A Robinson

Anthony Robinson was born in Portland, Maine, and raised in Boston.  He is a founder and a co-editor of Transformation.  Hisbook of poetry, The Boundary Layer,was published by Ekstasis ( in the spring of 2011, and his technical book High Performance Buildings: A Guide for Owners & Managers is forthcoming from the Fairmont Press in 2012.  He is Chief Technology Officer for the Energy & Resource Technology HUB ( and he teaches Environmental Sustainability as an adjunct professor at Southern Methodist University.  Please visit him at his artist website:

Richard Wirick is the author of two prose collections, One Hundred Siberian Postcards (2007) and Kicking In (2010).  His novel, The Devil’s Water, is forthcoming in 2013, as is another story collection.  He is a founder and co-editor of Transformation, and writes journalism for a variety of American and U.K. periodicals.  He practices law in Los Angeles, where he lives with his family.

D Ferguson

Dean Ferguson, a co-editor of Transformation, is a former federal criminal investigator.  A graduate of the New College of California School of Law, he has published essays, commentaries and criticism in MRZine and other online journals.  His ideal writer is Jack London, author of The People of the Abyss, who signed hisletters “Yours for the Revolution.”  He lives in San Francisco with his wife and two daughters. 

Sara Brownell, art director for Transformation, is a graphic designer living in San Francisco.  She works for Northside Publications and designs the calendar layout for the historic Castro Theatre.  When she's not busy rearranging fonts and images, she spends her time playing rhythm guitar in an all-female tribute to Bon Scott-era AC/DC, AC/DShe.  She also has an online business, Brew Holster Cult, where she fashions leather beer holsters you can wear on your hip.

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Copyright © 2010 by TRANSFORMATION.

“There are three things necessary for the making of art and literature:
vision, transformation and universality…Art and literature involve the transformation
of the vision into a medium or some manner of representation.
The task of the Artist is to project the immediate experience
of the vision as it is both immediate and transcendent.
This notion of transcendence is a key element of the transforming process,
without which the Artist’s vision becomes nothing but journalism or documentary,
an assemblage of “facts” picked off the screen of perception…
The transformation could, for example, result in a poetic image: The poetic image:
“…a radiant node or cluster; …what I can, and must perforce, call a VORTEX,
from which, and through which, and into which, ideas are constantly rushing.”

Pound, 1914
Excerpted from Aesthetic in the Winter 2005 Issue.

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