Michael Fröhlich's Jowett Javelin rotting car in his forest sculpture park in Neandertal Germany, September 11, 2016. An eccentric artist has collected fifty vintage cars and left them to rot in a forest – and now they're worth over $1 million.

Oh, those daredevils! They’re always willing to pull off another incredible stunt to gain fame and glory. Sometimes it’s something incredibly stupid, but sometimes it is simply incredible. The stunt that you can see on this video is of the latter kind. Who would have thought of attaching a jet engine to a bicycle? And who would have dared riding one? Circuit Paul Ricard, that’s who. On November 7 2014 he reached a whooping speed of 333 hm/h (207 mph) on his bicycle. Now that is a tale to tell your grandchildren… if you ever live long enough to see them with a lifestyle such as this.

A vehicle lies on a road in Adairsville. (Photo by David Goldman/Associated Press)

For more than a century, the Barcelona skyline has been graced (or marred, depending on who’s talking) by the spectacle of the Basilica designed by Anton Gaudi, first started in 1882. If you want to know what it’ll look like when finished, don’t fret — 2026 is right around the corner. Or you can watch this video, released last week on YouTube by Basílica de la Sagrada Família and titled simply “2026 We Build Tomorrow,” a 3-D artists’ rendering of the building stages through completion.
(If 144 years sounds like a long time to finish a cathedral, keep in mind that there were decades that they didn’t work on it — and that Notre Dame de Paris took 182 years, although the 13th century Parisians didn’t have diesel-powered industrial cranes.) Now, if only the video could show us what the admission and hours will be in 2026 (and how to avoid the inevitable long lines).

Do tears of joy look the same as ones of woe—or ones from chopping onions? In “The Topography of Tears,” the Los Angeles-based photographer Rose-Lynn Fisher explores the physical terrain of one hundred tears emitted during a range of emotional states and physical reactions. Using a Zeiss microscope with an attached digital camera, she captures the composition of tears enclosed in glass slides, magnified between 10x and 40x. “There are many factors that determine the look of each tear image, including the viscosity of the tear, the chemistry of the weeper, the settings of the microscope, and the way I process the images afterwards,” she says.