bernardtehbard
Maybe I'm just being sentimental cause I'm a poet
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Latest Posts by bernardtehbard
saw someone say we should put high speed rail next to motorways/highways to make motorists feel inadequate and decide to take the train. I think we can go one step further and deliberately run them past roads that are renowned for getting heavily congested, i wanna see hundreds of motorists on some 6 lane american highway all sat in traffic watching on as trains hurtle past them all wishing they could be on said trains
On a side note america, why no remotely highspeed rail network?
"Save a horse and a cowboy..."
[Sketch for wizardposting on bluesky]
guys i just found out about this site that does a daily guessing game, it’s phylogenetic wordle- so fun!!!
Here's a big project I've been working on for a few weeks: a phylogenetic tree of everything in Minecraft! It would take ages to explain everything here, so if you want an explaination of any inclusions, exclusions, categorisations or Latin names PLEASE PLEASE PUHLEASE ask me I would love to answer any questions :3
Here's the slides I used to make it since i'm aware the text on the image there is pretty much unreadable.
Reblogs appreciated!
Edit: there are some problems with the image on here aside from the quality, so please check the slides for a slightly more accurate version! Also, if you have a question check the notes first! Odds are someone else has asked already.
Edit 2: PLEASE check the reblogs before you ask a question, most of the questions I'm getting now are ones that have already been answered. But I of course really appreciate how much people care :3
Full image description:
At the bottom is the Origin of Life, which branches out into five kingdoms - amoebozoa, animalia, fungi, algae and plantae.
Amoebozoa is in pink. It branches into Sculk (latin name sculk sculk) and then into slimes (scindo uliginosus) and magma cubes (scindo igneum)
Animalia starts off in orange. It branches off into the five types of coral (Fire - millepora, horn - rugosa, tube - tubipora musica, bubble - Plerogyra sinuosa, brain - diploria). The second branch of animalia branches off to the sponge (in the phylum demospongiae) and then to molluscs and arthropods.
Moluscs first branches off to the shulker (duopartes purpur) then to the nautilus (latin name nautilus), the ghast (Exspiravita inferno) the heart of the sea (unknown latin name), the squid (Immiforma caeruleum) and the glow squid (Immiforma crepuscula). The heart of the sea and nautilus are both marked with a dagger symbol, indicating they are extinct.
Arthropods branches off to the enderman (gracillis sapiens) and the ender dragon (draconiforma finis). It also branches off into insects, featuring bees (bombus enormus) and silverfish (Lepisma saccharinum), as well as to arachnids, featuring the endermite (terminus limina), the spider (rufoculos nocturnis) and the cave spider (rufoculos caverna).
Carrying on from the branch of animalia is the sea pickle (Pyrosoma) and then the vertebrates, which are coloured in reddish orange. The first branch contains the Queen angelfish (Holacanthus ciliaris), the emperor red snapper (Lutjanus sebae) and the moorish idol (Zanclus cornutus). the second branch contains salmon (Oncorhynchus nerka). The third branch contains the yellowtail parrotfish (Sparisoma rubripinne), the clownfish (Amphiprion percula) and the dottyback (Diadem pseudochromis). The next branch contains cod (Gadus). the final fish branch contains the triggerfish (Abalistes stellatus), the pufferfish (Arothron meleagris) and the yellow tang (Zebrasoma flavescens).
Next the branch transitions into tetrapods. coming off this are amphibians, which includes the frog (Lithobates thermochroma) and the axolotl (Ambystoma mexicanum)
image desc currently unfinished, would appreciate help
i dont want to be an unpaid intern
My first year as an embroidery degree student is coming to an end now, so close to the end in fact you could argue that i should very much embroidering instead of ranting on tumblr in the middle of the night but old habits die hard i suppose. Because i (and 22 other students) are now starring down the barrel of 4 terrifyingly empty months after embroidering all hours of the day and night since September our tutors are keen to push (or shove) us all towards internships.
Unpaid internships…
Now i understand the importance of real world work experience, trust me my secondary school and college peddled it enough, but 6 weeks of unpaid labour for one line on a CV does not feels like a good or fair trade. Maybe it’s my inner trade unionist or the fact that i live 200 miles away from any of these internship opportunities meaning i would have to shell out close to 3k to live in London (because of course they are all in London) to be able to partake in this free labour but I’m treating this with a lot more scepticism that my classmates. I dislike this expectation that because we are ‘new’ to our art we should hand out our skills for free and part of my worries - or knows - that’s its worse than that still, it not that we should, its that they can. They know that they can ask and they will receive, no questions asked because most of use don’t know our worth yet. I didn’t relises that my opinion on this and my inability to partake would be unusual until teachers and peers looked at me like i had two heads for saying,
“No, I’m not applying to any internships. I can’t afford it”
The reason grates on my soul quite so much is because it’s another layer of the exploitation the fashion is built upon, relies upon. Every single layer of the fashion industry, from cotton farms to coutre embroidery studios is filled with poor working conditions, unpaid labour and ethically questionable practices.
It’s something i want no part of, being another cog in the fashion machine of underpaid women. But on some level my tutors are right, it will look good on my Cv.
But i want to be an artist. I want my Cv to reflect my morals and my politics, and i think that’s more important.
‘Of Meadows and Blue Skies’ by Melody Money
‘Of Meadows and Blue Skies’ by Melody Money was a solo show at Visions Art Museum in San Diego in 2021 that now lives on the form of an online and video exhibition on the Visions website. Melody Money is a mixed media textiles artist who prides herself on attention to detail and is “motivated to take a medium that is traditionally worked on a smaller scale and expand it to a larger version” and that's evident in this show.
After Melody Money received her Fine Art degree from the University of Colorado, she went on to study prismatic colour theory at Rudolph Schaefer school of design, and this schooling in colour theory shines through throughout the show. This works’ colour pallet is almost exclusively bright warm blues, greens and yellows. Few of the pieces from this collection use colour pallets that could be described as realist. Instead, Money opts for the sort of colours that you could imagine a child choosing for a scribbled marker pen landscape that features a buttercup yellow sun in the corner of the page. It’s clear that these colours, maybe even more so them the actual pieces themselves, were designed to invoke a child-like wonder and love for nature.
Money’s piece ‘field studies’ is more reminiscent of a sample board than a fine art piece but that makes me love it even more. The piece itself is a 4 x 10 grid of textiles field studies, these studies are predominantly beaded embroideries of local wildlife like birds, butterflies and various flora. Money clearly prefers creatures that fly as, apart from one solitary fish, all the animals depicted have wings of some variety. I do not find this preference shocking as the sky is a constant reoccurring character in her work, always lovingly decorated with swirling winds. This piece being a series of studies and not one final piece makes the work seem a lot more personal to Money, I feel like I am witness to a before unseen part of her process which is both greatly endearing and gives greater context to the rest of the work in this collection.
Money uses beading throughout these pieces, most significantly in ‘Rain’ but also rather heavily in ‘Field Studies’. All the beads she has chosen have either an iridescent or metallic quality to them, this means that in the bright lights these pieces shine. In ‘Field Studies’ a trio of blue iridescent swallows pull your focus immediately and in ‘Rain’ the whole lower third of the piece is alight, shimmering with silver bead work. These circles of beads and stitch create pools and puddles of rain that reflect both the faux, stitched light in the piece as well as the real, dynamic light of the exhibition space. Melody Money has said that light is the key to making her art sing, and I couldn't agree more, the beading on both these pieces would have been significantly less impactful and appealing had she opted for dull beads; it would have completely lost the magical shifting colours of the swallows and apparent glow and movement of the pooled water. The effect that light has on these pieces and really all of Money’s work make it such a shame I was only able to view this exhibition in the form of consistently lit photos and a lower quality than I would have liked video. I do think her work is lovely but to have seen her work in reality, especially in shifting sun light, would have been something else entirely.
‘Rain’ is an incredibly dynamic work, though the art itself is ever-stationary. Money’s use of layered vertical strips of differing shades of blue draws your eyes up and down the piece. This paired with the influx of cascading, downward-pointing triangles, which colours fade from navy to white, creates a faux sense of gravity, like the fabric rain is really falling. This effect and the way that Money has achieved it is beautiful and, in my opinion, makes ‘Rain’ the most visually stimulating piece in the collection.
By comparison, ‘Chant’ at first glance is a much simpler work; the colour pallet is more muted, and it lacks the flashy beading and intricate forms of some of the other pieces. Instead, most of the piece is made up of layers of silk shaded fields. From a distance this embroidery looks simply like blended colour, but up close the individual threads are evident and reminiscent of thousands of single plants and grasses. Due to the simplicity of the design of this piece, the intensity of the silk shading shines through. The most impressive element is the scale of the piece and volume of stitches - this amount of embroidery is a feat to undertake. But what I can only assume is dozens and dozens of hours of work has absolutely payed off, as all these dense stitches create this sense of never-ending, empty fields. This feeling is accented by the inclusion by seventeen beads of small iridescent birds in flight, up over the fields into the waiting bright blue sky above. These tiny birds seem little and insignificant in scale, compared to the force of nature that surrounds them, to a degree that I can’t help but feel small alongside them.
‘Of Meadows and Blue Skies' is undeniably a love letter in fabric and thread to the ever-changing natural world that surrounds Money’s home in Colorado. Having grown up in an environment similarly surrounded by nature, Money’s work really speaks to me, it reminds me of the importance of enjoying and protecting the wild spaces around us. Money says in her artist statement “I try to shine a light on everyday moments” and for me she does that both completely and beautifully.
working so hard to unlearn the whole like "this physical pain im experiencing is a punishment from the divine" thing i picked up somewhere along the catholic trauma highway
the nerve pain in my leg is not in fact because loki is saying "time to take a break lol!" and punishing me for doing too much. it's because im a dumbass and ran on ice and injured my knee 7 months ago, and i am continuing my dumbassery by not resting it enough bc i can't come to terms with the fact that my abilities have changed so drastically.
ITS NOT MY FUCKING GOD HURTING ME ON PURPOSE HOLY SHIT
thanks catholicism
when i figured out i was ace i was like "yes i have an excuse to be single for the rest of my life" and it still took me almost a year to figure out i was aro
Zakaria Mohammed, “Untitled Poem, IV,” trans. Lena Tuffaha