#from blom

[arojenniferwalters]

Canon AroAces 262/?: Lilith Clawthorne (Cissy Jones) in The Owl House (2020-2023)

[tyresdeg]

tom blomqvist | indy 500 practice 2024

[indihome-suck]

konser tulusnya gimana bako? asik? seru? audionya oke? hehe

IT WAS INSANE!! I actually got pretty close to the stage in the end!!!! I must say he looks like a very nice guy in person!!!!!!

[ID: a photo of Tulus on a stage in front of a crowd holding a microphone stand. He's wearing a black shirt with wide blue grey checkered trousers. Behind him is his band. And at the back of the stage is a big screen displaying the lyrics of "Jatuh Suka," all caps colored orange. /End ID]

HERE'S THE GUY

[connect404]

Valentine drawings from BLOM 💕

(also check out the better scanned versions Bryan posted on his insta)

A little late but I need to keep this updated ~_~

[poisoneevy]

I've replayed season 2 of ATHWTU and I am really like... shocked by the amount of nothing that is going on in this story. Like it really is kind of an amalgamation of the author just going "isn't this spooky what's happening right now?!" and well, girl... what is it? What is the spooky thing that is happening? I'd love to know. We get no answers about literally anything, which means that most things that happen are just filler episodes, because there isn't really any progression to the story or the status quo from the perception of Lada. Also, I like Lada as an MC but even she herself keep telling us that she knows nothing and she's tried of it and it's like ya girl me too, the fuck.

Also it's so funny that in the entirety of this story people go into the haze and they die immediately, there's no hope, no way to make it out. But in these last episodes literally anyone can just wonder in and out. Dragan goes in alone and comes out like nothing happened. He went on a 5 minute adventure to kill that mermaid, which we don't find out how he did that cause why would we, right? We don't need to know any of that. I mean maybe the Haze didn't want that motherfucker, which I guess I understand.

Most things that happen to Lada happen when she falls asleep and then wakes up in a secondary location with no explanation... sure, why not!

Novak apparently spent majority of his life in the haze so he should have some answers, right? Well guess what? Amnesia!... sure.

When Novak and Volot come back from their little side quest in the haze, Novak asked where Venciena is... girl... you weren't there when she made her appearance. Did the author forget?

Also?!?!? Hannah spoke? Does anyone remember that? The girl was mute and then spoke up for the first time in her life and the author was just like whatever... let's not talk about that anymore. Like, girl... please. Not to spoil the author playing this bizzare peek-a-boo with us but I think it begs to be reminded that a cliff hanger is only interesting because you get to find out what's beyond the cliff in the next episode. And in ATHWTU the answer is always nothing. Nothing happens in the next episode.

I think what's happening is that like... the author maybe had an idea for a story that would span maybe two seasons or something, like 10-20 episodes max. But the format of RC stories is three seasons. Because of that this whole shebang is being stretched out and we get SO much filler and I think the overall quality of the experience really suffers from this, because why has it been 19 episodes already and we don't have an answer to a single question that's been asked throughout this story. We have no leads, girl! The MC did not acquire any new skills. She just got a boyfriend or a girlfriend. Girl, hello? Our sister is dead, can we get PA Blom and the Copenhagen Police on the case maybe?

[piningpercussionist]

Thinking about this little note constantly.

(Art is Bryan's, featured in the color edition of book 5!)

[harloqui]

What I've Been Saying!

I know there was discourse a while back about p-shifters and "why don't they call themselves delusional" and "is the idea of p-shifting itself harmful" and the like. A new paper came out by Dr. Jan Dirk Blom (a clinical lycanthropy expert, he's talked about otherkin before) about clinical therianthropy and a comparison to non-clinical therianthropic and otherkin groups. What he's saying seems fairly relevant to the current discourse:

"Misdiagnosis of clinical therianthropy can also be made in terms of overpathologizing certain individuals who report strong identification with animals. In order to avoid this possibility, certain terms and group memberships will be discussed. However, in reviewing the professional and online literatures, there seems to be an unavoidable degree of fuzziness or overlap in current definitions (Plante et al., 2016) and, at least at present, a definitive definitional guide seems lacking."

"Another relevant group, already alluded to, is called therians. Therians overlap with furries to a degree, but the identification of these people with animals (or rather as animals) seems to be far stronger. This could range from a strong perceived connection to their fursona to a firmly held conviction that they are less than 100 % human or would even prefer not to be human (Grivell, 2014). Reviewing the literature, people may identify themselves as therians on psychological, behavioral, spiritual, metaphorical, or existential grounds (Scribner, 2012)."

"We would argue that misdiagnoses can be avoided by focusing on i) the nature of the animal identification, ii) the presence or absence of a belief in actual transformation, iii) one’s overall level of reality-testing, and iv) the presence of clinically significant distress and impairment."

"The notion of zoomorphism has such a long and impressive track record in the history of humankind that it is probably safe to say that it has always been around. It has been part and parcel of many cultures, and individuals may have felt attracted to the belief that human-to-animal transformations are possible under the influence of psychological, social, religious, philosophical, chemical, and cultural influences."

"That the number of published cases of clinical therianthropy is so modest is probably due to underdiagnosis, but it may also indicate that zoomorphism in its numerous different forms is a harmless trait that only leads to excesses in relatively rare cases where people feel misunderstood, become socially isolated, and start showing grossly erratic behavior."

"First, and consistent with prior reports, clinical therianthropy rarely occurs on its own, but far more frequently in the context of other serious psychiatric or somatic conditions and occasionally intoxications. It may therefore be a useful additional diagnosis or diagnostic qualifier with no assumption of it becoming a ‘standalone’ diagnosis. Second, we advise against applying this additional diagnosis or qualifier to nonclinical cases (i.e., to situations where people fulfill one or more criteria of zoomorphism in the absence of clinically significant distress or impairment in social, occupational, or other important areas of functioning). We thus hope to prevent a spurious epidemic of nonclinical or ‘minor’ cases of therianthropy, as well as to protect people who enjoy their perceived non-human animal characteristics - or perhaps simply tolerate them - from seeing their ideas and sensations being pathologized."

(bolding mine)

He also went into some interesting questions regarding clinical therianthropy (like if a person claims to turn into a mythical creature, are they still a clinical therianthrope? Probably not) as well as the -anthrope names for some common and uncommon animal transformations.

[catwallace]

colored duos from blom's instagram 🥺🥺🥺🥺🥺

[samsbrowncarhartt]

Art (that, in my head, is about Supernatural)

Witness - Ben McLaughlin (2012) oil on card laid on panel // Unknown work - Gérard DuBois // Unknown Artist // Wind from the Sea - Andrew Wyeth (1947) tempera on hardboard // Unknown Artist // Makten - Kenneth Blom (2002) oil on canvas // Melancholy - Ivan Pokidyshev (2023) acrylic on canvas // Twilight - Riona Buthello (2022) oil on canvas // At This Hour - Losel Yauch (2024) acrylic on wood // Psychic - Kim Cogan (2022) oil on panel

[swetblom]

𝓫log 𝓬ontains ⊹ +18 content including visual reblogs, viewer discretion is advised! ⁺　　 　﹒ 𖥔

✶ :¨ ·.· ¨: BLOM, blu‧m twenties ୨୧ black ๑ she ╱ her

bunny in flesh, blood lace-lined ＆ made from his heart 𓂃 homelander’s pretty assistant, owner of one too many squishmallows, brian’s forever sweetheart, admiration for anything horror n the moon, in dexter morgan’s bed.

⠀ 𝓷avigation ₊ . ⣠⣤⣤⣴⡿⠛⣷⡀⠀⠀⠀⠀ ݁ ⠀ guide list ⣿⡇⠀⠙⠀⢀⣿⠇⠀⠀⠀⠀⠀⠀⠀ ⠀ anons recent ⊹ ⠈⡿⣦⣀⣠⡿⡏⠀⠀ ˚ ⠀⠀⠀ ⠀ inbox is open ⠇⢹⡏⠇ ﹒

© 2025 swetblom. do not copy or imitate my work in any way or use my themes at all!

[project-sekai-facts]

I have a theory of fragment SEKAI's and card sets: Card sets happen at a fragment SEKAI.

1 - We learn from the first miku colorfes and from the SEKAI Cherry event that Fragment SEKAI's are like glowing orbs/crystals and that they appear by very strong feelings/memories

just like the gacha ones 2 - In Journey to Blom "HOPE" we get an animated version of Haruka's transformation, which in the game was represented by showing a cut-scene with a trained card, there by we learn that SEKAI can change someones clothing and hairstyle (for show purposes ig) like in the live aftershow

3 - Again from Miku ColorFes and SEKAI Cherry event, we discover a special SEKAI, connected to everyother SEKAI. Anyone from various SEKAI'S can access it via a Fragment by touching it

not to say that the orbs in miku's card look like the gacha orbs So it could be possible that after an event story takes place, the characters, when in SEKAI (after the aftershow maybe), could find that fragment and enter it. This is possible for same unit (VBS Len and MEIKO in Cherry event) or diferent ones. 4 - Another evidence could be the fact that this theory explains sets being in related places and card cameos, Trained card cameos, such as:

Had this in my mind for a long time

Is it a plausible theory?

Oooh yeah i've had this idea for a couple years actually!! while i don't think they're canon, i think they're meant to be fragment sekai. actually i'm assuming this is where the idea of fragment sekai even comes from, since omoi no kakera the in-game wish piece resource came about a little while before omoi no kakera the in-story fragment of feelings (i'm not entirely sure how long the gap between wish pieces being implemented and kanade/mafuyu fes stories being written is, probably a few months to a year). i wonder if they looked at the cards and were like "what if we wrote a story about that".

the artists always talk about how the cards represent what the characters are feeling, and you picked out some good examples. imo they're like fragment sekai that only the player character (that i constantly forget exists) can see, we get to see a little bit about how the characters feel during certain scenarios.

[percervall]

it's me again!! what about alsoooo

slipping through my fingers all the time + one of the kids do something they shouldn't have done and the parentals need to deal with it?? it's totally up to your imagination but will they be angry? sad? disappointed?? THE POSSIBILITIES ARE ENDLESS!😭🩷

Summary: You never outgrow getting scolded by Mum

Driver: Mark Webber

Warnings: none

Word count: 988

A/N: This was so much fun to write, thanks for requesting it! Did change it a little bit tho

“This is stupid,” Agnes huffs. Kevin chuckles and kisses her hair. 

“Sometimes life isn’t fair, min lille bloms,” he says, which only leads to Agnes glaring at him. 

“I’m a good driver,” she pouts, “Wouldn’t have made it to the European Championship if I wasn’t.” 

You can’t help but shake your head at your daughter’s logic, “Karts and road cars are two different things and while yes, you have your French driving license, it does not apply to Australia,” you say, watching her open her mouth to protest before snapping it shut.

“Like I said. Stupid,” Agnes says and puts her headphones on as everyone else gets into the rental car. 

“I should apologise to my parents I think,” Kevin muses as Mark pulls away from the airport and drives to his sister’s farm in Queanbeyan.

“I feel ya, mate,” Mark says, chuckling. The drive to Leanne’s place doesn’t take long and Luke helps his uncle and fathers bring the suitcases inside once they get there. Agnes is still in a foul mood and flops down on one of the porch chairs outside. You sigh as you take in your teenage daughter. Mark gives your shoulder a squeeze.

“Leanne’s said she needs help moving some fences to the back field. It’s private property so our little spark plug can drive the ute,” he says. Leaning into his touch you nod.

“Thanks babe.” 

He kisses the top of your head before heading inside. You walk over to Agnes and sit down next to her, which makes her tug her headphones down.

“Your Auntie Leanne said you can drive on this property, but only if you can help her move materials. Dad will come with and that is non-negotiable,” you say gently. Agnes hugs you and mumbles a ‘thanks mum’ against your clavicle. 

—

The next morning Mark takes Agnes to tick off a few things off of his sister’s to do list.

“I know what you racing drivers are like,” Leanne says, “Bring yourself back in one piece, please. And the car, too.” 

“Yes Auntie,” Agnes says while tying her hair back so she can fit her ponytail through one of Lewis’ old Mercedes caps. Leanne throws Mark a look.

“I haven’t done anything stupid for a while, give me some credit,” Mark scoffs, much to Agnes’ amusement. Mark takes the keys from the kitchen table and leads his eldest daughter outside before tossing them to her.

“Remember, it’s a ute, -a pick up-, and nothing like your Mini,” Mark says as he gets in the passenger seat. 

“Yeah, yeah, big scary truck,” Agnes says, rolling her eyes as she moves the seat forward. Keeping her foot on the clutch, she starts it in one go, giving the old Toyota a cheeky rev. 

“Alright then, Miss Know-it-all, do you know where we’re going?” Mark asks, buckling his seatbelt. 

“Auntie said something about grabbing the poles from the new field and then driving them to the back one,” Agnes replies. Mark nods.

“The poles are just down this dirt path, nice and slow on the gas please,” he says, ignoring how she rolls her eyes again. 

The two of them make quick work of loading the material into the back of the truck before making it down to the edge of the property and dropping it off at the entrance to the field. 

“Wanna do something fun?” Mark asks Agnes as they get back in the car. Agnes turns to look at him with her signature grin.

“Does it involve me going fast?” 

Mark laughs, “Only if you promise not to tell your Auntie and Gran.” 

“Deal,” Agnes says, all but bouncing in the driver’s seat. 

“Right then, you want to be an F1 driver one day, yeah?” he says. 

“Yeah, obviously,” she retorts and again Mark ignores the eyeroll.

“Important skill to have is how to do a doughnut. Ever done one?” 

Agnes shakes her head. 

“Okay, drive to roughly the middle of this field and then steer to the right a little before giving it full left lock,” he explains. Agnes follows his instructions, the tip of her tongue sticking out in concentration. It takes her a few goes before she manages to get the car to do what she wants to do.

“Yeah!” Mark grins, “Great job, petal!” 

Agnes laughs as she brings the car to a stop, “That was so much fun!” 

Mark smiles at her but it falls when he smells fire. “Move the car forward Agnes, quick,” he says before jumping out when she brakes. Agnes follows him and helps him stamp out the tiny little fire that sparked up on the dry grass. The two of them look at each other before laughing.

“Do not tell your Aunt nor your Gran,” Mark says sternly as he tries to hold back laughter. Agnes giggles but nods. 

Their giddiness is short lived when they spot Grandma Webber on the porch as Agnes pulls the car up to the barn.

“Uh oh,” she whispers. Mark sighs and gets out of the car. The two of them walk up to the house and Agnes quickly yanks off her cap, knowing how much Gran hated it when she wore them inside. 

“Mark Alan Webber,” Gran says while leaning heavily on her cane. Mark flinches at the full name, despite the fact he’s well past 60 at this point.

“Yes, Mum?” 

“Tell me, why did I just get off the phone with Paul about one of Leanne’s fields being on fire?” 

Mark drops his head, “Sorry, Mum. Won’t happen again.” 

Gran narrows her eyes at her son.

“Don’t teach my darling granddaughter your school boy tricks,” she says before disappearing back into the house. 

“Gran’s got the same scary eyes Mum has,” Agnes whispers. Mark nods.

“It’s a mother thing, maybe one day you will have them too, sweet pea. Come, let’s get cleaned up before your mother finds out.” 

[blueiscoool]

Jade Mosaic Mask Discovered in Maya King's Royal Tomb

Revealing rare treasures and royal lineage.

A Tulane University archaeologist has recently discovered an ancient Maya tomb dating back 1,700 years at the site of Chochkitam in Guatemala near the borders of Mexico and Belize.

The tomb’s remarkable funeral offerings, such as a mosaic jade mask, rare mollusk shells, and writings carved in human femur bones, provide valuable insights into Maya civilization. The discovery includes depictions of a previously unknown king believed to be holding a jade mask similar to the one found in the tomb.

Hieroglyphs on the artifact are thought to connect the ruler to the Maya states of Tikal and Teotihuacan, providing historical and genealogical information.

This discovery is like winning the lottery in terms of information. It opens a window into an obscure time we have little texts about. The newly discovered tomb from the Maya classic period, dating from 250-900 AD, is a significant find given the limited remnants from this era, primarily affected by looting.

The tomb, located just 2 meters away from where looters had previously stopped, is remarkably well-preserved, with minimal damage aside from the natural decay and the collapse of the stone ceiling. This fortunate preservation provides archaeologists with a rare opportunity to explore the rich history and offerings within the tomb.

Estrada-Belli, a research assistant professor in the Tulane University School of Liberal Arts, said, “That was the first amazing thing about it. It was fortunate.”

Lidar technology played a crucial role in the tomb’s discovery by enabling archaeologists to detect looters’ tunnels and map the jungle floor precisely. This advanced technology, akin to ‘taking x-rays of the jungle floor,’ revolutionizes archaeological exploration, allowing researchers to navigate more efficiently through dense vegetation.

The tomb’s contents, including over 16 rare spondylus shells, provide valuable insights into ancient Maya practices, emphasizing their significance in royal contexts as symbols of wealth and elements used in religious and sacrificial ceremonies.

The relics from the tomb, dating back to 350 CE, establish a historical link between Tikal and the central Mexican site of Teotihuacan. This connection sheds light on the cultural exchanges and influences between Maya rulers and the wider Mesoamerican region during the Maya classic period.

The tomb’s contents, including a mosaic jade mask and hieroglyphs carved on human femur bones, offer insights into religious practices and royal lineage, enriching our understanding of ancient Maya civilization. The discovery at Chochkitam, after a century since Fran Blom’s initial exploration, underscores the significance of continued archaeological efforts.

Estrada-Belli said the next stage in his work at the site will be to conduct DNA testing on the bones and maybe uncover additional essential contents buried within the abandoned pyramid.

By Amit Malewar.

[uwmspeccoll]

Typography Tuesday

QUNZ - Lego Typeface

Since 2016, Dutch printmaker and educator Martijn van der Blom (b. 1973) has been working on designing a Lego typeface he calls QUNZ. He states:

I approach letters as a form of architecture, each letter is like a building. . . . I decided to give QUNZ a more open and playful character, This created space to fine creative solutions to thick and thin lines, diagonals and serifs.

Van der Blom designs while printing and most of his visual research happens in the printing process. He explicitly leaves room to design with the opportunities that present themselves in the act of printing. One result of this way of working is that certain compositions are not taken apart. Elements that have proven themselves are preserved:

I don't break down the compositions anymore. I leave them intact and store them in a dedicated typecase, just like all the other type in the studio.

The letterforms shown here from the second edition of Print & Play The Art of LEGO Letterpress by van der Blom and visual artist Roy Scholten, published in Dutch and English in Hilversum, Netherlands at tacit.studio in a limited edition 250 copies in 2024. Martijn van der Blom and Roy Scholten have been working with LEGO bricks as printmaking material in Grafisch Atelier Hilversum (a printmaking studio in Hilversum, The Netherlands) since 2013. 

View another post from Print & Play.

View our other Typography Tuesday posts.

[connect404]

Merry Christmas Eve !!

Here's the newest drawings from BLOM's new stream !!

[piningpercussionist]

HI i dont think we’re mutuals or anything but i love kimlisa slash lisim and i remembered you do as well anf i finally saw clear versions of this drawing So i wanted to share incase you had not seen them!!!! HEART i love these girls so much ….. never not thinkinf about kimlisa

I didn't see this before the queued post left on account of Sleeping but- YEAH!!!

I adore these. I've been eager to see this work finished since it was first teased by Bryan a while back- DESPERATELY wish I had any real chance of getting either version. But alas.... I am poor.... (and haven't been to a convention since, like. The 2018 Mechacon, rip 😔)

Anyway. Lisim.... Lisim my beloved.... you are Real and Canon To Me.... (at least as a one sided thing 💔)