When one of the most senior disease detectives in the U.S. begins talking about “plague,” knowing how emotive that word can be, and another suggests calling out the military, it is time to start paying attention.

MORE: The Mathematics of Ebola Trigger Stark Warnings: Act Now or Regret It


It’s as disturbing as it sounds.

The new arcade game Sailor Zombie is another iteration of the ubiquitous transmedia empire known as AKB48, a group of 48 young women singing pop songs in schoolgirl outfits. Its members are ubiquitous in Japanese advertising, appear on television programs every day of the week, and star in their own videogames. AKB48 games traditionally have been dating simulators marketed toward male fans or music games aimed at children, but Sailor Zombie is a shooter in which the girls are your targets.

MORESailor Zombie Lets You Shoot Undead Japanese Pop Stars


Chief by Franz Kline. 1950. Oil on canvas.

As a reaction to the increasing speed or mobility and mankind, Franz Kline was interested in depicting landscapes as they are seen from a fast moving vehicle. More so than the appearance of these passing landscapes, he sought to evoke the emotion felt when confronting them. His style was aggressive and he avoided the use of color. Though he had very little contact with the New York School, he studied under Hofmann for a while. The “push and pull” Hofmann referred to is created by the negative space in Kline’s painting. 

On Cheif (taken from The Museum of Modern Art):

"Chief" was the name of a locomotive Kline remembered from his childhood, when he had loved the railway. Many viewers see machinery in Kline’s images, and there are lines in Chiefthat imply speed and power as they rush off the edge of the canvas, swelling tautly as they go. But Kline claimed to paint “not what I see but the feelings aroused in me by that looking,” and Chief is abstract, an uneven framework of horizontals and verticals broken by loops and curves. The cipherlike quality of Kline’s con-figurations, and his use of black and white, have provoked comparisons with Japanese calligraphy, but Kline did not see himself as painting black signs on a white ground; “I paint the white as well as the black,” he said, “and the white is just as important.”

Currently located in the Museum of Modern Art, New York City.


A hand-drawn path to inner peace!

Your Illustrated Guide to Becoming One with the Universe will set you free on a visual journey of self-discovery. Set against a surreal backdrop of intricate ink illustrations, you will find nine metaphysical lessons with dreamlike instructions that require you to open your heart to unexplored inner landscapes. From setting fire to your anxieties to sharing a cup of tea with your inner demons, you will learn how to let go and truly connect with the world around you.

Whether you need a little inspiration or a completely new life direction, Your Illustrated Guide to Becoming One with the Universe provides you with the necessary push to find your true path—and a whimsical adventure to enjoy on the way there.

Out in bookstores on October 3, 2014 by Adams Media. 

Available for pre-order online. 


Check EVENTS page for book tour dates, starting October 1, 2014. 

Quote IconIt is a nostalgic time right now, and photographs actively promote nostalgia. Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos. An ugly or grotesque subject may be moving because it has been dignified by the attention of the photographer. A beautiful subject can be the object of rueful feelings, because it has aged or decayed or no longer exists. All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.
Susan Sontag, ‘In Plato’s Cave’, in On Photography (via funeral-wreaths)