The art of mindless embroidery.
by @ toolbburs (no pronouns in bio).

shark vs the universe
NASA

will byers stan first human second
$LAYYYTER
TVSTRANGERTHINGS
🩵 avery cochrane 🩵
Not today Justin
One Nice Bug Per Day
Aqua Utopia|海の底で記憶を紡ぐ

@theartofmadeline
almost home

ellievsbear
icyghini twinkie
cherry valley forever
I'd rather be in outer space 🛸

pixel skylines

bliss lane
RMH
Misplaced Lens Cap

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@vertiga
The art of mindless embroidery.
by @ toolbburs (no pronouns in bio).

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Cnetizens: Why the thousand-year-old stone statues at the Northern Song Mausoleums aren’t covered with glass enclosures.
The director of the Cultural Relics Bureau replies: "They’ve stood here largely intact for over a millennium. Why add extra barriers?"
Visitors worry wind, rain and sunlight in the farmland will wear them down. The director explains:
Glass covers speed up decay—it’s like locking the statues in a sauna. Trapped heat and moisture create sharp temperature shifts. Salt crystals inside the stone expand and crack the carvings far faster than open-air exposure.
These statues blend naturally with the farmland landscape. Glass barriers would destroy the sense of scale and historical atmosphere.
When first built, the mausoleum complex was a restricted royal compound ringed by walls, palaces and pine trees—no farmland at all. After the Song fell, protection systems collapsed. Wars and weather destroyed buildings. Local residents gradually dismantled the abandoned structures, reusing timber and bricks in nearby villages.
By the Ming and Qing dynasties, villagers turned the empty grounds into farmland, leaving stone figures scattered amid crops.
Few people damaged the statues for three reasons: each weighs several tons and is impossible to move; folk belief held that anyone who damaged the guardian statues would be cursed with misfortune; every later dynasty passed laws punishing those who vandalized former imperial mausoleums.
Once an exclusive imperial burial ground, now ordinary farmland—this shift tells the story of history. Glass covers would only be unnecessary. As an old Chinese poem puts it: 旧时王谢堂前燕,飞入寻常百姓家
The swallows that were wont to grace the halls of Wang and Xie, Now seek the humble roofs of common men.
(cr 大鹅呀eyaeyaeya,陈帆fotochen,摄色📸,腾腾兔兔🐰)
talking like point-and-click game narration to the bugs in my room
you can't get out that way!
that's not very helpful.
maybe the open window will help.
try the open window instead.
so i feel the urge to add a bit of context here because i find the vague on-screen text deeply underwhelming.
this is not just "a picture", it's Pale Blue Dot, one of the most famous works of astrophotography ever made public. and it was not just "a dying spacecraft", it was Voyager 1, a probe launched in 1977 to study the atmosphere and moons of Jupiter and Saturn, among other things. both Voyager probes carried on them a golden record meant as an introduction to humanity for any alien species that might discover them (if you saw Kane Parsons' Backrooms, you've heard the contents of that record coming out of a cardboard caveman standee). they did this because NASA planned to sundown these probes by letting them drift out of the solar system to parts unknown. Voyager 1 is currently 16 billion miles away, the farthest any manmade object has ever traveled from earth.
AND it's not even dead! despite supposedly being a "dying spacecraft" all the way back in 1990, Voyager 1 is not expected to be fully out of commission until 2036. to keep the probe alive they've switched off unneeded tools, adjusted its trajectory, even essentially updated the firmware, and through all that time it's basically never stopped sending back priceless data for scientists to analyze.
this is the original Pale Blue Dot, by the way:
it's relevant because "a single point of light smaller than one pixel" makes a lot more sense in the context of the original than it does in the heavily corrected version up top, where our pale blue dot looks more like a vibrant dwarf star. the difficulty of spotting earth in these waving curtains of space IS the entire impact of the picture! the blue dot is "pale" because it's hard to see! by making earth stand out so brilliantly, Terribly Interesting have inadvertently created the impression that earth is this vibrant glowing pearl, bright for all to see for billions of miles around. and it just isn't! the point is not that we can see earth from far away, but that we almost can't, because we aren't the center of the universe! when science educators past have used this image they often referred to one where the earth is circled in bright red, which only further emphasizes how small and fragile our home really is.
but hey, if you DO want an improved version of Pale Blue Dot you don't even need photoshop:
this is Pale Blue Dot Revisited, released by NASA in 2020. this is a reinterpretation of the original data using modern image processing techniques to create a more realistic or at least more high-definition rendering of the scene. it's important to understand that this is not the original image dropped into photoshop and airbrushed. strictly speaking, there isn't an "original" Pale Blue Dot the way there are negatives of traditional photography. astrophotography is almost always the product of raw data being deliberately interpreted by scientists, so the same data can produce many different images (ie if they want to emphasize the infrared spectrum vs visible light). similar work was done by Don P. Mitchell in ~2005 to enhance images taken by Soviet Venera probes of the surface of Venus to be less noisy.
here's an original:
and here's Mitchell's version:
i'm not here to argue which is "better" (and i highly recommend you read the source for this one because it's quite fascinating), just to give another example of the process in action and hopefully clarify how it's distinct from editing a jpeg in photoshop. also i just think it's neat!
which is the real reason i went to the trouble of making this post. Terribly Interesting may indeed find all of this to be terribly interesting, but it appears to be interest for the sake of a vague transient feeling of having been interested and little else. it doesn't name the probe, the photo in question, nor does it give historical context for the mission it was part of. the only substantial thing it says about the probe, that Voyager 1 is a "dying spacecraft", is so frustratingly oversimplified it may as well just be a lie.
so what's actually learned here, if you're someone who knows none of this history? that one time there was a thing and it did a thing? earth tiny from far away?? obviously it's just one image macro but i see this kind of thing making the rounds SO often, a screenshot with like two sentences on it explaining the image with as little descriptive text as possible. it's like there's a space-themed inspiration-posting rulebook that says you can't imply the existence of information not contained within the image. mention NASA? mention Voyager 1? mention Pale Blue Dot? nope! "a dying spacecraft" took "one last photograph", and here's a photoshopped version to make earth more visible.
and it might not even get to me nearly as much if this was any other space photo. i could accept that space stuff is complicated and this kind of fast-food image can only say so much if we were talking about Cassini or JWST's role in helping us find exoplanets. but this is Pale Blue Dot, the brainchild of arguably THE science communicator Carl Sagan! he wrote a book about Pale Blue Dot, he was on TV to announce the image personally! it's arguable that no astrophotograph exists whose context has been more digestibly packaged for laymen than Pale Blue Dot, which just makes it that much more egregious when someone doesn't go to the trouble.
so much of what i love about astronomy and studying the past & future of space travel is that everything you can learn is a doorway to learning more. you can't earnestly read about Voyager or Cassini or Venera or any other mission without finding some odd searchable detail and going "wait, what is that" and immediately falling down an hourslong rabbit hole to find an answer. and you'll never reach the bottom! i love reading articles about cutting edge astrophysics written for people in, like, early grad school, because i fully comprehend maybe 10% of it, vaguely understand 20% (on a good day), can kind of wrap my head around 30%, and find the rest totally inscrutable... but that's still a solid 60% scrutability rating even at the lowest-quality end of the spectrum! i'm no expert and i never will be, but in scouring the written expertise of others i almost always find one or two ideas that end up sticking with me forever. and it starts, every time, from questions about a photograph.
the sin of the above image is that it's solipsistic. it doesn't give you anywhere to put your curiosity or interest, doesn't invite you to leave their website and learn more than they have space to share, it doesn't even tell you anything useful about its subject! it reduces the entire history of Pale Blue Dot down to a vague and nondescript wonder that's just a pale imitation of the highly specific and ideologically driven wonder that Carl Sagan wanted us to feel.
here, feel it for yourself:
----
[P.S.: before you lament that this is an "AI" problem, while yes "AI" has radically increased the volume of low-value (often negative-value) inspiration bait like this, know that this has been a problem in online science education for a LOT longer than chatgpt's been around. this example isn't extraordinary, just close to my heart. nothing new under the sun and all that]
lmao someone else got their knocks in on this post before i could finish writing mine. clearly we are hand in hand re: Talk About How Cool Voyager 1 Is You Fucks
💬 0 🔁 109 ❤️ 245 · Okay, I need to add some clarification and correction to this. This photo is known as The Pale Blue Dot. It was take
golden record.com to explore the contents.
If at least one thing from the record didn’t make you cry, you’re a dirty liar.
And if you're wondering where Voyager 1 is right now:
Note that the orbits of the inner planets are barely even visible inside Jupiter's orbit. That's how far Voyager 1 has gone.
It's really fucking far.
You can see Voyager 1's live location, as well as that of Voyager 2, here on NASA's site.
They're the only spacecraft to travel beyond the heliosphere, the "protective bubble of particles and magnetic fields generated by the Sun. Voyager 1 reached the interstellar boundary in 2012, while Voyager 2 (traveling slower and in a different direction than its twin) reached it in 2018." [NASA]
Carved ripples on granite. Shen Lieyi.

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silly sturgeon concept -> plush ! 🤎
get the plush HERE
All fantasy authors wish they had a bigger bathtub in their house. You can tell by every bathing scene ever written into a fantasy novel
Twilight by Artem Chebokha on Instagram
River puppies 🐊
[id: adorable art of cartoon crocodilians of various shapes and colors living their lives - sleeping, playing with butterflies and baby crocs, and mainly swimming.]/end id.

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"visual art should be totally comprehensible just by sight, it should not require an explanation" is ultimately an argument in favor of cultural hegemony.
like, you know who this is. you don't need an explanation as to who this is and what he's doing. And why is that?
any image could easily explain itself to a viewer, and any image could require an external explanation; it's entirely dependent on what the viewer's background knowledge is, it's not a property of the image at all - and "what can a person be assumed to know" is inescapably a cultural, political question.
If you want visual art that's totally comprehensible just by sight, then go read a fucking comic book.
Comic books are very contextual; we know that a cloudy-shaped text bubble represents thoughts, and a round text bubble represents spoken words. we know that non-letter symbols in the place of a word represent a character saying a swear the publisher isn't allowed to print. We know what panels are and what order to read them in. We know what a superhero is. we know about genre conventions like themed supervillains, superhero costumes, and secret identities. None of these things are explained by the comic book; they are assumed to be background knowledge the reader already has. 250 years in the future, any or all of these things might need to be explained to a casual viewer by an art historian. Even in the present, someone from a different cultural context might also need an explanation; think about the little "here's what order to read this in" tutorials that were included in english manga volumes when manga was first getting popular in the U.S.; the same image required an explanation in the U.S., but did not require an explanation in Japan. That's my main point with this post: when we ask "does this image need an explanation?" that's not a quality of the image itself, it depends on the viewer.
The question of whether art should explain itself gets employed in the art world in a number of ways; some people will say art should be immediately comprehensible to the viewer as an argument categorically for figurative art and against abstract art. others will say art that is immediately comprehensible is low and commercial compared to more esoteric and conceptual art. Because comprehensibility is contextual, I think all these attempts at hierarchicalizing art based on its comprehensibility are wrong.
TLDR; Yes, I'm defending hard-to-understand art from people who insist that everything should be straightforward, but I'm also defending straightforward art from those who think it's crass and lowbrow; comprehensibility can't have any bearing on an image's artistic value, because, again, it's not a quality of the image itself, it depends on the viewer.
Truncated text of tweet from MrPitBull, Mar 11, 2026:
She kept finding women in laboratory photographs from the 1800s. Then she read the published papers—and every single woman had vanished. Someone had erased them from history.
Yale University, 1969.
Margaret Rossiter was a graduate student studying the history of science. She was one of very few women in her program.
Every Friday afternoon, students and faculty gathered for beers and informal conversation. One week, Margaret asked a simple question: "Were there ever any women scientists?"
The faculty answered firmly: No.
Someone mentioned Marie Curie. The group dismissed it—her husband Pierre really deserved the credit.
Margaret didn't argue. But she also didn't believe them.
So she started looking.
She found a reference book called "American Men of Science"—essentially a Who's Who of scientific achievement. Despite the title, she was shocked to discover it contained entries about women. Botanists trained at Wellesley. Geologists from Vermont.
There were names. There were credentials. There were careers.
The professors had been wrong.
But Margaret's discovery was just the beginning. Because as she dug deeper into archives across the country, she found something far more disturbing.
Photograph after photograph showed women standing at laboratory benches, working with equipment, listed on research teams.
But when she read the published papers, the award citations, the official histories—those same women had disappeared. Their names were missing. Their contributions erased.
It wasn't random. It was systematic.
Women who designed experiments watched male colleagues publish results without giving them credit. Women whose discoveries were assigned to supervisors. Women listed in acknowledgments instead of as authors. Women passed over for awards that went to male collaborators who contributed far less.
Margaret realized she was witnessing a pattern that stretched across centuries.
Women had always been present in science. The record had simply pushed them aside.
She needed a name for what she was documenting.
In the early 1990s, she found it in the work of Matilda Joslyn Gage—a 19th-century suffragist who had written about this exact phenomenon in 1870.
In 1993, Margaret published a paper formally naming it: The Matilda Effect.
The term captured something that had been hidden in plain sight for generations. Once you knew the term, you saw it everywhere.
Her dissertation became a lifelong mission.
For more than 30 years, Margaret researched and wrote her landmark three-volume series: Women Scientists in America. She examined letters, institutional policies, individual careers. She gathered undeniable evidence that women in science had been consistently under-credited and structurally excluded.
Her work faced resistance. Many dismissed women's history as political rather than academic. Others insisted she was exaggerating.
Margaret didn't argue emotionally. She presented data. Documented cases. Patterns repeated across decades and institutions.
Eventually, the evidence became undeniable.
Her research helped restore recognition to scientists who had been erased:
Rosalind Franklin, whose X-ray work revealed DNA's structure—credit went to Watson and Crick.
Lise Meitner, who explained nuclear fission—omitted from the Nobel Prize.
Nettie Stevens, who discovered sex chromosomes—received little credit.
Cecilia Payne-Gaposchkin, who discovered stars are made of hydrogen—initially dismissed.
And countless others whose names had nearly vanished.
Margaret changed the narrative. Science was no longer just the story of solitary male geniuses. It became a story of collaboration that included women who had been written out.
The Matilda Effect became standard terminology. Scholars used it to examine how credit is assigned, how authors are listed, who receives awards, who gets left out.
Discworld book where the auditors hear about the phrase "it's not over till the fat lady sings" and hire someone to kidnap all the fat ladies in the world to find the One who will end the world when she sings.
Lady Sybil Vimes is one of the ladies, so Sam Vimes is on the warpath until he can find her, while the watch desperately try to keep all infrastructure from falling apart without all the fat ladies who keep it together on a daily basis
It ends when Sybil leads a hoard of fat ladies into battle, which ends up being so glorious an unrelated time traveler who witnesses it goes back to his native time starts the myth of the Valkyries
Tags by @mypunkpansexualtwin:
#nanny ogg is removed from the running because she won't STOP singing bawdy songs and the world has not yet ended. much to their frustration. #she's here now. they cannot put her back because witches are like that. she's having a grand old time with all these other fat ladies #and she will leave when she is bloody well ready. until then it's another round and another verse about wizards' staves
So, I lurk in some writer subreddits, and a frequent topic of discussion is prose: what constitutes good prose, how do you write it, how do you improve it, etc. And yesterday I stumbled across one topic about the difference between good descriptive prose, and purple prose. OP asks people to share some of their favourite authors who they think write beautiful prose without tipping into purple. No problem; people are happy to oblige.
One person says that Steinbeck is one of their favourite authors for prose, and then they share an example of what they would consider purple prose. It is so violetly awful that I think the poster must have written it themselves as a kind of parody of purple prose. Other people assumed the same.
But as it turns out, they are quoting from a book written by a YouTuber whose channel ia dedicated to talking about writing (namely, their own writing, which is genius, but often not comprehensible to the drooling plebs).
Naturally, I read the free sample of their book in awe and horror, and I'd like to share some screenshots with you. If you also have trouble defining or understanding what purple prose is, it's this.
Yes, every single fucking page is written like this.
Reading some more of the preview for this book, and I realise this is by far not the biggest problem, but I'm begging this guy to just use 'shadow' instead of 'umbra'. I promise I will not accuse you of being a philistine.
'Noctilucent orbs'. Even fanfic written by a 14-year-old wouldn't dare.
The author is a man in his 30s, btw.
*throws this in the face of everyone who has ever accused me of writing purple prose*
I thought the Amelia Peabody series was purple. I owe the author an apology. Uffda
I lost it at the pulsating nose, then again at the contracting cheekbones
I usually don't agree with 90% of what people call "purple prose" because the phrase gets bandied around a liiiiittle too enthusiastically sometimes, I think. But this? Buddy, if you crushed this up, you could use it to recreate Tyrian purple
Albert Dubout - A Cat

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This is a nice sign to look at. 10/10 for composition.
he looks so confident
don’t give me ideas
some design concepts
minor arcana concepts
Yes, the aces are zeros. Deal with it.
I'm nearly done with the first draft-- I just have to figure out what the face cards should be for the swords
I think I should write a guidebook to go along with it.
I know nothing about tarot, so it'll just be giving the names of the symbols, giving explanations of what the symbols literally mean, and giving examples of symbolism-rich objects/substances they could apply to
YOU CAN NOW PURCHASE THE PRINTABLE PDF ON ITCH.IO!
WARNING! These cards are dangerously cool!
No guidebook yet, but hopefully I'll get around to it.
Please make me aware of any errors you encounter while printing so that I can fix them!