LAB 5

Color palettes of ten artists over ten years, Arthur Buxton

LAB 5 CONTENTS
2 John Franzen One Line, One Breath 6 Sam Winston Romeo & Juliet, Adapted 10 Armelle Caron Everything Tidy 14 Peter Crnokrak Everyone Ever in the World 18 Chris Harrison Digg Rings 20 Mahieu Lehanneur Age of the World 22 Iohanna Pani Form Follows Data 24 Cory Stevens Deconstructed, Reimagined 26 Fong Qi Wei Time is a Dimension 32 Harilaos Skourtis Deconstructed Dialogue 36 Juan Manuel Escalante Soundscapes 38 Mark Nystrom Wind Process 40 Julien Palast Skin Deep 44 Daniel Temkin Glitchometry 50 Phillip Stearns Glitch Textiles 58 Arthor Buxton Color Palettes 60 Contributors

60 PAGES
Front cover: Phillip Stearns. Back cover: Daniel Temkin. Copyrights to all images remain with original copyright holders. A free PDF version is available online: lab-zine.com

Each line one breath, John Franzen

Each line one breath titles a limited edition of 50freehand drawings, which focuses on an artistic and graphic interpretation of evolution through the use of simple drawn lines. The edition starts from the premise that the initiation of any drawing, its fundamental prerequisite a line coincides with the most basic and transcendental state of life, the perception of breathing. Franzen on his creative process: When I draw, I draw the void. Not the line. I focus on the nothingness around the line. It is a sort of meditation. My mind is clear. My focus is on the mere moment.There is only this one moment. Everything is still.Never thoughts are louder and feelings profounder than in this moment. My mind transcends into bare presence. Personality becomes formless and nameless.With each breath the emptiness is filled more and more.With every line I get closer to my origin. For this reason I draw its as if the universe vibrates on my skin and wakes up a powerful emotion inside my body. Its like Im listening to the inaudible sound of the energy in the universe which flows around and through me. This triggers a feeling of conjunction with incomparable originality. I disappear completely as a person or thing and I merge completely this bare energy to merge with the whole being.
Images and words: John Franzen

striving to use ever-simpler forms to reach people's inner selves and complex thoughts." (Kenya Hara)
(quote provided by John Franzen)

Text excerpt from Romeo & Juliet, Sam Winston

Collaged text from Romeo & Juliet, Sam Winston The work of Sam Winston is an exploration of semantics and an unpacking of symbols with which we have become too familiar. Shakespeares oft-copied work Romeo and Juliet is reduced to its component parts and then re-ordered into a visually stunning piece that effectively re-structures the communicative possibilities of typography. Winston has deconstructed the bards syntax and collected the disparate words under the three emotions: passion, rage, and solace. These collages create a new visual catalogue for the emotions expressed by the plays protagonists, displacing the linear narrative of literature for a chronology thats much more apt for our chaotic internet age. Whereby we seek out information thematically rather than conforming to a prescribed order.
Images and words: Sam Winston; text used with permission from This Is Art

Everything Tidy, Armelle Caron. (above: Berlin) Armelle Caron deconstructs and reconstructs urban city plans. In exhibition, her installed prints are accompanied by wooden cutouts of city blocks that can be organized by visitors.
Images: Armelle Caron, armellecaron.fr

Everything Tidy, Armelle Caron. (Instanbul)

Everything Tidy, Armelle Caron. (Paris)

Everything Tidy, Armelle Caron. (New York City)

Everyone Ever in the World, data visual, Peter Crnokrak Everyone Ever in the World is a visual representation of the number of people to have lived versus been killed in wars, massacres and genocide during the recorded history of humankind. The visualisation uses existing paper area and paper loss (die cut circle) to represent the concepts of life and death respectively. The total number of people to have lived was estimated through exponential regression calculations based on historical census data and known biological birth rates. This results in approximately 77.6 billion human beings to have ever lived during the recorded history of humankind and is represented in the poster as total paper area (650mm X 920mm). The total people killed in conflicts was collated from a number of historical source books and was summed for all conflicts approximately 969 million people killed, or ~1.25% of all the people to have ever lived (die cut area = 650mm X 920mm X 0.0125). The timescale encompasses 3200 BCE to 2009 CE a period of over 5 millennia, and 1100+ conflicts of recorded human history. The sequence of dots to the top left of the graph shows the dramatic increase in the number of conflicts over the past 5 millennia (left to right : 3000 BCE to 2000 CE) with the most recent 1000 years being the most violent. The large dot below the graph represents the 1000 years to come: a predicted startling increase in the frequency of human conflict. The graph exemplifies the value imparted to data with regard to the manner in which it is visualised: the culturally attuned perceptual differences in absolute versus proportionate values. The absolute value of 969 million people killed in wars, massacres and genocide is an astonishingly high number. But when presented as a proportion of the total number of people to have ever lived, it becomes quite low, 1.25%. Most statistical measures are expressed as a relative value (eg. standardized as a percentage) which is represented in the graph with the die cut circle. Death counts in humans is one of the few instances where absolute values are culturally accepted as appropriate likely due to the absolute value placed on human life. The relative simplicity and intuitive graphical approach of using a die cut area to represent total people killed, lends a direct poetry to the concept and affords the viewer an instantaneous assessment of the degree to which conflict has shaped human history. Printing in transparent ink allows for a visual assessment of die cut area as compared to paper area without interfering graphics. The graphic simplicity of the poster belies the necessary complexity of mathematical modeling of cumulative population size and the depth of research required to obtain death counts for all conflicts of recorded human history. However, it is the very same simplicity of representation that imparts a sombre and respectful tone to such a weighty subject matter. Everyone Ever in the World is as much focussed on the content of the data presented as it is an exercise in the use of unique materials and print processes to express a concept. All three editions of the project use different materials and printing to approach the concept of life contrasted with death in a manner which brings meaning and understanding to the data.

Love Will Tear Us Apart Again, Peter Crnokrak Love Will Tear Us Apart Again maps all known cover versions of the iconic 1979 song by Joy Division. Spanning the 33 years since the record was released, the graph shows the subsequent 168 cover versions arranged in clockwise chronological space. The original 10 song variants recorded by the band occupy the centre top portion of the graph and are radially flanked by the numerous covers. The central cluster is a comparative waveform analysis of the three studio versions (outer ring) recorded by Joy Division and the two posthumous remixes (inner ring) released in 1995. Interestingly, the visualisation shows the inherent variation in song structure from recording to recording as the band engineered the particular sound they wanted the song to express. The remarkable number of cover versions and the enduring popularity of Love Will Tear Us Apart is a resounding testament to what is widely considered to be one of the greatest pop songs ever written.

Digg rings, Chris Harrison.

Using the Digg API, Chris Harrison has visualized the top 10 most-dugg stories of the day, and rendered these as a series of tree-ring-like visualizations (moving outwards in time). Rings are colored according to Diggs eight top-level categorizations (Sports, Offbeat, Entertainment, Gaming, Science, Lifestyle, Gaming, Technology, World and Business). Ring thickness is linearly proportional to the number of diggs the story received. Images and words: Chris Harrison

Age of the World, Mahieu Lehanneur Age of the World is a 3D visualization of the age-pyramids of the populations of various countries, shaped in ceramic.

Age of the World is a perspective designed to freak us all out. Statistics quit charts and graphs to reincarnate in a curious set of jars, creating a radical representation of our human bondage in this world. Birth is the base and death the apex of these enamelled terra cotta pagodas, whose contours change in phase with the age rings that translate life expectancy. From bottom to top there are 100 strata, shaped in solid or void, but the top end is always a sharp tip.
Images and words: Mahieu Lehanneur

Form Follows Data, Iohanna Nicenboim

Form Follows Data was a project based on the exploration of the formal language of personal statistic data embedded in everyday objects. The data sources used are based on my body, my habits, and my environment. The data-based objects include a set of plates with a stylized pie chart as a visualization of a blood test, and a set of glasses shaped as a column graph or a topographic map to represent the amount of coffee that Ive been consuming every morning for a week.
Images and words: Iohanna Nicenboim

Deconstructed. Reimagined. is a series of architecture-inspired, digital abstracts. It features photographs of buildings, subtracted from their whole and rebuilt into unique, often unrecognizable forms. By deconstructing the subject from its original form and function, I looked to transform simpler elements into intricate arrangements of shapes, lines, tones, textures, and patterns. The buildings cease, then, to exist as mere structures and are instead reimagined as inspired designs referenced by childhood experiences of looking through a kaleidoscope, or drawing with a spirograph. While creating these pieces, I enjoyed as I did when I was a child the anticipation of not knowing how a particular image would turn out, and was often surprised by the results. Though Ive never been a friend of math, Ive always found geometry interesting the laws which govern simple shapes, and the infinite possibilities that emerge when you start building with them. Words and images: Cory Stevens

Time is a Dimension, Fong Qi Wei

Time is a Dimension, Fong Qi Wei

Time is a Dimension, Fong Qi Wei In Time Is A Dimension, you've added layers of time to each photo, creating a new kind of time-lapse photo. How long do you spend on each composition? The capture of the source images require some planning, so most times I scout the location some days in advance. On the actual shoot, I mostly spend 2 - 4 hours at the location in the process of getting my source images. Time spent putting together the final artwork is quite variable. There are usually multiple versions of each piece, and since every one is done in Photoshop, I can take anywhere from 2 hours to a few weeks, until I am satisfied. Speaking of time as a dimension, have you seen One Second on the Internet? (http://onesecond.designly.com/) Seems pretty cool to me. I think what the internet has done is to increase the rate of information dissemination per unit time. Whether or not as humans we can cope with this increase is a different matter. After all, information is quite different from understanding. True. In the same way that facts are not wisdom. I'm curious to to see what will be done with all this information and data how will it be parsed? Dyanmic data visuals?But coming back to different time scales: have you heard of Stewart Brand's Long Now? I think I have, especially with the Clock of the Long Now that is being funded by Amazon boss Jeff Bezos, isn't it?I like the idea that people are thinking in time scales far removed from the normal human experience. Most times, we plan a couple years in advance. To think of a timescale like 10,000 years means to think hard about what will remain relevant or what is universal. It also probably means looking back 10,000 years to see what is constant from before.As far as data is concerned, I feel like it's almost like another sense which only has arisen lately. We have been collecting information about our world through our familiar senses of smell, sight, taste, touch, and hearing. Pure data, which may be collected by machines that sense things we cannot, is information that is brand new to us, evolutionarily speaking. So not only do we have to adapt to new ways of comprehending these data, the large volume of data is new as well.With pure data, I wonder if vision is the only way to experience or manage the data. What about touch, hearing, smell? Good questions. Reminds me of two unique interfaces I recently came across. The first is an augmented sandbox with a projector displaying a dynamic topographic map (http://bit.ly/14duLRO). As you move the sand, the map projected on the sand updates nearly simultaneously. The second is a series of experiments by SpaceX to assist in th design of a rocket engine.(http://bit.ly/162RHad) I prefer the former (wired.com) to the latter. Gesturing in the air offers no tactile feedback, so it is akin to having a neurological condition where you lose feeling in your fingers. I find that less than satisfactory.

Perhaps we'll reach a point where we will be able to choose between a variety of user interfaces for various sensory channels (with different feedback mechanisms), with hybrids evolving to suit the needs of people with different learning styles or cognitive styles? In Time is a Dimension, the photos are physical prints, but the assembly into collage is digital, a process that essentially spans print and digital, physical film and digital bits. Sure. I'm no Luddite. First, I embrace technology to produce my art. But the technology must be mature or produce sufficiently good results for me to use. Digital post processing allows me freedom to experiment in ways that may be too time consuming as compared to film. Even though some people think of printing as archaic, printing is a tool which only became affordable in sufficiently good quality in recent years. Large format printing has become more accessible than before. But in the end I look for quality. For now, a print has qualities that a monitor cannot overcome, which are: consistent color (not dependable on a constant power source like monitors) and scale (I can make a print 1 metre wide, but to get a 1-metre-wide-screen will be exorbitant). So, these two: digital capture/processing and output into a physical print they are complementary. In a previous interview, you've said: I dont see the point (at the moment) in doing art for a tiny niche of insiders but [alienating] everyone else. If I want to send a secret message, Ill just head straight for cryptography." My personal opinion is that the value of art can be assessed two ways: if it is relevant many years from the day it was produced, and if it changes the perception of the person who experienced the art. If something is very niche, then once the target audience or demographic has passed on, it will have lost relevance. Also, if something is too over-complicated, then people may never hope to understand the message. Good art should have both breadth and depth, to give a wide demographic something substantial to think about. I don't pretend I can make good art, but creating breadth in art is surprisingly difficult. In the end, I just want to make stuff that changes people's perception. If it can happen, that'll be pretty awesome. Creating a shift in perception in a wide audience is an awesome thing. Yes. Today, science does a lot of that!The curious thing about TIAD is that the camera records an objective information of color that is in the scene at different times. This is quite different from our interpretation of the scene for example,we will consistently interpret a white building as white no matter what color the skies are. In a sense, TIAD brings to attention this contrast in objective recording and our relative perception of color casts in our environment. A bit like how the appearances of clothes will change with different dressing room lighting, say, a dark blue or black sweater's appearance varying in the color temperature differences between incandescent,fluorescent,halogen, or LED lighting. Speaking of exploring differences in perceptions, your Exploding Flowers series approaches a common subject in a unique way. Yes. Our brains are able to maintain the illusion of color stability, but only up till a certain point. Some science centres have displays where reds look like black under different lighting.The Exploded Flowers was a product of play, just

Time is a Dimension, Fong Qi Wei

Time is a Dimension, Fong Qi Wei

like TIAD. I wondered what the result would be if I laid out the components of a flower while keeping the relative positions of the components intact. And since photography can "freeze time", it was the ideal way to present the result because flowers/petals/leaves are very perishable. What is interesting about Exploded Flowers are the answers I get when I ask people where they thought the art lies is it in the arrangement of the flowers? or the digital photography file? or the print? or neither? The answers can be revealing in themselves. Philosophical questions which remind me of Robert Pirsig's Zen and Art of Motorcycle Maintenance. The artwork becomes a litmus test of sorts. Not so much like litmus (which gives Yes / No answers), but maybe a better metaphor would be... Rorschach? Rorschach. Exactly. In your Floral Color Space series, you constructed a color grid of floral colors. That's just another take on flowers and colours. Both are pretty common themes. If I remember correctly, the floral swirls came after my Color Deconstructions(http://bit.ly/16tNeha), where I explore how I keep the structure in photography to a minimum, while leaving behind colours and some textures. I applied the same idea to both actually.The idea was that realism is different from being literal. Photography is a literal recording of a scene, which may not have an emotional connection with the viewer. Realism is a hook which draws a viewer in, in the way that paintings which are not literal can feel more "real" (you can feel the fire in Joseph Turner's Burning of the Houses of Parliament). So I thought: why not attempt something similar with photography? Currently reading? Now I read on the kindle app. Currently reading Plastic by Christopher Fowler. Other recent fiction favourites will be Sandman Slim series by Richard Kadrey, Neptune's Brood by Charles Stross, and most books by Alastair Reynolds. Current non-fiction I'm starting to read is The Signal and the Noise by Nate Silver, the guy who makes predictions based on stats. I like science and science fiction. Art books I remember What is Art for? by Ellen Dissanayake as being insightful. I also like Living with Art by Mark Getlein. There's an app on Josef Albers color studies which is similar to a book that's quite fun. Yale University Press did some nice work converting The Interaction of Color into an interactive app. Any new projects on the horizon? I usually have a couple ongoing at any one time, and sometimes I revisit the same projects. Occasionally, projects cross-pollinate as well. Follow me on tumblr to get updated: fqwimages.tumblr.com Knowing what you know now, what advice would your Future Self give your Past Self? I'll ask my past self: What's the message you want to send in your photography? Find the message, then make your art the messenger.

Deconstructing Dialogue, Harilaos Skourtis

Deconstructing Dialogue, Harilaos Skourtis

Deconstructing Dialogue, Harilaos Skourtis.

Deconstructing Dialogue is an abstraction of Coffee and Cigarettes, a film by Jim Jarmush composed of eleven short films. Each of these short vignettes feature a discussion at a table where the characters drink coffee and smoke cigarettes. Each poster in this grid is a dissection of the dialogue in a scene. The structures are derived from studying aspects of conversation such as the frequency of words. The overlapping themes, connections, and recurring topics in the film inspire the forms that these diagrams take.
Images and words: Harilaos Skourtis.

Deconstructing Dialogue, Harilaos Skourtis

Jewels, Einsturzende Neubauten.

Third, Portishead.

Microsonic landscapes, Juan Manuel Escalante Each sonic landscape is an algorithmic exploratin of` an album. Each albums soundwave proposes a new spatial journey by transforming sound into matter / space, transforming the hidden into something visible.
Images and words: Juan Manuel Escalante

Winds.process.2013.01, Mark Nystrom

Winds.process.2013.01, Mark Nystrom

Winds.process.2013.01, Mark Nystrom. One of the things I enjoy about my wind drawings is being able to compare ones based on data from different days. When viewing drawings based on Process.2012.03, for example, you can see how strong winds at the end of one day continue to start of the next. With this process, you can compare one day to others in a single drawing and get a better feeling for winds at a certain place at a certain time. The two composite drawings seen here are based on data from thirty days in two different locations. For each day, a circle is drawn for every second of that day when wind was blowing. Circles start at one pixel in diameter and get progressively larger as the day goes on. Color is keyed to wind direction and a circles thickness increases in size with faster wind speeds. Images and words: Mark Nystrom

Skin Deep, Julien Palast

SkinDeep, Julien Palast The photographs of Julien Palast, accurately retouched by Thierry Peureux, are a careful work on the body and its aesthetics. The SkinDeep series unveils bodies as objects, male or female. Anonymous under the latex, they emerge from the background, reshaping, pulling, lifting up the membrane. The sculptural anatomies are drawn onto the surface of the material, like an instant bas-relief. The flexible and wrapping material is printing the naked body surface, the elasticity and the shinyness of the plastic is underlining the curves of the models and is coating them with a second skin. Thus the reified body is appearing in a bare simplicity that the artificial colors contradict. Somewhere in the middle of petrifications of Pompeii, weather damaged statues, kinky Madonnas, and fetish techniques (bondage and vac-bed), Julien Manigand and Theirry Peureux are staying in this in-between: screaming mouth and wrinkled hands are evolving between the senstive and the skin-deep.
Images and words provided by Julien Palast

Triangles 1, Daniel Temkin

Skin Deep, Julien Palast

Skin Deep, Julien Palast

Triangles 1, Glitchometry series, Daniel Temkin Each image begins as one or a few black squares or circles. They are sonified imported into an audio editor. Sound effects are added to individual color channels, as if they were sound, transforming the image. Because the tool is used in an unconventional way, there is no immediate way to monitor the effect. The image manipulator has a sense of what each effect does, but no precise control over the result. It is a wrestling with the computer, the results of which are these images. As Curt Cloninger describes databending: like painting with a very blunt brush that has a mind of its own. The look of Glitchometry Stripes (back cover) is more heavily influenced by Op Art works, such as those of Bridget Riley and Victor Vasarely. By using simpler sound effects more sparingly (delay and flanger) on vertical lines, the output is less noisy, and more crisply graphic. The Glitchometry project belongs to Rhizome-at-the-New-Museum's ArtBase collection and will be featured in a solo show at Transfer Gallery in Brooklyn this November [2013].
Images: Daniel Temkin

Circles 6, Daniel Temkin

Triangles 7, Daniel Temkin

Glitch Textiles, Phillip Stearns The Glitch Textiles project was started in 2011 with the goal of exploring the intersections of textiles and digital art. The idea was simple: transcode glitches in the cold, hard logic of digital circuits into soft, warm textiles. Following a successful fundingcampaign on Kickstarterin 2012, Glitch Textiles has grown to include a range of woven and knit wall hangings and blankets whose patterns are generated using images taken with short circuited cameras and other unorthodox digital techniques, including data visualization aided by the use of tools developed for digital forensics. Fragmented Memory is a triptych of large woven tapestries completed in May 2013 in Tilburg, NL at the Audax Textielmuseums Textiellab. The project uses digital

practices and processes to blur the lines between photography, data visualization, textile design, and computer science. The result are works of visual art that serve not only to render visible the invisible processes mediating everyday experience, but also to operate as distinctly tactile and lo-fi digital storage mediathe process becomes a means to capture, record, and transmit data. A snapshot of my computers physical memory was extracted in a core dump (using OSXPmem). Three selections of the binary data were converted to images using custom software written with the help of Jeroen Holthuis in Processing which grouped 6 bits into RGB pixel color values (2 bits per channel). The resulting 64 hues in the images were then mapped to a custom woven color palette created by mixing 8 colors of yarn using variations on a satin weave. The resulting

patterns were then woven on a computerized industrial Jacquard loom. Because of the direct mappings from binary data, to image, and from image to woven pattern, its actually possible to decode the original binary data sourced from my computers physical memory. In fact, a key to the binding patterns is provided on the back of each piece. Textiles have long been used as a medium for imagery but are also closely connected to the development of automation and computer technology. Fragmented Memory collapses these two histories, functioning as a visual and physical medium for the storage and transmission of digital information. Words and images: Phillip Stearns

Detail of Memory Fragment XAA_222RGB_336px_003, Phillip Stearns

Detail of Memory Fragment XAE_222RGB_336px_001, Phillip Stearns

Glitch Textiles, Phillip Stearns

Detail of Memory Fragment XAE RGB222 336px showing the overlapping of fibers typical of the satin weave used to optically mix yarn colors to create a 64 hue color palette.

Memory Fragment XAE 222RGB 336px being woven. The Textiellab employs a combination of Dornier looms and Staubli Jacquard heads. This particular machine looks capable of handling 12 different insertion threads. 6124 warp threads are individually raised and lowered, attached by the yellow threads to a harness overhead. The warp threads alternate black and white. Machines measure out the weft thread. Weft threads are fed to presenters before being woven into the fabric. Devices on either side of the loom, called temples, hold the tension across the fabric to prevent it shrinking as its woven out. The sound of these machines in operation is powerful, yet hypnotically rhythmic.

Color palettes of Gaugin, Arthur Buxton. a r th u r bu x to n . co m

Color palettes of Monet, Arthur Buxton. a r th u r bu x to n . co m

Color palettes of Kandinsky, Arthur Buxton. a r th u r bu x to n . co m

Color palettes of Klee, Arthur Buxton. a r th u r bu x to n . co m

CONTRIBUTORS
Arthur Buxton is an Artist in Residence at The Centre For Fine Print Research (CFPR), where he also works as a printmaking technician. Using open source software, he extracts prominent colours from images found online and charts them. The charts are digitally printed as limited edition artworks. arthurbuxton.com | @arthurbuxton

Mark Nystrom is an artist and designer whose work explores visualizations of complex information and includes drawings, installations, projections, and screen-based projects. His work has been shown in Boston, New York, Philadelphia, and other cities across the United States. marknystrom.com

Armelle Caron lives and works in France. armellecaron.fr Peter Crnokrak is a designer and artist who uses data visualisation as a medium for social critique. Creating work under the nom de guerre "The Luxury of Protest," his projects address the ever-changing reference points of reality and experience, with a particular focus on the evolution of cultural self-awareness. theluxuryofprotest.com Juan Manuel Escalante is a Mexican-born artist that uses both
analog and digital media throughout his work. He is one of the original founders of Realitt(1998), an experimentation lab touching the intersections between sound, music, illustration, design, bio, and code art. realitat.com

Julien Palast is the founder of Palast Photography. He was joined in 2011 by Thierry Cowardly. Together, they're worked with brands such as Baccarat, Roger Vivier, and Hennessy. palast.fr Daniel Temkin explores the collision between human thought and computer logic, bringing these two flavors of irrationality into sharp relief. Daniel is based in Queens, NY. His work has been exhibited at galleries such as Higher Pictures, Carroll/Fletcher, and Devotion. danieltemkin.com Harilaos Skourtis is a multidisciplinary creative focused on the
intersection of words, images and motion. His work has been published internationally and received a myriad of awards from various authorities on design. He earned his BFA from MICA. harilaos.com

John Franzen lives and works in the Netherlands. He attended the Academy of Fine Arts in Maastricht, Netherlands 2002-2007, where he graduated with a Bachelor of Fine Arts. Working in various disciplines and materials, he focuses on the theme and production of complex frames of concepts with the focus of the inherent primordiality. johnfranzen.com Chris Harrison will start as a professor of human-computer interaction
at Carnegie Mellon University in 2014. He investigates novel sensing technologies and interaction techniques, especially those that empower people to interact with small devices in big ways.Chris gets excited about large data sets and how, through computation, they can be given form. chrisharrison.net

Phillip Stearns is the creator of the Year of the Glitch, a yearlong glitcha-day project, and Glitch Textiles, a project exploring the intersection of digital art and textile design. He received his MFA in music composition and integrated media from the California Institute of Arts and his BS in music technology from the University of Colorado. phillipstearns.wordpress.com

Cory Stevens is a Vancouver-born, Munich-based photographer focusing on architecture and urban design. co r ys teve ns. c a Fong Qi Wei has placed 2nd in the 2012 International Photography Awards. Limited edition prints of his work are available on his site: fqwimages.com Sam Winston creates sculpture, drawings, and books that question our understanding of words both as carriers of messages, and as information itself. His work combines a playful and meticulous assimilation of contemporary information statistics, data, computer programming with canonical works such as Shakespeare and the dictionary. samwinston.com

Mahieu Lehanneur has juggled with contradictions for over 10 years

to produce a design which regularly exceeds its boundaries. He collaborates with others to invent new ergonomics: "to breathe better; to sleep better; to love better; to live better." m a t h i e u l e h a n n e u r. f r

Iohanna Pani is a multidisciplinary designer and curator based in

Berlin. She currently works as a coordinator in Node Center for Curatorial Studies. Iohanna believes in endless possibilities of expression, exploring, and experimenting with new techniques, materials, and creation processes. iohanna.com

Winds.process.2013.01, Mark Nystrom