Maria Roszkowska.
You can purchase a copy from Onomatopee directly on their website.
Many countries already are “entomophagous,” feeding on bugs such as beetles, mealworms, and grasshoppers as a culinary delight: 36 African countries, 23 in the Americas, 29 in Asia, and 11 in Europe
took a stab at #cicada cookies from
@CicadaCrewUMD
recipe set! slight nutty flavor but not really noticeable on a chocolate cookie beyond texture. May try a garlic stir fry next. #BroodX #entomophagy
Some insect farmers believe that mechanical shredding is the least painful way to kill insects suitable for human consumption. Freezing is also commonly used for commercial entomophagy operations, though as discussed above, there is debate over whether freezing is fully humane.
Insect Euthanasia Wikipedia Entry
Geographical Interest
Country-level searches for “entomophagy” over the past 5 years via GoogleTrends data
James E. Lawrence would have been about 25 years old when he was assigned to survey the wild deer population outside of Brookhaven National Laboratory, a top-secret government research center full of particle physicists and experimental happenings, where said deer were running amok scaling the 12ft tall fence to eat radioactive plants. Was this the moment he decided he would commit a majority of his life to publishing educational zines and field guides on sustainable and mindful outdoors recreation? We like to think so.
James E. Lawrence’s Snakes of the Catskill Mountains: A Guide to Their Recognition challenges us to seek out, survive, and take note of experiences involving wild snakes.
If you’ve been to a local gift shop, book store, or outdoors-ing-goods shack in rural or mountainous upstate New York over the last 30 years you may be familiar with the saddle-stitched, often brightly- or monochromatically-covered, and lightly-illustrated field guides Lawrence’s Outdoor Publications of Ithaca, NY, is responsible for producing. Most of these were originally published in the 1950s and 60s and appear to have been re-released in batches up until the mid 90s.
“Various signs instruct the fisherman using New York City’s reservoirs. Their purpose is to insure maintenance of a pure water supply.” reads the caption from New York City Reservoirs in the Catskill Mountains: Guide to Fishing Waters a 1967 publication from C. Austin Glenn.
Outdoors Publications has absolutely no internet presence. Literally, try googling it. It’s books are extremely unironic, accessible, leafy, and full of endearing colorfully-written passages and instructional narratives that are entertaining but likely at least slightly outdated.
In these deep, silent woods run big bucks rarely seen in the valleys. Here live the ridge-runners that herd their harems from beds high in the hemlocks to feeding areas in yew and balsam groves across the sides and backs of the quiet mountains. Deer shot in these sections are deer truly earned.
Deer Hunting the Catskills by Carl Oleberg
The publications have a presence and time-agnostic quality that insists we believe they have always been here and will always remain here, telling the same story about forest conservation and white tail deer habitats to whoever will slow down long enough to listen.
A particularly useful and timeless spread from Deer Hunting the Catskills, by Carl Oleberg, reminds us that getting lost is sometimes how we find ourselves.
Remember that your most valuable asset is a clear head. If you think you are lost, cool it. Sit down and think it over. Talk to yourself, if necessary. Get your bearing and figure out a logical route back to familiar territory.
Deer Hunting the Catskills by Carl Oleberg
“This sign, found along roadside boundaries of state land, points the way to public hunting grounds in the Catskills” original caption and graphic from Deer Hunting the Catskills, 1969
The eccentric outdoors zines as physical artifacts are pleasant to flip through even if you have no interest in following half-century-old advice on which Catskills-region fishing holes are most promising. They are often sprinkled with what we assume are outdated fold-out maps of micro-regions and weird little illustrations of creatures the author is telling you to murder, respect, or fear.
A map of the four designated wilderness areas in the Catskills Park circa 1969
A hidden map unfolds to reveal an index of topographic quadrangles that encompass Catskill State Park
Lawrence himself passed away nearly 20 years ago but these field guides are still being stocked and sold by persons unknown. It is likely there is a mysterious warehouse somewhere outside of Ithaca, guarded no doubt by bees and ancient fly-fisherman, absolutely filled to the rafters with these things, their price stickers indefinitely set at $3.00, their wisdom and folksy woods-secrets growing more detached yet powerful by the decade from a world in constant ecological flux.
An embossed gold foil sticker that reads “FOLD-OUT MAPS” tells the pleasure center in our brain that we are heading in the right direction and reminds us what in life is worth living for. These old books smell like paper that has been sitting in a drawer for 100 years.
To get your hands on one of these avant-garde time capsules we recommend renting an overpriced car and driving directionless towards the Catskill mountains of southeastern New York State with at least three dollars to spare. We procured our own Outdoor Publications rarities at Phonencia, NY’s “old fashioned country store,” The Nest Egg, where you can also find tactical hunting knives, bear and bigfoot souvenirs, primitive camping gear, and homemade fudge.
Extrapolation Factory Operator’s Manual by Elliott P. Montgomery and Chris Woebken is a dual-language guide full of beautiful photos, thoughtful typesetting, curious illustrated diagrams, and words you have never seen before.
“Extrapolation Factory Process Diagram”, a futures-study roadmap that includes not one but three tiny ∞ infinity symbols
The Factory itself is a design-based research studio in Brooklyn founded by the two authors. It is here they develop “experimental methods for collaboratively prototyping, experiencing and impacting future scenarios”.
While largely about speculative design and the democratization of futures-studies, the book also describes in detail some pretty dense and niche parallel academic concepts which provide the illustrator, Sungmy Kim, with plenty of opportunities to introduce the book’s transfixing and mysterious illustrations.
A (now closed) 99¢ store in Red Hook, Brooklyn. The Extrapolation Factory Operator’s ManuaI asks us to imagine what a 99¢ store of the future might sell on its shelves.
In a particularly confusing section of the book, we learn bisociation, “a term coined by Arthur Koestler in his 1964 book, The Act of Creation.” “Bisociation refers to the inherent multivalent–or, in Koestler’s thinking, multiplanar–nature of the creative act. Creative thought and production exists, he says, in a ‘transitory state of unstable equilibrium where the balance of both emotion and thought is disturbed.’ In art, bisociation is a juxtaposition of distinct planes or aspects of experience.”
Sungmy Kim’s illustrations in Operator’s Manual are as transfixing and beautiful as they are confusing.
It is concepts like bisociation and the many peculiar exploratory models and techniques developed by the studio that allow the illustrator to fill the pages of the Operator’s Manual with beautifully complex diagrams.
Imagine a world where glowing trees replace street lights and house plants help light up a room. A group of scientists is working to make plants do just that.
An illustration from Extrapolation Factory Operator’s Manual dares us to imagine what kind of machine this frog has found itself inside of.
While we do not fully understand some of the text’s core frameworks like the “Joseph Voros Cone” or the “Futures Wheel”, parts of the manual like the “Instance Database” are more accessible and dare us to imagine the future of pig-to-human organ transplantation and bioluminescent plants that replace street lights.
The physical publication is a beautifully designed paperback that you should purchase to make yourself feel incredibly smart and powerful. You can also download it in PDF format for the on-brand price of 99¢ from the Factory’s website.
While the Extrapolation Factory website links to Amazon, we at the Department of Information suggest requesting it from your community bookstore or at least purchasing it from a slightly less destructive (and affiliate-linked) source like Bookshop.org.
Hamilton Morris, chemist and indie zine hobbyist, took it upon himself to update and republish the cult classic “ethnoherpetological”* pamphlet, Bufo Alvarius: The Psychedelic Toad of the Sonoran Desert, from 1983.
Illustration of Bufo alvarius, Sonoran Desert toad, by Gail Patterson, 1983 or 1984
A notable addition to the new version includes Mr. Morris’ untold history of how the original author, Ken Nelson, who had published under a pseudonym at the time, came to be interested in the mostly unknown frontier of Sonoran Desert toads to begin with.
A spread from Bufo Alvarius: The Psychedelic Toad of the Sonoran Desert demonstrates the kind of artwork Gail Patterson was putting into eccentric anonymous zines in the early 1980s. Godspeed, Gail.
Additionally, echoing the “Please Leave Toads Alone” bookmark/leaflet included in the package, is a another new section devoted specifically to educating the public about “green and sustainable” ways to synthesize the toad’s special sauce, 5-MeO-DMT (a human psychedelic of the tryptamine class). If one really feels the need to do it, they should do it in a way that minimizes interference and destruction of the sensitive desert toad and its habitat.
Screen-printed cover and back pages of Bufo Alvarius: The Psychedelic Toad of the Sonoran Desert
It should also be made clear that the Department of Information strongly advises against the kidnapping and/or milking of toads of any kind. The main purpose of this review is to critique the publication from an art and design perspective. Additionally, we do not endorse, condone, or suggest the “brief collapse of the ego” or a “loss of the space-time continuum” either now or in the future.
Eagle-eyed students of the law will take special notice of this spread from the 3rd pressing of Bufo Alvarius: The Psychedelic Toad of the Sonoran Desert.
The original illustrations are drawn by Gail Patterson. They look really great on the recycled paper, speckled with flecks and shives, that Tucson, Arizona-based artist Mylkweed and Cream Publishers printed on using soy-based inks with risograph. The paper itself was apparently made by the extremely old Michigan-based French Paper Company using hydro-electric power. The raw paper and screen printed cover’s irregular texture fully transports the reader to the Sonoran Desert of 1983.
French Paper Company’s post-consumer-waste speckletoned paper and a riso-printed message of love
This limited run appears to be sold out but visit the print shop here for additional and possibly-updated information.
*Ethnoherpetological is the study of the past and present interrelationships between human cultures and reptiles and amphibians.
MY BODY FEELS AMAZING is a meditation on space, the body, and form. Originally printed in 2019, this latest edition was recently re-printed via risograph with a thermographic cover and saddle stitch binding.
The heat-printed method creates this raised, rubbery effect, making gliding your hands over the the cover and back page a pleasant tactile experience (if you’re into that kind of thing).
A riso printed spread from MY BODY FEELS AMAZING
A spread from MY BODY FEELS AMAZING, daring us to look within ourselves for answers to questions that do not exist
If you are familiar with Elevator Teeth’s work you know that it plays in the space between traditional comic strips, quasi-narrative-based work, and complete abstraction; often espousing musings and philosophic-sounding nonsense with simple geometry, humanoid figures, and minimal color palettes.
THE WORDS ARE SAYING WHAT THEY WANT TO SAY
WHAT ARE THEY TELLING US?
Each spread, or page in some cases, is a unique work unto itself, but the nature of the artwork, design, and color system provides plenty of space for a kind of cosmic, loose narrative to unfold as you flip through the book.
The cover of MY BODY FEELS AMAZING with raised ink from a thermographic riso printing method.
Printed this year in Osaka, Japan by Hardcore Ambient Press, MY BODY FEELS AMAZING is limited to a run of 300 copies, so we recommend purchasing one before they are lost to time and space forever.
Check out Elevator Teeth’s shop Hardcore Ambient for lots of other cool editions and prints as well.
Mushrooms & Friends 3 is an 8.5” x 11” staple-bound high-fidelity celebration of wild mushrooms, their friends, imagination, and the color spectrum.
It is not necessary to know that Cantharellus cinnabarinus–commonly known as a chanterelle–is edible, or that it’s Greek name refers to it’s cup-like shape, to appreciate that the mushroom looks really cool and transfixing floating in a void of turqoise-blue nothingness. We think that kind of deliberate detachment from the barriers of a potentially endless and intimidating hole of scientific knowledge about fungi is what makes this third installment of Phyllis Ma’s otherworldly photo journey of mushrooms successful and accessible.
A spread from Mushrooms & Friends 3 informs us what a cluster of bright orange Cantharellus cinnabarinus would look like if it were resting on a bed of forest moss in a void of turquoise-blue space.
There are no dense columns of scientific explanations or footnotes accompanying any of the photos. Instead, you are permitted and forced to leaf through the field-of-vision-encompassing explosion of color without worrying about learning anything you’ll forget later.
Thankfully, you will still be constantly wondering “what the hell am I looking at?” For those questions, there is an index in the back. Importantly noted, however, is a disclaimer that “this is not intended as a mushroom identification guide.”
A field of Leccinum scabrum spores dots the landscape of a small purple world. In a portrait, the stems and caps of the same mushroom are surrounded by their friends and flooded with orange light.
If you need to know what the spores of a Leccinum scabrum, an edible mushroom belonging to the family Boletaceae, look like from the perspective of a hovering insect whose world is soaked in a purple and indigo flood of the visible spectrum, I recommend purchasing this book and looking through it for answers.
Pholiota squarrosoides, blanketed in neon light, are seen reaching upwards out of a bed of pine needles while surrounded by pops of red and pink flora on a blue surface.
These mushrooms were foraged in and around New York City parks and forests during the global pandemic. The author makes a careful and mindful decision to point out the ancestral inhabitants of the region, the Lenape peoples, would have been experiencing these same mushrooms for thousands of years as we are now, noting “often, public parks and nature reserves in the United States were established through the removal of Indigenous peoples. In recognizing these erased histories, we can begin to work towards more equitable access to nature for everyone.”
We’ve added below the author’s suggested organizations and resources on how to support or donate to the Lenape community.
Often, public parks and nature reserves in the United States were established through the removal of Indigenous peoples. In recognizing these erased histories, we can begin to work towards more equitable access to nature for everyone.
We’ve only posted a couple of our favorite spreads here so we highly recommend purchasing the zine, or an earlier one from the series, while it is still in print to experience the full visual stimulation of the work.
A paradigm of a parody religion or a metaphor for a governing philosophy; based on Eris, the Greco-Roman goddess of chaos and discord; born of the 1963 book Principia Discordia by Malaclypse the Younger (Greg Hill) with Omar Khayyam Ravenhurst (Kerry Wendell Thornley).
Drest had made a careful study of the Discordian philosophy and realized it was the kind of outlandish nonsense that would appeal to the kind of people who made all the trouble in history-brilliant, intellectual, slightly deranged dope fiends and oddball math-and-technology buffs.
If you reject Absolute Truth, as Discordians do, you are thereby claiming that any doxa (opinion, belief ) is as valid as any other doxa, and thus we enter the absurdist world of non-knowledge, of “all truths” = “all lies”.
…Church of the Subgenius drew a great deal of inspiration, lore, and tone from Discordianism, an
earlier, more individualistic, and less pop culture-saturated parody religion whose ironic
mysteries, slapstick anarchist politics and terrible puns were transmitted into the seventies counterculture principally through Robert Anton Wilson and Robert Shea’s 1975 Illuminatus!
trilogy.
Erik Davis, High Weirdness: Visionary Experience in the Seventies Counterculture
Geographical Interest
Country-level searches for “discordianism” over the past 12 months via GoogleTrends data
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