A revolutionary desk and wall clock design overlays a time-telling dial on a gradient of colors balancing dawn, noon, dusk and midnight to show you the time passing as a function of 24 rather than simply 12 hours.

This new clock, dubbed Today, is a followup project to The Present, another wall-mounted timepiece that traces the course of the year across all four seasons, likely tied to a color spectrum.

Creator Scott Thrift explains his design inspiration: “The creative adventure of producing, distributing, and giving talks about The Present gradually opened my mind to seeing time as a spectrum. Think of it this way: on one end of the ‘spectrum of time’ you have the standard clock that reveals every second of every minute of every hour at a glance.”

“On the opposite end of the spectrum we find The Present. As a balancing corrective between these two points on the “spectrum of time” is Today, a timepiece that reveals the entire day at a glance.”

Of course, there is no limit to pushing boundaries when it comes to time tracking. Perhaps a clock that measures years of a life or a speedy timepiece that spins with every heartbeat will be next on the list for Thrift.

In a remarkable 24-hour collaboration, a series of artists banded together to build a replica of the infamous house from the Wizard of OZ – that ill-fated structure that carried Dorothy Gale so far from Kansas.

This fast-paced process employed by the Resisting Entropy team was intentional, designed both to show what dedicated teamwork can accomplish in a limited amount of time but also meant to emulate the chaotic conditions of a wild twister.

No Place Like Home was hosted by the owner of Asymmetric Arts in Rockland Maine, Jared Cowan (special thanks to contributing artist Eric Leppanen for the tip – full list of artists below).

Also part of the plan: the installation was created piecemeal, then put together into intermediate sections before being transported to the site and assembled as a whole.

Starting with a previously-gathered scrap pile, each artist drew what they needed along the way, imbuing the separate sections with individual twists and quirks.

In the past, Resisting Entropy has brought together artists to create a series of independent works, but No Place Like Home gave them a curious and novel combination of individual liberty and a cohesive goal.

Contributing artists included: Jared Cowan, Andy White, Bethany Engstrom, David Allen, Eric Leppanen, Trelawney O’Brien, Alexis Iammarino, Siglinde Langholz, Owen Cartwright, Greta Van Campen, Susan Smith, Jonathan Laurence, Ashley Seelig, Sean Taylor and Kelsey Floyd. “Resisting Entropy is an exercise in creating collaboratively within a condensed timeframe and shared space. Participating artists are presented with a large volume of discarded materials and over 24 hours, live and work together to transform the volume into unique and unpredictable artworks.”

Despite the wind-strewn look, the structural design had to be carefully checked: “The base structure had to be strong enough to not fall due to a strong gust of wind.  No one is allowed in the building due to safety concerns but people can get close enough to look into the windows therefore some of the crew focused on structural integrity.  The design of the roof on the other hand had to be light and airy so that a crew of four or five could lift each section into place. Notice the skeleton of the roof structure, made with the thinnest boards possible.”

Most light photographers focus on making a shape in the foreground in a matter of seconds, then setting it against a dark static backdrop – this artist often animates every inch of the frame.

Finnish artist Janne Parviainen of Helsinki takes these all-encompassing, long-exposure shots over many minutes (even hours at times), each line representing mere seconds along the way.

As surreal as they look, there is no post-production involved. Aside from props and plans, even their creator cannot really see what he is making them until they are completed.

Parviainen was an oil painter previously, but pivoted when an accidental long-duration photo of streetlights, clicked on a nighttime walk, triggered a fascination with lighting. Now using light as paint, he employs a new series palettes and brushes. Glowsticks, light strings, strobes and flashlights help him animate everything from human figures to abandoned cars.

He begins tracing what is there and then adds his own haunting portraits and inventive twists to the scenes he sets. The results are so saturated with light that it is sometimes hard to tell what is really behind them and what he created from scratch along the way – what is foreground, background or sheer imagination.