a small blue thing

no leaves, but plenty of eyes.

inspired by me spacing out on a long drive & staring at trees. this happened earlier this year, and birches ended up growing leaves before i finished the doll.

Downstairs - Frank Gregory , 2022.

American, b. 1962 -  

— then it's art nouveau

and if the sexy lady has a bob cut or a hair cap and is wearing a column or flapper dress; there's a lot of geometry like rectangles, arches, rays, and diamonds; angels have super sharp wings and a lot of muscles; everything is steel, concrete, marble, gold, and red velvet seats; everything is VERY angular; and all the foliage is basically papyrus fronds; things feel vaguely Egyptian or Turkish or Mesopotamian; the fonts play with being very skinny or very thick and are sans serif with extra lines; or Gatsby would be found floating dead in that pool

— with lots of lush flora, tiny insects (like dragonflies) or graceful birds, stained glass, iron, warm golden lighting, lots of wood and wood carving (but now it's more wood paneling), a stylistic fondness for Japan, line weight variation in the font, and tile (but this time it's carved or sculpted on, not tiny mosaic)

but you're worried it's art deco

— because the forms (especially foliage) are very symmetrical and slightly more angular or blocky and graphic looking, things are more rectangular than circular or curvy in architecture, the patterns repeat more often, and more of the lamps are pyramids or rectangular, and there are nods to Egyptian or Ottoman style, and they used the color red (probably in an accent chair or carpet rug)

BUT there's no steel, concrete, gold plating or gilding, marble, big muscles, spiky or radiating diamond shapes, angular people, or flappers,

AND the vibes are jacobean, gothic, or spanish mission revival; they love some brick and stone; the wallpaper is an explosion of colorful pattern that could give you arsenic poisoning or help depict a descent into postpartum psychosis in a famous short story; but there are NO people to be seen, not even sexy ladies,

me: yeah i know, they’re all primary colors, it’s perfect

When you go for an MLS (Master’s of Library Science, which is a thing, and which is usually required for “professional-level” library work [which is also a weird and contentious concept that I won’t go into here]), one of the things you study is the organization of information. This deals with how to determine what a book or other material is “about"—a concept we tongue-in-cheek call “aboutness"—and how to convey that to a potential user of the item and make it easy for them to find. Things like keywords and subject headings, do I put this book about how often wild birds attack aerial drones in with books about birds or with books about technology, if its a fictional novel do I put fantasy in it’s own section or mix it in with all of the other fiction, so on and so on.

OP is organizing books by how they would look for them. OP’s partner is thinking in terms of aboutness. This is a system that works for OP because it’s their personal library: they know basically what books they own and they only own books that are relevant to them, and if they know what the book looks like, that can be a quick way to find it.

In a library that assumes the public (or people who do not own that particular collection of books) are using the collection, that doesn’t work. Books are often re-issued in multiple covers, or re-bound in new covers when they get worn out, and if the user doesn’t know what the book looks like or is expecting a different cover, they’re lost. That’s why non-personal libraries used standardized cataloging systems like the Dewey Decimal System or Library of Congress System to organize a book by what it’s “about”, and then put books about the same or similar topics together, marked with labels and signage so a person unfamiliar with the book or collection can find their way to it.

Basically, OP’s system works for their own personal library, because it’s best suited to how the primary user—OP themselves—looks for books. OP’s librarian partner is coming from a background of thinking in terms of a public-facing collection, where aboutness is the key criteria and communicating it to a user unfamiliar with the collection is the priority.

I’m a former public librarian (12 years public-facing) and while I do agree in clustering large collections of books by aboutness, I always found them by color. “Oh, you’re looking for that book on religion? It’s here in these shelves, and it’s a 1” wide spine that’s white with black lettering. Here it is!”

Even librarians working in large collections can get to know their books well enough to do this. Why bother looking at call numbers - hard for a 5’2” person to see on top-shelf books! - when I can see it on the shelf from five feet away?!?

me: yeah i know, they’re all primary colors, it’s perfect

When you go for an MLS (Master’s of Library Science, which is a thing, and which is usually required for “professional-level” library work [which is also a weird and contentious concept that I won’t go into here]), one of the things you study is the organization of information. This deals with how to determine what a book or other material is “about"—a concept we tongue-in-cheek call “aboutness"—and how to convey that to a potential user of the item and make it easy for them to find. Things like keywords and subject headings, do I put this book about how often wild birds attack aerial drones in with books about birds or with books about technology, if its a fictional novel do I put fantasy in it’s own section or mix it in with all of the other fiction, so on and so on.

OP is organizing books by how they would look for them. OP’s partner is thinking in terms of aboutness. This is a system that works for OP because it’s their personal library: they know basically what books they own and they only own books that are relevant to them, and if they know what the book looks like, that can be a quick way to find it.

In a library that assumes the public (or people who do not own that particular collection of books) are using the collection, that doesn’t work. Books are often re-issued in multiple covers, or re-bound in new covers when they get worn out, and if the user doesn’t know what the book looks like or is expecting a different cover, they’re lost. That’s why non-personal libraries used standardized cataloging systems like the Dewey Decimal System or Library of Congress System to organize a book by what it’s “about”, and then put books about the same or similar topics together, marked with labels and signage so a person unfamiliar with the book or collection can find their way to it.

Basically, OP’s system works for their own personal library, because it’s best suited to how the primary user—OP themselves—looks for books. OP’s librarian partner is coming from a background of thinking in terms of a public-facing collection, where aboutness is the key criteria and communicating it to a user unfamiliar with the collection is the priority.

things fall apart and there’s anarchy everywhere; falcons fly freely and can’t be compelled.

Dimming the tide there is blood in the water and everywhere customs of innocence drowned.

Held by the worst is a fervent intensity; lacking conviction the best run aground.

Surely there must be some kind of apocalypse; surely epiphany must be at hand!

Visions unbidden from Spiritus Mundi of something awakening out on the sand:

Head of a man with a leonine frame and a pitiless gaze that’s as blank as the sun;

sleep became nightmare by passage of centuries long before eons of slumber were done.

Higgledy piggledy, beast of antiquity, imminent, just as the prophecies warn,