Thoughts and Things

label and date everything

dont use adhesives on important stuff they degrade really quickly and can damage things

some paper is much more acidic than others and will degrade and damage things touching it. newspaper and construction paper are the worst and will mess up other papers theyre next to

printed photographs have chemicals that can react really badly to temperatures and dampness and you should keep them separate from other materials

soft and thin plastics also degrade really quickly (unless theyre archival grade) and are the worst to deal with

keep a copy of digital files in at least one separate location (flash drive or hard drive)

some inks will fade over time or bleed onto whatever theyre on. archival ink is a thing but there are also just some inks that are more stable

rubber bands break within a few years, paper clips and staples will rust and damage the paper if theyre not made of the right material

exposing photos or any material with colors to light for a while will obviously degrade them over time and theres not much you can to do restore them at that point

you lowkey should print out digital correspondence or materials if you want to keep them long term and be able to find them regardless of what happens to that email domain, website etc. its not uncommon to have printed out email threads in archival collections

these seem to have been more common in the 70s-90s but those photo albums with thin plastic and slight adhesive pages are terrible and will damage your photos and make them stuck forever

this is what acidic paper does to anything its touching after a few decades so watch out

Painted Tree Rat Callistomys pictus

A rodent from the state of Bahia, Brazil. The painted tree-rat is found in the Atlantic forest. It also occurs in cocoa plantations where some native trees remain. As far as known, it is nocturnal.

Endangered

Lost my mind a little and added (if my math is correct) 5,615 beads to Nim Teasdale's Odenwald pattern. Anything worth doing is worth overdoing!

The goal was “soothingly weighted but not uncomfortable to wear, even as someone with chronic pain.” It could have been a little heavier, so maybe I’ll make a shawl with larger beads another time, but I’m very pleased with this one. I used size 6/0 seed beads, applied as I go with a .6mm crochet hook.

Yarn-wise, used 2 cakes of YarnArt Flowers. I knitted the fully purple sections from both, then knitted all the way through the yellow-oranges with a single ball. When I hit the beginning of red-oranges, I used yarn from both cakes, alternating between them. (Not the entirety of both, I played it by ear to make sure I made it through the full rainbow.)

I do have edited charts with bead placements. I will only share them with Nim's permission.

"Now I've shot so many Nazis, Daddy will have to buy me a sable coat." (From his Wikipedia article).

Neil Munro "Bunny" Roger

June 9, 1911-April 27, 1997.

Bunny Roger killed a bunch of Nazis and then invented Capri pants.

He was expelled from Oxford for his indiscrete gayness (discrete gayness being perfectly fine at Oxford and part of the curriculum until...today probably, at least like 1992?). Then, having been sent down to London, he started his own fashion business, and his first client was Vivien Leigh.

Bunny served in WWII, killing fascists in North Africa and Italy, and often wearing a mauve scarf in the field. Roger claimed that he had gone into a battle brandishing a rolled-up copy of VOGUE and commanding: "When in doubt, powder heavily!"

Roger was known in high society for his themed soirées; Diamond, Amethyst, and Flame Balls were held to celebrate his 60th, 70th, and 80th birthdays. He wore a curious plum colored catsuit with a feathered headdress at his 70th birthday ball in 1981. At his 80th, he made his entrance in a catsuit of scarlet sequins with a cape of orange organza, greeting his guests from behind a wall of fire. His parties were covered by the newspapers, including a New Year's Eve Fetish Ball where the proper upper class mixed with young guests in rubber S/M gear.

From an obituary: "Beneath his mauve mannerisms, Bunny was stalwart, frank, dependable and undeceived; to onlookers a passing peacock, to intimates, a life enhancer and exemplary friend."

From another obituary:

And this in-memoriam piece.

On June 19, 1865, news of emancipation reached the last enslaved person in Galveston, Texas, more than two years after the Emancipation Proclamation. Today, Juneteenth is a celebration of freedom, resilience, and Black history and culture.

This Juneteenth, we're highlighting two powerful works by author, educator and activist Booker T. Washington (1856-1915): Up from Slavery and Working with the Hands. Both volumes were published in New York by Doubleday, Page & Company. Originally published in 1901, our copy of Up from Slavery was published in 1902. Our copy of Working with the Hands is a first edition from 1904 and is illustrated with photographs by Frances Benjamin Johnston (1864-1952), an American photographer and photojournalist. 

Booker T. Washington’s landmark autobiography, Up from Slavery, chronicles his journey from slavery in Virginia to becoming one of the most influential Black leaders in the United States. The book details his early life, his education at Hampton Institute, and his founding of the Tuskegee Normal and Industrial Institute (now known as Tuskegee University) in Alabama. Washington advocates for self-reliance, industrial education, and racial uplift through dignity and hard work. This text was widely read and continues to be a foundational work in African American literature and history.

A lesser-known sequel to Up from Slavery, Working with the Hands serves as a practical and philosophical follow-up. In it, Washington elaborates on the day-to-day operations, goals, and educational philosophy of the Tuskegee Institute. The book emphasizes the dignity of manual labor and the importance of vocational training as a means of achieving Black economic empowerment in the post-Reconstruction South.

From emancipation to education, Washington’s life and legacy are deeply tied to the ongoing struggle for Black freedom and self-determination. His writings emphasize resilience, practical knowledge, and the power of building a future by hand and by heart.

-View previous Juneteenth posts

I say this as someone who sells pottery, and many people who see my art assume I am using art as an outlet to “express myself.”

I am not.

I use art to challenge myself. A lot of what I do is the equivalent of doing a hard sudoko or a half marathon, answering the question of “can I do this?”

I use art to question things and explore ideas. Finding physical synthesis between concepts and working out a design to its end state.

I use art to make money. I make some things just because I suspect they’ll sell well, and I keep making them when they do.

This idea that an artist is “putting themselves out there” every time they create is not only stupid, but harmful, and it kills critique and analysis.

Yes every creative work is influenced by its creator, but the most preliminary step of analysis is to define the purpose of a work of art (functional, narrative, entertainment, persuasive, decorative, ceremonial, etc.) and a vanishingly small percentage of that is self-expression. Even then, it’s generally tied to the self’s relationship with something else—perception, society, etc.

It’s very tiresome to have people assume they know you because they like (or dislike) your art, to make assumptions about who you are and how you approach the world. It’s nothing new— people called the Impressionists insane and the Fauvists degenerate. And now people are expected to hand out their identities and traumas to prove they have the right to explore certain subjects.