One day Rob Lilwall, an ordinary geography high-school teacher, decided to drop everything to cycle from Siberia to London via China, Australia and Afghanistan. The journey took 3 years, covering over 50,000 km. He didn’t stop there. Soon after, he attempted another trip from Mongolia to Hong Kong. 5,000 km. In winter. On foot. An adventurer, author and motivator - Rob and I caught up to talk about overcoming obstacles, the call to adventure, and how to survive being chased by bandits in Papua New Guinea.

Kristen Ashburn is an award-winning documentary photographer and humanitarian, whose photographs and stories from the Middle East, Europe, and Africa have appeared in many publications worldwide. She began photographing the impact of HIV/AIDS in southern Africa in 2001 and released a book of this work in 2009 entitled I Am Because We Are with a forward by Madonna. Ashburn's work has also taken her to Iraq a year following the US-led invasion; Israel and the Palestinian Territories, Sri Lanka in the immediate aftermath of the tsunami, New Orleans after Katrina, Haiti after the quake and Russia to cover the spread of MDR-tuberculosis in the penal system. Over coffee in Miami, Kristen shared with me the story of how she went from shooting fashion in New York to capturing images of global crisis, and why, even in this age of Instagram, the photo retains a persistent power to give voice to the voiceless and inspire collective action.

Art and fashion maven Hikari Yokoyama, is one of the world’s leading thinkers on the intersection of the art world and technology. A curator and art consultant, she was part of the founding team at online auction house Paddle8, the news platform Art Observed, and in her advisory business, connects artists with brands like Audi and Miu Miu. Over coffee in London, we spoke about the impact of globalisation on collecting, the evolving relationship between art and luxury brands, the death of art movements and how, in a digital age, the way we consume images is changing.

Refik Anadol sculpts with data, not stone. When he frets about permanence, he is not concerned about the effects of wind and rain on his structures, but whether his algorithms and data sources will continue to be relevant as things change around them. Refik is foremost of a new generation of 21st century artists that have begun to creatively interpret a data-driven world, using its native protocols. Originally from Istanbul but educated at UCLA, he is best known for his recent collaborations with Frank Gehry, Microsoft and the LA Philharmonic to stage an immersive orchestral performance that projection mapped the inside of the Disney Hall, based on real time musical data and the live movements of the conductor. I visited Refik in his new studio in Silverlake where we talked about computation in art, the challenge of designing algorithms that stand the test of time, the beauty of a hundred years of seismic data, and how one might make emotions visually manifest with a little help from a 48 channel EEG and a team of neuroscientists.