David Lynch recently collaborated with Danger Mouse and Sparklehorse on a photographic installation at the Michael Kohn Gallery in Los Angeles. The album is amazing in its own right - I actually can't stop listening to it - but I love everything about this project! I love the wide-reaching collaboration involved, and despite this, how it still comes together seamlessly to create this beautifully haunting atmosphere. I love the idea of experiencing it through Lynch's eyes. I love how the use of photography makes you work to create the stories he has seen and the dreams he has had. I love how the use of photography seems strangely jarring despite the fact that it is simply an abstraction of the music video format. I love that it was presented as an installation in a gallery, propelling it into a space demanding greater engagement and creating this sense of displacement from how one typically consumes music. s'all lightweight baby. I haven't felt this enthusiastic about something in weeks.

A track-by-track breakdown from Spin Magazine:

"Revenge," feat. Flaming Lips / 4:54
About reaping revenge on an ex lover and the man she left him for. "In my mind I have shot you and stabbed you through your heart," Wayne Coyne sings over a keyboard-driven waltz with bells, throbbing bass, and xylophone. "I had all the means of bringing you fuckers down." And you thought he was a UFO-lovin' hippie.

"Just War," feat. Gruff Rhys of Super Furry Animals / 3:44
Relationships are a battle. "Goodbye, sleep tight," Rhys sings, bidding a lover adieu. "Just war / You said it wouldn't hurt / The last survivor crawling through the dirt." Whistling, slide banjo, and layers of intermittent noises, from a detuned radio-like static to samples of honking car horns, make this one of the album's weirdest cuts.

"Jaykub," feat. Jason Lytle / 3:53
Like the Beatles -- if they were bred in rural Nebraska and fed magic mushrooms. Alt-country acoustic guitar joins a Sgt. Pepper's-like piano showtune and angelic backing vocals as former Grandaddy singer/songwriter Jason Lytle details a man's dream of winning an award. "They all thought that you were dumb / But it's you up on the podium," Lytle sings.

"Little Girl," feat. the Strokes' Julian Casablancas / 4:33
With a surf-rock drum beat and a Chuck Berry-on-acid electric guitar lead, this track's like a 1950s sock-hop at Ed Wood's house. And the Strokes frontman has a hot and scandalous date. "You twisted little girl / Showing them what love is all about," he sings about a conniving lass who stole his heart. "Where did all the time go? / Everything is gone."

"Angel's Harp," feat. Frank Black / 2:56
Imagine the Pixies squealer fronting the Melvins. The religion- and love-themed lyrics are nothing new for Black -- but the slogging, uber-distorted electric guitars and skittering blips that sound like a disk drive from a 20-year-old computer certainly are. And they make him sound scarier than ever.

"Pain," feat. Iggy Pop / 2:52
"I'm a mix of god and monkey!" Pop spits in this chaotic punk tune with fuzzed-out guitars and charging, Stooges-like rhythms. "There are good people in this world of bums," he moans. "But sadly I am not one!" It's a song about pain -- and Pop's got plenty to sing about.

"Stars Eyes (I Can't Catch It)," feat. David Lynch / 3:11
The album's most transcendent, heart-wringing track is Lynch's lament on love lost. Fittingly, it's also the most filmic, custom made for a scene from one of his surrealist narratives. "I can't catch you… please, please comeback," he talk-sings as violins and oscillating whirs that sound like giant industrial fans prop him up. It's like Moby's Play filtered through a Monet painting.

"Everytime I'm With You," feat. Jason Lytle / 3:12
For Lytle, relationships and booze go hand in hand: "Every time I'm with you / I am drunk and you are, too / What the hell else are we supposed to do?" he whispers over a drowned-out piano melody. It's an plodding ode to intoxicated love -- and it leaves the listener feeling a little of both.

"Insane Lullaby," feat. the Shins' James Mercer / 3:10
The title couldn't be more fitting: this song's a lulling, blanket-snuggling Shins classic with Mercer's bright vocals -- covered in a wall of chaotic KMFDM-like industrial noises. "Dreams build up from the floor," he sings. "Life will never be enough!"

"Daddy's Gone," feat. Nina Persson and Mark Linkous / 3:08
The album's simplest song is also one of its best. This straightforward ballad finds Linkous -- in his only Soul vocal appearance -- dueting with the Cardigans singer about a child's vision of a hardworking father. The layers of melodies go down easy, as do its soothing one-liners: "Close your eyes, until your dreams arrive."

"The Man Who Played God," feat. Suzanne Vega / 3:10
This is the track to put Dark Night of the Soul on mom and pop's radar. It's another one of the album's few un-varnished guitar ballads -- and it's led by Vega's Feist-esque warble. There's a fun counting part, too. "1, 2, 3, you could be / The man who played god."

"Grim Augury," feat. Vic Chestnut / 2:32
This song's a spooky pre-feast ritual at the Adams Family residence. "We're cutting a baby out / With my grandmother's heirloom / An antler handle carving knife!" Athens, GA, songwriter Chestnut sings in a creepy cackle over samples of ringing clock bells and haunting keys. "We're sharing holiday dinner… and catfish were wriggling in blood and gore in the kitchen sink!"

"Dark Night of the Soul," feat. David Lynch / 4:39
Lynch has an uncanny ability to transport an audience. And Dark Night of the Soul's closing track is a perfect example, taking the listener to a dusty Prohibition-era speakeasy with its 1920s jazz piano, vibrato electric guitar, and repeated lyrics of "shadows of the dark night… dark night of the soul." It'll make the hairs on the back your neck stand on end.


Alan Sailer's high speed photography is beautiful and badass.

(literally) shooting a rose frozen in liquid nitrogen

From the Daily Mail:
An expert at high-speed photography, Mr Sailer takes the pictures in a dark room positioned around 20cm from the target. The camera, which features a unique home-made flash, is set at a one-second delay.

Mr Sailer, who describes the process as 'beyond dangerous, says: 'The special item is the flash. It is a home-built unit based on the design of Harold Edgerton*. The flash is about .5 microsecond in duration and runs at 17,000 volts. It is beyond dangerous, it's deadly.

'The flash is triggered when the pellet from a rifle travelling at about 200 metres per seconds passes through a laser beam. Its the same principle as those beams that set off a chime when you walk into a store,' he continues.

'The camera is set at one second and an f-stop of 9-13 depending on the reflectivity of the subject. The flash stops the action. The one second gives me time to click the camera shutter with one hand while I pull the trigger on the rifle with the other.'

'I have a delay circuit that I can use to time the flash, so that it goes off when the pellet hits the target. The explosion is the shock of the pellet hitting the target.'


Frozen strawberry



Christmas bulb


Spanish photographer Reclarkgable's Couples:


Fanning the Flames
 Left to Right:
A lascivious man; a licentious man; an incestuous man
Feigning disgust though secretly she loves it

Breaking News
 Left to Right:
Just got engaged and waiting for the right moment to brag
It's her birthday. Nobody remembered.
Spilt the birthday girl's dog's ashes and is wondering whether to tell her

Left to Right:
2010 or The Year I Decided to Become a Surfer Dude
Inexplicably and coquettishly flirting with my chair

The Many Faces of Dishevelledness
Borne from muted disgust, a naive contentment and general disapproval

The Tipping Point
Left to Right:
Distressed, she attempts to pick her nose with her shoulder
Seconds away from downing the beetle in his cider
Trying to hold the vom till the camera has moved on
Waiting for a taste


Molley Bosley's dioramas are stunning:
For as long as I can remember, I have been frequented by wildly vivid dreams. “Remember, Sebastian” is my series of work in which I finally address my subconscious by materializing it in form. I use pattern and repetitive imagery in my work to represent the recurring nature of dreams. Many of my dreams concern my fears and difficulties presented in forms whose intimacy contradicts their more ominous character. My sleeping life is such an integral part of myself that I am compelled to create art from the experiences I have in my dreamland.

While rooted in the familiar and comprised of tangible visions, dreams are more about feelings and notions–unspoken and unseen things. To create physical art which mirrors the discord between the substantial components of dreams and their abstract counterparts, I have found a medium which can create a visible landscape while remaining ambiguous in meaning. I manipulate blank, white paper into pieces that are detailed and intricate, yet simple and stark. In creating elaborate scenes with blank paper, I present an object which is tangible and familiar, yet the scene is only a silhouette of the actual affair. This leaves an entire world of hope and uncertainty. Just as in a dream, the possibilities of how things will unfold are limitless and this presents the potential for any amount of joyousness or treachery. My work is a tug of war between the immediately familiar and the infinitely imaginable.

Scherenschnitte, which means “scissor cuts” in German, is the art of papercutting design. Discovering this 500 year old tradition has opened up a universe of exploring the techniques and continuously learning to perfect the craft. This work emerged from ideas that have been steeping for years. I have, just now, in recent months discovered how to materialize them into artwork. I have seen them evolve and transform from the conventional use of paper to this elaborate new form of dissecting and altering. In my work, like the fairytales and story books of my childhood, an ominous presence lurks in the distance. Utilizing silhouette images of the commonplace and the eerie, I record glimpses into the narrative of a life lived in dreams. The intentions of these scenes are not necessarily revealed until one fully examines the hidden imagery. The landscape of my merged images is at once delicate and haunting.

We Know They Are Monsters

In Which She Revealed Her Characteristic Energy

A Lamb in Wolf's Clothing

A Pull at the Threads

A Wartime Loss

Pails and Bonnets


I love Brett Warren's vibrancy and sense of fun:

From Murder on Music Row:



Fig. 1.1. Three ducks on a lake.
Note: There is considerable debate surrounding the distinction between lakes and ponds, and no internationally accepted definition of either term currently exists.

Fig. 1. 2.  Extensive testing revealed that swans (a) preferred Freyas and/or (b) were unimpressed with Matthew's approach of flinging whole slices of Vogels at their feet

Fig. 1. 3. While the majority of scholars maintain that Dr Loverdale refused to acknowledge his (then forbidden) attraction to eels, recent theorists have proposed that he merely chose to keep it a private affair.

Fig. 1. 4. Cygnus atratus (not to be confused with Anguilliformes)