The Miocene Columbia River Basalt Group (CRBG) is the youngest and best studied continental flood basalt province on Earth. The 210,000 km3 of basaltic lava flows in this province were fed by a series of dike swarms, the largest of which is the Chief Joseph dike swarm (CJDS) exposed in northeastern Oregon and southwestern Washington. We present and augment an extensive data set of field observations, collected by Dr. William H. Taubeneck (1923–2016; Oregon State University, 1955–1983); this data set elucidates the structure of the CJDS in new detail. The large-scale structure of the CJDS, represented by 4279 mapped segments mostly cropping out over an area of 100 × 350 km2, is defined by regions of high dike density, up to ~5 segments/km−2 with an average width of 8 m and lengths of ~100–1000 m. The dikes in the CJDS are exposed across a range of paleodepths, from visibly feeding surface flows to ~2 km in depth at the time of intrusion. Based on extrapolation of outcrops, we estimate the volume of the CJDS dikes to be 2.5 × 102–6 × 104 km3, or between 0.1% and 34% of the known volume of the magma represented by the surface flows fed by these dikes. A dominant NNW dike segment orientation characterizes the swarm. However, prominent sub-trends often crosscut NNW-oriented dikes, suggesting a change in dike orientations that may correspond to magmatically driven stress changes over the duration of swarm emplacement. Near-surface crustal dilation across the swarm is ~0.5–2.7 km to the E-W and ~0.2–1.3 km to the N-S across the 100 × 350 km region, resulting in strain across this region of 0.4%–13.0% E-W and 0.04%–0.3% N-S. Host-rock partial melt is rare in the CJDS, suggesting that only a small fraction of dikes were long-lived.

The Ericson Formation was deposited in the distal foredeep of the Cordilleran foreland basin during Campanian time. Isopach data show that it records early dynamic subsidence and the onset of basin partitioning by Laramide uplifts. The Ericson Formation is well exposed around the Rock Springs uplift, a Laramide structural dome in southwestern Wyoming; the formation is thin, regionally extensive, and does not display the wedge-shaped geometry typical of foredeep deposits. Sedimentation in this area was controlled both by activity in the thrust belt and by intraforeland tectonics. The Ericson Formation is ideally situated both spatially and temporally to study the transition from Sevier to Laramide (thin-to thick-skinned) deformation which corresponded to the shift from flexural to dynamic subsidence and the demise of the Cretaceous foreland basin system. We establish the depositional age of the Ericson Formation as ca. 74 Ma through detrital zircon U-Pb analysis. Palaeocurrent data show a generally southeastward transport direction, but northward indicators near Flaming Gorge Reservoir suggest that the intraforeland Uinta uplift was rising and shedding sediment northward by late Campanian time. Petrographic data and detrital zircon U-Pb ages indicate that Ericson sediment was derived from erosion of Proterozoic quartzites and Palaeozoic and Mesozoic quartzose sandstones in the Sevier thrust belt to the west. The new data place temporal and geographic constraints on attempts to produce geodynamic models linking flat-slab subduction of the oceanic Farallon plate to the onset of the Laramide orogenic event.

This article demonstrates that making art in conjunction with story-telling is a method which can elucidate the everyday working practices of social work practitioners. To date, the relationship between art and social workers has rarely been noted, in part because visual studies have not attended to the lived experiences of social workers. In this paper, we draw on an empirical study undertaken in England which invited social workers to use art to tell their stories of being a social worker and doing social work. Their artefacts produced powerful visual and aural accounts of practice. They were displayed at the People’s History Museum, Manchester, in the first social work exhibition of this kind, making visible to members of the public the hidden, lesser known and understood aspects of practice. In this paper, we demonstrate how particular social work structures can rupture relationships between social workers and the families they work with. In doing so, we build on the sociology of art, work and interaction by showing how visual narratives can challenge, and sometimes alter, previously held assumptions and beliefs.

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