FilmCow, creators of such classics as “Charlie the Unicorn” present the story of a depressed whale and the fish who tries to help him. What ensues is a vicious cycle of victimization and one-upmanship; a harrowing look at the nature of survival in the briny depths of our oceans.

via The Daily What

In the past two months, seven clips have appeared on YouTube under a mysterious account titled iamamiwhoami. Two days ago, the first full-length music video appeared – and many are claiming that, based on a few clues in the video, the identity of the author (widely rumored to be Goldfrapp, Trent Reznor, Lykke Li, Lady Gaga, The Knife and, seriously, Christina Aguilera) has finally been uncovered. But first, a bit of background by Leila Brillson to underscore the sheer amount of gematrical/Fortean weirdness packed into this haunting viral endeavor:

In December, a 55-second clip of a hyper-saturated, eerie (Scandinavian?) forest appeared on YouTube. No information was given, just the title “Prelude 699130082.451322-5.4.21.3.1.20.9.15.14.1.12.” The set of numbers following the dash, when matched to their alphabetical correspondents, spell “Educational.”

A few weeks later, a second video emerged, with a dirt-covered blonde girl seductively licking trees to a slow, driving electronic beat – the message this time, “Its Me.” Each video ended with the outline of an animal: a goat and an owl, respectively. The next video, accompanied by a funkier and more cheerful song, featured the painted girl again, up-close, with freakishly large eyes… this time, it spelled “Mandragora.”

The next video (“Officinarum”) increased the count to five (the featured animals, at that point, comprised of a goat, owl, whale, bee and llama). Then, on Friday, [James Montgomery, a music editor] received a package from a messenger service. “It was a thin, brown envelope with my name and floor typed on the front, and no return address.” Inside was a strand of hair from the blonde wig, some bits of wood, and what Montgomery calls a codex.

The project is not without a sense of humor. Each of the videos has a hyperlink in its description to another random but zoologically relevant YouTube clip -  Spit On by a Lllama, Screaming Monkeys, Bumble Bee on a Sunflower, to name a few. The new music video, which you can see below, links to this terrifying monstrosity.

So, yes! Now that the new music video has been posted, people have been started putting together the pieces. The most compelling evidence is here – while it does take a bit of magic out of the whole thing, it’s an impressive piece of internet sleuthing.

Yep, she’s a weird one. Please, please let it be her, and not some overproduced pop star. I mean, look at what she did to Nitzer Ebb. Jonna, if this is you, you have arrived!

“Botanica” by Richard A. Kirk.

The artwork of Richard A. Kirk is delicate, dense, mysterious, formidable. Rendered in ink, graphite and silverpoint, his most successful pieces conjure echoes of everyone from Rackham and Froud to Yerka and Barlow and Beksinski; everything from the The Garden of Earthly Delights to The Fairy Feller’s Master Stroke to Haeckel’s monographs; yet the overall aesthetic is very much its own thing, and still evolving.

“Chimera” by Richard A. Kirk.

Kirk’s done illustration work for China Mieville and Clive Barker, and shares Strychnin representation with Coilhouse faves like Madeline von Foerster, Chet Zar and Natalie Shau. In other words, he is a badass. Keep an eye on him.

A few more pieces after the jump. Click their titles to see higher res versions. Also see previous Coilhouse coverage of:

• Amy Ross
• Kris Kuksi
• Harry Clarke
• Keith Thompson
• Zdzislaw Beksinski

In a earlier, simpler time I would describe Ron Pippin’s work as “steampunk” for featuring as it does, bits and baubles comprised of brass and glass, replete with olde looking labels. No! That is wrong. We don’t do that anymore.

That said, Pippin’s work is bad-ass, featuring as it does evil looking machinery bonded to animals, turning them into bizarre and beautiful biomechanoids; cyborg mammals found wandering through steel forests. His portfolio also happens to feature a fair number of complex and mysterious specimen boxes which one can never have too many of.

Nature is a cruel, twisted bitch; the overseer of a vast menagerie of strange and awful things. These creatures were put on this Earth to inhabit our nightmares. Witness then, the horrible distended jaws of the appropriately named Slingjaw Wrasse, filmed in excruciating slow motion so that one may fully appreciate the powerful thrust of this fish’s disgusting (or, perhaps, just lazy?) eating habits. Yes, for now they are feeding on insects, but it is only a matter of time (or a matter of a massive dose of radiation) before they develop a taste for the human brain. Evolution will take care of the rest, no doubt bestowing upon them appendages not unlike our own legs, allowing them to walk upon the land — looking every bit like a Hieronymus Bosch creation come to life — if only for long enough to crack open the soft, eggshell-like skull of a child and slurp out its contents like so much jelly. Mark my words: The time is nigh; best to wipe them out while they can only swim!

Well, not all of it. 1979’s Life on Earth, made by the BBC and narrated by the incomparable Sir David Attenborough was a defining moment in nature documentaries and propelling Attenborough to international success; allowing him to build a massive oeuvre, whose most recent offering was Planet Earth a series almost more well known as a way to show off one’s high-definition television than as a documentary. His upcoming series, simply entitled Life, is set to debut on Discovery in March. Like Planet Earth, however, which excised Attenborough’s voice-over, replacing him with Sigourney Weaver, Discovery has this time chosen to showcase the narrative talents of the insufferable Oprah Winfrey. As Americans we are, apparently, incapable of bearing the horror of a British accent.

Back to Life on Earth. If anything, today’s FAM is merely an exercise in entertaining my own nostalgia. When my brother and I were children we watched this series to the point that the two VHS cassettes that comprised the official Time Warner offering were nearly useless, the stunning images smeared as they were with static and lines as the magnetic strips inside struggled to retain some semblance of visual fidelity. It is by now, I’m sure, a shadow of its former self. I can rest comfortably, however, knowing it gave us more hours of entertainment than should have been possible. In this case, it is lucky for me that one cannot wear out the internet.

Who wants to see the kawaii-est wide-eyed fuzzy meow-meows? If you said “yes,” venture quickly beyond the cut for some serious Investigative Journalism that I did for you all while I was in Japan. Yes, dear readers, I took time out of my precious vacation to conduct some intensive research into the fascinating phenomenon of Tokyo Cat Cafes. It was extremely taxing work, and I’m pleased to report the results of my findings: fat kitties, skinny kitties, airborne kitties, funnel-wearing kitties, and much, much more.

It’s known that holding or stroking a cat reduces blood pressure and improves one’s general state of mind. For Tokyo residents, the level of everyday stress faced by the average worker, coupled with the fact that most apartments forbid pets, has created a niche industry: a set of cafes where, for an hourly rate, one can bask in the blissful company of felines. Of these cafes, Calico is one of the most popular. An exclusive look, full of kitty shenanigans, after the jump!