Storying Extinction Responding to the Loss of North Idaho’s Mountain Caribou Jack Kredell, Chris Lamb w/ Devin Becker Summer 2020 to present funded by the CDIL Graduate Student Summer Fellowship Program, Summer 2020 The Lab partnered with the University of Idaho Library’s Center for Digital Inquiry and Learning (CDIL) to support “Storying Extinction ,” a digital humanities project spearheaded by graduate students Jack Kredell and Chris Lamb, which officially launched by CDIL on February 1, 2022. Supported by CDIL’s Graduate Student Fellowships, Kredell and Lamb produced a GIS-based “deep map” consisting of oral histories, trail camera footage, nonfiction essays, and historical documents related to mountain caribou and their 2019 Idaho extirpation. Kredell, Lamb, and CDIL director Devin Becker will co-author an analysis of the project and its methodology for publication later this year. ​ Learn more about this project. ​ July 2021 The Spokesman Review Article ​ special thanks to project partner: explore the Storying Extinction website: Next

featured artist Sonia Sobrino Ralston Somerville, MA Sonia Sobrino Ralston is a designer and researcher from Vancouver, Canada. She is currently the Research and Teaching Fellow in Art + Design at the Northeastern College of Media, Art, and Design. She is interested in the intersections between landscape, architecture, and the history of technology, and her current design and writing projects center on the potential of plants to be understood as sensors, the organization and datafication of living collections, and the biopolitical history of bioindicators. Sonia recently graduated with distinction from the Harvard Graduate School of Design with a Master of Landscape Architecture where she was awarded the Landscape Architecture Thesis Prize and the Digital Design Prize for her thesis, “Uncommon Knowledge.” She also holds a Master of Architecture from Princeton University where she received a certificate in Media + Modernity. She was the assistant curator for the 2022 Tallinn Architecture Biennale on the theme “Edible: Or, the Architecture of Metabolism,” and recently assisted with the design and organization of a symposium on landscape pedagogy at the Harvard GSD and supported a science communication project at the metaLAB at Harvard. Her writing has been published in the Avery Review and Cartha Magazine, she co-authored a chapter in Urban Transformations, and her collaborative work has been exhibited in Tallinn, Cambridge, and Sao Paulo. featured artwork Forests as Data Governance digital animation, digital Collage, 1920x1080px, various digital collage sizes, 2023 responding to SIGHTLINES Forests as Data Governance is a fragment of a larger work focused on the design of a speculative future for environmental data governance. We don't usually think of the landscape itself--its plants, trees, and soils--as a form of data or informational tool, and yet they operate as a form of responsive wetware that responds to the site and environmental cycles. This speculative vision for a physical database for information, a forest made of binary code grafted to the genetic code of plants, imagines a future where plants are understood as a critical data infrastructure to be collectively stewarded. In the summer of 2022, a wildfire burned across the Columbia River valley, 200 meters away from Google’s first hyperscale data center in The Dalles, Oregon, near Taylor Lake. While fire-resistant plants such as Oregon oaks and Ponderosa pines survived, the fragility of information infrastructure became urgent. Systems to protect critical infrastructure along the river involve high-fidelity LIDAR scans of the area to simulate systems of flood protection and damage. But in a future where plants become critical infrastructure, a form of long-term information storage, the fluctuations of the environment become embedded in its management. The future envisions a nursery and genetic laboratory where environmental information is grafted into the genetic information of ponderosa pines, Oregon oaks, and incense cedars. Through the collective management of the landscape, the future of a fire-prone site relies on the sensitive management and care for the land, rather than the black boxes of water-hungry data centers. Rendering plants alongside the pointclouds of a LIDAR dataset of the site, plants are elevated to the level of infrastructure through high-fidelity botanical models in the submitted animations. As plants live and grow on the site, over time, they too become integrated into the abstracted pointcloud as a form of landscape data. more on Data Governance Sonia's thesis Uncommon Knowledge: Practices and Protocols for Environmental Information responding to the contemporary environmental information economy at the site of Google's first hyperscale data center in water stressed The Dalles, Oregon on display at Harvard Graduate School of Design in 2023. Data visualization of various sites including the site featured in SIGHTLINES where on view. Read and view more about her work HERE . A video introduction to her research is also below. more from Sonia's perspective Since moving to Boston as part of my landscape architecture education, I spent many summer afternoons walking in the Arnold Arboretum. Here, pictured with a smoke bush (Cotinus coggygria), I became fascinated with the way that botanical collections organize and collect plants as part of an informational system. I grew up in a suburb of Vancouver, BC, where I was used to situating myself by looking at the mountains. Since my childhood, however, wildfires have been creeping closer and closer, and increasingly over the summer the city is enveloped in a blanket of smoke. As areas all over the west coast become increasingly known as centres for technology and information services, this spurred questions for me about how the city’s technological infrastructure is entangled with ecological assemblages. In recent years, the landscapes close to home are increasingly affected by the growing number of fires. Taken on a lake just an hour away, the mountains and trees disappear into the smoke. Faced with these scenes, I wondered how I might rethink my own relationship with the landscapes around me; how might they be considered critical infrastructures to protect? This image, taken in a glacier lake not far from the smokey scene above a few days earlier, is important to me as a landscape designer who considers fire in this work. Landscapes here are full of plants, sensitively adapted to harsh environments and rich in information, ready to adapt under the existential threat of fire. How might we learn from, and pay attention to, the intelligence of plants and natural systems? Chat back to exhibition Chat

Stories of Fire: A Pacific Northwest Climate Justice Atlas Erin James, Jenn Ladino, Teresa Cavazos Cohn, Stacy Isenbarger, Sasha Michelle White & Leah Hampton funded by Mellon Foundation Just Futures Inititative 2021 - present Laura Ahola-Young's Mapping Oxygen featured in GROUND TRUTHS . Every word, every image, every memory of wildfire carries a story. A story of fire can engages deep emotions with place, community, and home. In the Pacific Northwest, wildfire experiences can overlap or contradict each other, complicating how we relate to our neighbors and to our changing landscape. Faced with so much complexity, we often simplify or suppress important stories. Traditional maps, media coverage, and even our personal conversations about wildfire can be limited or miss key connections. Stories of Fire is a community-sourced project that hopes to reimagine our shared wildfire story and future fire resilience. This project includes: Online Art & Design Exhibitions Artists-in-Fire immersive prescribed fire residency Community Workshops ​ Using storytelling, visual art, and unique, nontraditional maps from across the region, the Confluence Lab will seek a wide variety of voices as contributors to each part of the project, foregrounding social and environmental justice and traditionally underrepresented rural perspectives. Confluence Lab members Erin James (English), Jennifer Ladino (English), Stacy Isenbarger (Art + Design), and Teresa Cohn (Human Geography), in partnership with local communities, are the primary leads on Stories of Fire. Research fellow Sasha Michelle White (Environmental Science) and our in-residence fellow, Leah Hampton also have key roles in this project. Stories of Fire is one of a suite of projects under the umbrella of the University of Oregon’s Pacific Northwest Just Futures Institute for Racial and Climate Justice (Andrew W. Mellon Foundation, $4.52 million). The Institute is creating a regional network that works toward racial and climate justice through pedagogical and community engagement initiatives. ​ Learn more about this project. ​ Funding for this project made possible from generous grant from the Mellon Foundation’s “Just Futures ” Initiative for the Pacific Northwest Just Futures Institute for Racial and Climate Justice , University of Oregon. Lisa Cristinzo Birch Bark is like Snake Skin acrylic on wood panel, 36in x 48in, 2021 Stories of Fire Online Exhibition Series Learn More Organized into three parts, GROUND TRUTHS (Spring 2023), FUEL LOADING (Fall 2023) and SIGHTLINES (Winter 2024), these online exhibitions were loosely framed by a particular disciplinary lens— cartography, fire management and urban planning—and the range of ways artists express and explore parallel concerns. Confluence Community Workshop: ​ Mapping Fire Recovery in Oregon's Rogue Valley In November 2022 the Confluence Lab partnered with Coalicion Fortaleza and Our Family Farms to lead a fire resiliency and map-making workshop in Oregon’s Rogue Valley. The 2020 Almeda Fire impacted the Rogue Valley/Jackson County area profoundly, and local nonprofit organizers invited a Confluence team to the area for an afternoon of inter-organizational reflection, information sharing, and map making. The resulting maps of organizations and county resources were completed and digitized by a Confluence lab designer Megan Davis at the University of Idaho and given back to local Rogue Valley organizations to help with their future fire resiliency planning and messaging. ​ Read more news from this event. Next

LAB projects Fire Lines: A Sto ries of Fire project Stories of Fire: Pacifi c Northwest Cli mate Atlas Stories of Fire: Integrative STEM Learning through Participatory Narratives Storying Extinction: Responding to the Loss of North Idaho’s Mountain Caribou Our Changing Climate: Finding Common Ground through Climate Fiction Stories of Fire Online Exhibition Series Where there is Smoke... Wilderness Suite: Music, Video, & Rephotography Change in Frank Church Wilderness: Collaborative Rephotography Nature and Nuance of Climate Change Perceptions

featured artist Julie Mortimer Bellingham, WA Julie Mortimer lives in Bellingham, Washington. With an ever-increasing passion to learn and grow, she has been exploring non-traditional watercolor techniques (such as avoiding dry cakes of color) for several years, and is amazed at what the medium can do. Julie spends hours exploring local wooded areas on a daily basis. This is where she feels most at home. featured artwork "Crow Memories" watercolor, 12in x 16in responding to Ground Truths The air was thick with smoke though the fires were not visible to us. Every night I thought about the myriad animals, escaping if they could. Our area went from having pure cedar fragrances, fog misted air to having the worst air quality in the world. I wondered how the birds could even breathe to escape. more from Julie's perspective Julie out exploring the Pacific Northwest. Julie Mortimer at work in her studio. Chat back to exhibition Chat

Our Changing Climate Finding Common Ground through Climate Fiction Jennifer Ladino, Kayla Bordelon & Idaho Community Members funded by the Idaho Humanities Council Opportunity Grant 2019-2022 Modeled on the successful "Let's Talk About It" series, Jennifer Ladino (English and Environmental Science, University of Idaho) and Environmental Science PhD Kayla Bordelon hosted conversations about climate change in four Idaho communities: Coeur d’Alene, McCall, Grangeville, and Lewiston. Ladino and Bordelon, both former National Park Service rangers, drew on NPS audience engagement strategies to invite discussion and encourage participants to share personal stories. They used Barbara Kingsolver’s climate change novel Flight Behavior as a gateway to identifying common ground and common concerns about climate change, and to start dismantling communication barriers that may impede progress on environmental problems in rural communities. Next

featured artist Kasia Ozga Greensboro, NC Kasia Ozga is a Polish-French-American sculptor and installation artist most recently based between Greensboro, NC and Saint-Étienne, France. She reuses, revalues, and reanimates mass-produced materials into unique artworks and inverts the associations made with different types of waste. Ozga is a former Kosciuszko Foundation Fellowship recipient, a Harriet Hale Woolley grantee from the Fondation des Etats-Unis, a Jerome Fellowship recipient at Franconia Sculpture Park, and a Paul-Louis Weiller award recipient from the French Académie des Beaux-Arts. Her work has been exhibited in over 15 different countries and she has participated widely in residencies in Europe and North America, including Shakers, Nekatoenea, Pépinières Européennes de Création, ACRE, and KHN. Currently an Assistant Professor of Sculpture at UNCG, Ozga holds a PhD from the University of Paris 8, an MFA from the Jan Matejko Academy of Fine Arts in Krakow, and a BFA from the SMFA at Tufts University, Boston. featured artwork "RE_MOVE N.22" batik, ink, and watercolor pencil on handmade paper, 2020 "RE_MOVE N.24" batik, ink, and watercolor pencil on handmade paper, 2020 responding to SIGHTLINES My work begins and ends in the human body. Our remnants (what we cast off and leave behind in the form of waste, trash, memory etc.) ground and connect us to the earth. My work asks where the things in our lives come from and where they go once we’ve used them. By representing and re-animating remains, I explore the potential of materials to ask questions and to evoke larger environmental relationships. I reuse and revalue ordinary and mass produced materials into something one-of-a-kind. The RE_MOVE series is the product of a transatlantic dialogue in image and text from 2019-2020 between myself and poet Dan Rosenberg. The images engage a batik process with materials reclaimed from multiple former and ongoing projects including handmade paper, architectural drawing templates, thread, and found pigments. Fire, and its effects on the built and natural environments from the Notre Dame Cathedral in France to forests in North America, is a recurring theme in the series. I have visited the Pacific Northwest several times over the past few years, primarily during the summer months. These trips have been marked by moments of wonder at the immense scale of the region's trees and open spaces and exhaustion from the intense thick smoke that blankets the region when forest fires are in abundance. From the stark rocky beaches of the Pacific Coast to primordial tree trunks at Olympic National Park to mountain meadows blooming for brief windows of opportunity near Mount Rainier to hazy orange skies at Glacier National Park, I am drawn to these places that reify the natural and invite me to question how we as a species shape our landscapes in the context of the Anthropocene. more from Kasia's perspective Photos taken by Kasia from a moving train in Glacier National Park in Montana during an extensive fire episode on the West Coast in 2021. Hazy skies have begun to appear earlier and earlier in the region, from year to year, as heat and particulate pollution increase. The acrid taste of warm thick air affects our lungs, but also our eyes, changing how we perceive the natural environment even in sites associated with pristine beauty and fresh, reinvigorating experiences for the body and mind. Chat back to exhibition Chat

featured artists Sophia Hatzikos Portland, OR Oregon Episcopal School Portland, OR Sophia Hatzikos is a site-specific artist who looks towards our past to evaluate our future. She is concerned with impending environmental collapse and gains insights from experts whose deep knowledge of natural systems comes from their working relationship with the land. Sophia is interested in interdependence and the contrasting fragilities of the natural world and capitalistic demand; she investigates these themes through a scientific lens. Through exploration and observation, she throws light on the ways in which structures and environments have been built over time, giving special attention to the imprints and inerasable marks left by those who wield power. featured artwork "Lift, Coil, Zip" retired wildfire hoses, steel, ties, 2022 responding to Ground Truths This project was a collaboration with students from Oregon Episcopal School who were enrolled in I.M.P.A.C.T (innovate / make / act / collaborate / tinker), a course that encourages experimental thinking about the impact of public art. Discarded fire hoses from the Redmond Fire Cache acted as a throughline to different projects, questions, and themes that were explored by the class. If the fire hoses, used in wildfire suppression during 2020 and 2021, had not become part of the project, they would have gone to a landfill. Using an upcycled material allowed for an expansive creative environment: mistakes could be made and our budget could be spent on other materials to expand the scope of their projects. The students designed individual work around their research into wildfires, climate change, material processes, and the industry of wildfire-fighting, and all thirteen students were involved in the final collaborative effort. Lift, Coil, Zip was shaped through site visits to the Lake Oswego Gallery without Walls , where it has been on display since the fall of 2022. The students were excited by the tall trees around the platform and its location right next to the firehouse. Seeing the environment where their work would live helped finalize the design and the students embraced the process of strategizing and refining ideas for their public art installation. The work will be looking for a new home come August 2023; hopefully, it will stay in the region to continue to tell the story these students crafted! more from their experience Chat back to exhibition Chat

featured artist Katie Kehoe Tallahassee, FL Katie Kehoe is a multidisciplinary artist who creates survival architecture, objects and wearables which are used in performances and site-specific installations. Her work is designed to engage the public to reflect on changing climate and sustainability and has been presented across the US and Canada, including The Hirshhorn Museum (Washington, DC), The Contemporary Museum (Baltimore, MD), Center for Maine Contemporary Art (Rockland, ME), RedLine Contemporary (Denver, CO), Emerge Art Fair (Washington, DC), Arlington Arts Center’s Inaugural Regional Biennial (Arlington, VA), SummerWorks Festival – LiveArt Series (Toronto, ON) . She has had solo shows at VisArts (Rockville, MD) and Type Books Gallery (Toronto, CAN) and is a member of the Atlantika Collective and Cultivate Projects artist collectives. As an artist, Katie values cross-disciplinary collaboration and recently worked with Dr. Jagadish Shukla, one of the nation’s leading climate scientists, to create Breaching Waterways with Provisions Research Center for Arts and Social Change for CALL/Walks. Katie was raised in Cape Breton, Canada, completed an MFA from the Mount Royal School of Art at the Maryland Institute College of Art in Baltimore, Maryland, and is currently based in Tallahassee, Florida, where she is an Assistant Professor in the Department of Art at Florida State University. featured artwork "Wildfire Shelters for Small Animals" 35.66754°N, 105.43550°W, Santa Fe National Forest, NM, photographic documentation of site-specific installation, 2023 responding to SIGHTLINES Climate change and extreme weather have been the subject of my work since 2016 and for the past two years, I’ve been specifically addressing the increased instances and intensity of wildfires resulting from climate change. During an artist residency at the Santa Fe Art Institute, I created a series of wildfire shelters inspired by New Mexico’s largest recorded wildfire: the 2022 Calf Canyon and Hermit's Peak fires merged to burn over 340,000 acres east of Santa Fe. After creating the shelters, I installed them in areas where the fire burned and documented them with digital photography. I think of the wildfire shelters I create as “survival architecture”: they have the appearance of providing protection from flame, heat, and smoke exposure, but are sculptural objects intended to be symbolic and engage the viewer to consider the implications of climate change. Are we approaching a time when it will be necessary to carry these sorts of lifesaving devices around with us from day to day? more from Katie's perspective Katie in Santa Fe National Forest, 35.65350N, 105.42818 W, when carrying out a temporary site-specific installation featuring three portable wildfire shelters she created. To locate installation sites, Katie drove in and out of dirt roads leading in and through Santa Fe National Forest where the Calf Canyon and Hermits Peak wildfire burned a year before. This map documents the area burned when the Calf Canyon and Hermits Peak fires merged to become the largest wildfire in New Mexico’s recorded history. My feet on the ground in Santa Fe National Forest. Chat back to exhibition Chat

The Nature and Nuance of Climate Change Perceptions Kristin Haltinner, Dilshani Sarathchandra, Jennifer Ladino, Tom Ptak, Steve Radil, & Michelle Weist funded by the College of Letters, Arts, and Social Sciences, University of Idaho 2019-present This project, led by Drs. Kristin Haltinner and Dilshani Sarathchandra (Associate Professors of Sociology, University of Idaho) aims to develop a deeper understanding of climate change perceptions, with a focus on segments of the American public who remain skeptical about the phenomenon. Based on interviews and survey data collected from Idaho, Washington, and Oregon, this work has shown that climate change skepticism is a core identity shaped by personal experience, trust in institutions (e.g., science, media), and religious beliefs. While it is difficult to change identity dynamics, the researchers have uncovered several areas of common interest among skeptics and believers – a shared concern for air and water pollution, habitat destruction, species extinction, and an interest in investing in renewable energy – which can be capitalized on to develop public policy that is likely to garner wider support. Findings from this project have been disseminated via a series of peer-reviewed publications from 2018 to 2022. Drs. Haltinner and Sarathchandra are also authors of the upcoming book, “Inside the World of Climate Change Skeptics,” to be published in Spring ’23 by the University of Washington Press. ​ As a continuation of this project, Drs. Haltinner and Sarathchandra’s new work examines the factors that lead to changing skeptical views about climate change. Their preliminary findings suggest that personal experience with climate or weather disasters, conversation with trusted people, and integration into more open minded religious faiths or social groups can make people more willing to consider and engage with climate science. In the immediate future, the project leads and their collaborators will explore how real or simulated experiences with climate disasters impact the beliefs and decision-making processes of climate change skeptics, using tools such as narrative fiction, documentaries, fictional films, virtual reality, and natural exposure to extreme weather. WATCH: Researchers Dilshani Sarathchandra and Kristin Haltinner interviewedabout climate change skeptics across the Northwest to find out more about their beliefs. KTVB Idaho Channel 7, July 29, 2022 Team Members: Kristin Haltinner (Sociology, University of Idaho); Dilshani Sarathchandra (Sociology, University of Idaho); Jennifer Ladino (English, University of Idaho), Matthew Grindal (Criminology, University of Idaho), Steve Radil (Geosciences, US Air Force Academy); Tom Ptak (Geography, Texas State University). Next

featured artists David Paul Bayles Philomath, OR Frederick J Swanson Philomath, OR David Paul Bayles currently lives and photographs in western Oregon, where highly efficient industrialized tree farms supplanted the massive old growth forests many decades ago. He is currently working on a long term project with disturbance ecologist Frederick J Swanson, documenting the forest recovery after the massive 2020 Holiday Farm Fire in the McKenzie River watershed. His photographs have been published in numerous magazines including Orion, Nature, Terrain, Audubon, Harpers, Outside, The L.A. Times Sunday Magazine and others. Public collections include The Portland Art Museum, Santa Barbara Art Museum, Jordan Schnitzer Museum of Art, The Baldwin Collection MTSU, The Harry Ransom Center, Wildling Museum and others. His first monograph Urban Forest, Images of Trees in the Human Landscape was published in 2003. His next book, Sap In Their Veins , will be published in fall 2023. The Bancroft Library at UC Berkeley created the David Paul Bayles Photographic Archive in 2016 as a permanent home for his entire life’s work. Frederick J Swanson is a retired Research Geologist with the Pacific Northwest Research Station of the US Forest Service; a Senior Fellow with the Spring Creek Project for Ideas, Nature, and the Written Word; and the lead scientist in the Long-Term Ecological Reflections program. This Spring Creek-Andrews Forest collaboration facilitates engagement of writers and artists with the ancient forest of Andrews Forest and the volcanic eruption landscape of Mount St. Helens. Included among these activities have been 110+ writer and artist residencies at Andrews Forest since 2004. Trained as a geologist and specializing in the study of disturbance agents in forest ecosystems, watersheds (fire, flood, landslide, volcanic eruptions, clearcutting, forest roads), and society, it has been natural to connect with human disturbance agents, such as poets and artists. Relevant publications include Forest Under Story: Creative Inquiry in an Old-Growth Forest (2016, Brodie et al., U Washington Press) and In the Blast Zone: Catastrophe and Renewal on Mount St. Helens (2008, Goodrich et al., Oregon State U Press). featured artwork Triptych from Typologies: Charred Abstractions series Triptych from Typologies: Canopy series from Typologies: Charred Abstractions series from the Chronosequences Series: left: Photopoint FFR 2 , right: Photopoint FFR 17 . For this project, Bayles & Swanson selected 42 distinct photopoints that represent different forest conditions. During the first two years they photographed each photopoint twelve times in order to record the changing landscape following the fire. responding to Ground Truths Seeking truth involves boots on the ground while looking for clues in the clouds. That’s what trees do. When Fred and I stood in the charred skeletal forest after the fire, our hearts and minds were full of ideas, questions and curiosity. After two and a half years of climbing over burned trees and falling into stump ghosts, we’re asking better questions. And we’re still curious. Truth may be lodged in the tread of our boots. ​ Learn more about their Following Fire project. more from their perspective Frederick J Swanson at work Photopoint FRR 2 Notebook. Review more HERE. In the mid-seventies David Paul Bayles worked as a logger to earn tuition for photography school. His current studio/gallery was built from our trees that blew down after a neighbor clear cut their land. Read January 17, 2023 LENSCRATCH article "David Paul Bayles and Frederick J Swanson: Following Fire: A Resilent Forest, an Uncertain Future" Chat back to exhibition Chat

featured artist Allison McClay Portland, OR Allison McClay is a painter, illustrator and mural artist from Portland, Oregon. Her paintings examine historical figures and landscapes through a magical realism filter, creating rich, detailed images that tell a fragment of a story and invite a close look. featured artwork "Olallie Burns" Acrylic on Wood, 20"x16" 2022 "Sucia Saves Us" Acrylic on Wood, 20"x16" 2022 responding to SIGHTLINES These two pieces are part of a new series I am working on that explores the experiences children have with life in a world that is inundated with crisis and climate disaster. In these pieces, the subjects are aware of the fiery landscapes, and though their reactions are not clear, they are definitely not alarmed. I am interested in how they navigate being children within this and what a healthy relationship to destruction and to existential doom could look like. Both of these paintings are inspired by real places that have been affected by fires: Olallie Lake is in Oregon near Mount Jefferson and those burned forests are very real; Sucia Island is in the San Juan Islands in Washington and the fire in the distance is an interpretation of real wildfires that have become more and more common in the area. more from Allison's perspective View of Oneonta Gorge in the Columbia River Gorge area, where there was a massive fire in 2017. Allison's been hiking there her entire life, though many trails are still closed due to damage. View of Olallie Butte, part of the Warm Springs Reservation, in the Jefferson Wilderness. Allison isn't sure when this burn happened, as there seem to be fires in the area often. Row boating in Olallie Lake. My family has been camping around here for the past decade or so, since our previous favorite spot near Mt. Adams was destroyed by fire. View toward the crater of Mt. St. Helens. 43 years after the eruption, signs of life are everywhere. Mountain goat fur caught on a bush blows in the wind. Chat back to exhibition Chat