Salon 74 // Taking Stock: Open Mic

Hello, hello. I'm Renata Janiszewska coming to you from the village of Lion's Head in Canada. Today's Salon topic is taking stock. By this we mean what is the future and the direction of T'Expressionism and how to incorporate things that we haven't done yet going forward. I'm joined by Lee Schnaiberg in Montreal and Michael Pierre Price in Arizona.

Lee Schnaiberg // Montreal CA

We have five points to base our discussion on. We hope to have adopted one of these, at least one of these, by the end of the meeting. And briefly I'm just going to give you the names of the five topics. They'll be explained by Michael, Lee, and after I finish. So the first would be tutorials, the second outreach, the third Insta hashtag, the fourth live things, meaning in real life exhibitions, and the fifth virtual things. And I'm glad to see that Tommy's here because I'm going to call on you if that's okay to explain Brooklyn 2024 when we get to the live, yeah, the in real life things.

Lee Schnaiberg // Montreal CA

So without, oh yes, one more thing. We're going to have artists showing in between the five points. So I have five artists at the moment, starting with Anton in Russia, who's joining us for the very first time. Welcome. We have Deanne who's going to join us. And she's coming a bit late. She has an appointment. We may have Sahar. She has to go to another city, so we don't know. Then we have Cynthia Beth Rubin.

Lee Schnaiberg // Montreal CA

Vivian from Greece may come. And then Susan Detroy, if we have time for her. So I'm going to hand it over to Michael to explain tutorials. And after he finishes that, we'll have presentation of artwork for five minutes by Anton. And I will be keeping time. So I'll warn you when there's one minute left.

Lee Schnaiberg // Montreal CA

Thanks, Renata. Wow, this is, it's kind of amazing just to sort of set the stage for today's discussions and presentations. We've been a thing for three years now, which is astounding to me. Born out of the pandemic in a lot of ways, I think. It's, I don't know, you know, if Colin could have imagined where we would be three years from now. I'm guessing probably not.

Lee Schnaiberg // Montreal CA

So I think that this idea of taking stock for me is we're here. We have created so many things. The exhibition last year was phenomenal. The amount of work, the beauty of the space, and just all the artists that came together internationally is just something that is spectacular. We've had online shows. We've had artist interviews. We have a Wikipedia page. The Techspressionism page is such a repository of so much that we've done.

Lee Schnaiberg // Montreal CA

Davo made a great suggestion to record these salon meetings, which I think has been something really spectacular for this group. So there's, we're here. We are here. We have a body, a history of what that means to each one of us individually and collectively as an international community, group, social sculpture, however you want to see what Techspressionism means. So where do we go from here? Do we just keep doing the same things, or can we look to see what this community brings and where we can go from here? Now that we're out of the pandemic? Hopefully. And we're now each engaged in the world. Where do we take this? So one of the ideas that I had was this notion of tutorials or workshops.

Lee Schnaiberg // Montreal CA

We've had themes for our salon meetings. And in those meetings, oftentimes we have talked about interesting topics based on our artwork. And for me, ideas like, how do we create some of these works? What goes into it? And my idea would be for us to have meetings, whether they're replacing a salon every quarter or as an adjunct on off-week meetings.

Lee Schnaiberg // Montreal CA

That I think we can discuss. But ideas around who's doing what with AI and what techniques. So the idea would be to have several artists, maybe three or four, during one of these meetings, one of these workshop meetings, to actually show us how you do what you do. Ideas around AI, NFTs, AR, animations.

Lee Schnaiberg // Montreal CA

Things along that nature where we can learn from each other. Use of technology. Thinking about how Tommy uses the Raspberry Pi. And how Lee uses his technique with his cell phone. And so I think we have within this group a huge body of knowledge that we can share with one another. And as well, bring in new artists. Because this then becomes not only a sharing group of what our art is. But how we make our art. And that's kind of the genesis for this idea that I wanted to bring to the group today.

Lee Schnaiberg // Montreal CA

Thank you very much, Michael. One thing I wanted to mention was we've adopted a policy of letting the mute to come off everybody's when the person's finished presenting so that we can say a minute or two of praise. If we could do that after the break. After Anton presents. The stage is yours, Anton.

I think, yeah. Hi. Hello, everyone. Nice to be here. Finally. First, I'd like to introduce myself a little bit. My name is Anton. I'm a digital artist. I was born in Kazakhstan. I was living in Russia. I mean, I think when I knew about text for Cyanism, this is why probably on the website still Russia there. But right now I'm living in Georgia for two years already. Yeah. So I just wanted to tell that I'm doing NFT and coding, creative coding, actually. And.

Anton Dubrovin (MCHX)

When in the very beginning, when I was still kind of hesitating about my art journey and wasn't sure if I'm if I'm like on the right way. That text for Cyanism movement show up somewhere on my feet in Instagram. And this is how I realized that it is also possible to make art. Like it is art when you do it digitally. And this is what gave me like reassurance in my way. And also another big thing that through text for Cyanism, I also knew about NFTs and realized that abstract artists selling their artwork through blockchain and NFT. And this is what inspired me to start. And if my NFT journey that is really changed my life. And since then, I've been following text for Cyanism movement. And I'm really happy that this time I have an opportunity to join and to actually see what's going on.

Anton Dubrovin (MCHX)

And this is all of you. It's really exciting for me. Yeah. Okay. Also, I have a question. I want to share the screen. Unfortunately, I don't have that much sensation because I was constantly moving during the last two weeks searching for apartments. So but I will show you my latest work. And okay. Let me share screen.

Anton Dubrovin (MCHX)

Like, do you see it right now? Yes. Yes. Yeah. And I also. Okay, let me let me share with you. Sorry. Okay. I will also share the link to. Okay. Sorry, I cannot. Okay, I'll share it with you. Wait. So. So this is my work. That is called essential. This is. Coding animation. This is life life and brain rendering piece. That is really inspired by color field.

Anton Dubrovin (MCHX)

Abstract painting. This is like a piece that I created for myself. For. Sort of color meditation. And. This is what I actually. Love doing. The most. As my art. And. I. I used to create artworks with graphic programs and AI. That is. Was also. A color fields. But. I was really. Annoyed by restrictions of AI. And video formats. And I. Was.

Anton Dubrovin (MCHX)

Thinking of. How. How to. Create. Something. With code. That would be moving and light. So. Yeah. So last year I started. Creative learning, creative coding. And. This. This work is, I think, the closest to the works I was doing with graphic programs. Anton, we have a couple of minutes left, if you could.

Anton Dubrovin (MCHX)

Yeah, I mean, I will share the... So this piece is kind of really inspired by James Sarrell and I was researching his works a lot and was thinking like channeling him maybe from my works too. Too. And yeah, so I will share a link to live version there. You will enjoy it on your devices it works on every device like mobile and videos everywhere yeah so I'm really excited to be here yeah thank you so much thank you we're really happy that you were able to come today yeah okay yeah okay any in the interest of the time I'm going to ask that we just move on now!

Anton Dubrovin (MCHX)

I know I said we could give feedback but it's just hard to keep time so I'm going to ask that michael talk about the outreach to college universities concept and that you could put your notes in the chat for anton's work and once again anton thank you for coming to today okay so I realize that a number of our prominent members here in our Techspressionism community are either working at colleges or universities teaching or have pretty strong connections with universities colleges and other institutions of learning and my feeling is that as more and more universities are providing avenues for learning about creating art with new technologies all the time that this might be a really good outlet for us to provide our potential expertise to universities, colleges, other institutions, where we might be able to be guest lecturers or other avenues for teaching, where basically Techspressionism could have a cadre of our members either listed as potential folks that could be utilized for those types of programs to do online either guest lectures or tutorials and things of that nature.

Anton Dubrovin (MCHX)

And for me, this is another way for us to possibly bring in new blood that would help strengthen the community and also provide a way for us to be able to do that. And I think that's a great way to provide potential new avenues for us to grow by bringing in new artists, new members, again, not only here in the U.S., but certainly internationally as well.

Anton Dubrovin (MCHX)

Thank you, Michael. The next person to present will be Lee. And Lee, it's five minutes and I'll let you know when there's one minute left. You're welcome. Thank you. Thank you. Lee, you are muted. I am so sorry. Hi. I'm Lee. I'm from Canada, Montreal. And I wanted to talk with everybody about an issue which is that we haven't had a show this year virtual.

Anton Dubrovin (MCHX)

We had the amazing show that Colin put on last year. But it's been a year now. And it's time that we should do another show. And I think that we probably have access to the matrix still. Colin, nod. Or give a thumbs up if we do. Thank you. Okay. So we can build a museum and have a show. We need somebody to spearhead it. We also need a couple of people to volunteer to be not curators but a jury. And then somebody to help operate it so that we know where to send out the call for people to submit and pick a time and a date and theme, I guess. Like somebody to run it. So I'm hoping somebody is going to raise their hand at this point and be like, hey, that sounds great. I'm interested in putting a little at a time.

Anton Dubrovin (MCHX)

Maybe I can cajole everybody. Maybe it's not somebody right now. But if maybe people have ideas about it. We still have how many minutes? Three minutes? Renata? Yep. So we got three minutes. If everybody takes off the mic, if people have anything to say about a show, any ideas they have, they're for it or against it, Colin, if you're like, hey, don't do that, that's like what I did and that's my thing. Or do we wait to try to hear from other people who aren't here? Any ideas? I'd love to hear from everybody. Okay. Well, one thought that I had, you know, was that the NFT Now show that was one of our first exhibitions in Kunstmatrix, you know, when you click on the piece, it brings up information, but also had a link to the actual minted NFT on whatever platform it was on. And the NFT space has grown considerably, you know, since that time.

Anton Dubrovin (MCHX)

And, you know, I think that's something that's going to be a big part of the show. And I think that's something that could be a possible focus is that, you know, it could be an NFT show where the work could be presented on the walls of a virtual gallery like we did NFT Now. So you don't need to connect with a wallet like a lot of other platforms like on cyber. You need to connect with a wallet to view it. So you could just come in a browser and then, you know, you click the piece. I don't know if you guys have seen the NFT Now show, but anyone who hasn't, it's on the exhibitions tab of the Techspressionism website. And then, you know, it could link off to NFTs minted on pretty much any platform, you know, and not just limited to Ethereum.

Anton Dubrovin (MCHX)

So, you know, that's one that's one thought. Not necessarily, you know, it's just putting it out there. Well, yeah, we definitely should. Yeah, that to me, that makes total sense. Any artist who has their work at the show, you can click and buy it if you want. I don't know if it makes total sense. But anybody want to? Yeah. If we had like three people that were running it, did anybody want to take a third of the role?

Anton Dubrovin (MCHX)

If not, we can. Hey, Tommy, put up his hand. Hey, Tommy. I'll be. Oh, are you volunteering a third or you just want to talk? You know, it's dangerous when you volunteer to talk and don't say you'll take a third. But I'm thinking I'm hoping that I could put this in the context of what I'm planning in a year as well. And maybe if we find people that want to curate and help select images for this show, I was actually thinking maybe we could have it within a virtual space similar in design to the space I'm planning on installing our show.

Anton Dubrovin (MCHX)

I have a. Mozilla Hubs space. Mozilla. You know, the people who make Firefox have a 3D space that they have open source. And called Hubs, H-U-B-S. And so you could they have a tool for building spaces called Spoke, S-P-O-K-E. I'll send these to you. And I have I built out a virtual space. You know, it might not be as polished as Kunstmatrix. So I'm wondering, like, is this something that we're dedicated to Kunstmatrix and the NFT thing? Or are we just really thinking about creating a virtual place where people can gather and look at stuff in a virtual way? Because that's what Hubs allows. It has a whole avatar thing.

Anton Dubrovin (MCHX)

Audio, you know, through your avatar kind of possibility of that kind of sense of space. So I would argue for that. A. One. I guess. And it looks like Steven is happy to be a third if we're doing this. So, yeah. I mean, I'd also push towards, you know, if we could do it supporting open source platforms, experimenting a little bit beyond the, you know, what we've done already. And I mean, I think it's been great what we've done already. And if someone wants to do that, great. I don't need to stop you from using Kunstmatrix more. Right, Colin? Great.

Anton Dubrovin (MCHX)

But I'd be interested in collaborating with Steven maybe and we get a third person in to work with us on this. Absolutely. And I'd be interested. And I'd view it as sort of a building block to this 2024 show in the summer that I'm working with Sun Jin Lee and Giovanna Sun co-curating already. Wow. Amazing.

Anton Dubrovin (MCHX)

I like the idea. Like one of the things that we were talking about before we mentioned now, it might not be Kunstmatrix. Maybe there's other ones that have more of a fun. Cache. And it sounds like that's what you're describing. I've had some fun times going to VR chat galleries that people were building. So I know that you can have a really nice time and you don't have to be on a headset, but you can be.

Anton Dubrovin (MCHX)

But I think that's a great idea and I'd love to chat with you about it afterwards. And Steven, you were raising your hand. Did you want to say something about it? Well, I'd like to participate. I'd be glad to be a third, either a co-curator or whatever role is needed. I don't have a lot of specialized knowledge, but part of what I'd be out to do is learn more. And, you know, participate fully.

Anton Dubrovin (MCHX)

That's awesome. I think that's my time, right? Yeah. Thank you very much. If Michael wants to, if you could. Sorry. I think we should have another presentation. It's just that Sahar's not here. So Cynthia Beth Rubin, could you present for us, please?

Sure. I'm going to do something brave, which is to try doing this on two monitors. So let's see if that works. Sometimes in keynote it's a bit of a drag. You're probably just seeing. Okay. Great. So I wanted to start by mentioning the coworking sessions that we've been doing. Are people seeing the monitor that's not the prompting monitor, but the full screen? Yes. Yes. Good. So what I hate about keynote when you have two monitors, but we've been doing these weekly coworking sessions on Tuesday. The same time at noon, but every week. And I just, everything I'm going to show today, everything that I'm doing has come out of these wonderfully supportive sessions. So I hope that people will, who are interested will join us. It's very informal and it's a way we've been getting to know each other.

Cynthia Beth Rubin

So I'm going to go quickly through what I've been working on. And for the people who've been coming to these sessions might be a little repetitive. I showed these last time they were under the microscope. This is pretty much straight under the microscope on the left colorized. And then on the right colorized more. And then I took that into night cafe. I'm in this show where people are supposed to do things about Picasso. I don't really like Picasso. So it's been a huge challenge for me. And it turned out that. I don't know if you've seen it. But I did a little research on this. And I found out that night cafe already had a thing in there to use.

Cynthia Beth Rubin

So I just did that. And that's what it came up with. And then I started playing around with different colors with it. And although I loved all of these. I'm not ready to embrace. The straight AI, which is another discussion, but I was having a little trouble with it. But I did it. But the little cubes you see are actually salt crystals. And the guys in the middle, this one I already worked on, I think. And then this is a print I got. Where actually the breaking the border. Is in the print. I did that deliberately, but then there's drawing in there. The little circle around the orange. Is drawing. And so I thought, okay, this is okay. But then I went in and I took. Shots of details of it. And I got all of these little prints made. That I was going to play with some more.

Cynthia Beth Rubin

And this is basically one of the finished pieces. That I've come up with. The way that I got there was I took the piece in the upper left. The one in the bottom. And then I came up with this combo. And I have to say, I did all of this. During our coworking session. There was like something being. With people that gave me the courage to say, okay, I'm going to take these pieces and I'm just going to cut them up. And I'm going to glue on it. And I'm going to draw on it and I'm going to go wild.

Cynthia Beth Rubin

And here's one where I went really wild. I'm still. Not sure how I feel about it. And I'm not sure which direction it goes. I think this is the finished one, but I have it. Be happy to know what people think, but which direction it goes. It's kind of interesting. But this one really looks better on these. So make a little note in the chat. The one on the left or the one on the right. If you have a preference because it's been driving me crazy.

Cynthia Beth Rubin

And this is the last one I'm going to show you where I also took that little piece. And I played with it and actually last night when I was fixing my photographs for these presentations. There was an irritating dot in the middle. Of the diatom on the left. And so then I took this little teeny little diatom out of another piece and stuck it in. And it was like, wow, now it's done. I feel really great about it.

Cynthia Beth Rubin

You know, there it is by itself. So that's all that I was going to show today. I really wanted to make sure to stay in my five minutes. And I'm trying to, but I was going to show one more picture of co-working, but I didn't get it inserted in time. So here it is. If anybody has any questions about what we're doing on Tuesdays, let me know. Or let Cynthia, the other Cynthia, the two Cynthia's working together.

Cynthia Beth Rubin

And it's been a really great and one of the real treats has been getting to know Cynthia. But I think those of us who come, we've really. We've gotten to know each other well. And about half the people who are here now have come at least once. So I was hoping to get up a bunch of different pictures and show everybody, everyone who's been coming. Maybe everybody who's been coming. You can just like raise your hand so people can see.

Cynthia Beth Rubin

That includes you, Lee. Okay. Yeah. So it's been and Nina and Karen comes like every time. And yeah. It's really been for not a came a few times. So, okay. So that's it for me. And. Okay. Thank you. Thank you very much, Cynthia. I like the one on the right. Okay. People are saying the one. Okay. I'm going to go back to that. Me too. Yeah. The pastel one is very gorgeous. Yes. I just wanted to add for the people that are watching this on a recording, or if you're in the room, there is a link on the Techspressionism is a homepage for virtual coworking. So if you're interested in registering and attending these sessions, go to Techspressionism.com, scroll down a little bit, and there's a graphic you can click on virtual coworking and that'll allow you to register for the zoom and get the link via email.

Cynthia Beth Rubin

Okay. And I can just quickly say what we do is. We sign on, we say 30 seconds, but it's actually a minute. People say what they're going to do. We work for an hour with our cameras on, but on mute. So you can listen to whatever music you want to. And then we come back and we show what we did. And it's really wonderful. What's the total length, Cynthia?

Cynthia Beth Rubin

It depends on the number of people. It's always under an hour and a half. And if it's like sometimes there have only been three people and that's okay. No, it just gives you the boost. So. And the other thing that should be said is you'd say, well, gee, it's only an hour or an hour and 15 minutes. But what happens is you start thinking before the event and getting together and you start making decisions about what to work on. And for me, I end up doing more work later or the next day. So it's a real boost in that way. Yeah. And I see Sahar is here now. She's been one of the regulars too. Really? Yeah.

Cynthia Beth Rubin

Thank you very much, Cynthia. So that's 12 noon Eastern time every Tuesday. Right. And, you know, if a huge number of people, if a few people want to do it at a different time, it can be organized. We made up a separate Zoom account for it so it doesn't interfere with other expressionist Zoom. So we can share that with anyone who wants to organize a different time. Like an evening time or middle of the night for people in Australia time.

Cynthia Beth Rubin

Okay. Great. I'm not sure if Sahar is ready. Why don't we give her a bit of time to get ready? Deanne is here. Are you ready to present, Deanne? Sure. Okay. Okay. Just let me get my. I'm kind of getting myself organized here a little bit. Okay. I'm going to be. I'm going to let you know at the four-minute mark. Okay. Great.

Cynthia Beth Rubin

Okay. Okay. Okay. Okay. Okay. Okay. Okay, so I've been participating in the text version is I'm co working sessions as well. So the first time I went, I was, I just thought I don't know exactly what I'm going to do so I had been messing around with doing some collages analog collages trying to find materials that don't bother me. And so I decided to take a photo and have one of them and upload it and just mess around and procreate with it.

Cynthia Beth Rubin

So this was my first effort. And then that sort of became a theme for the following sessions was I would work on some find something that I had been working on uploaded and then add some digital elements to it once I was in the while I was working in the session. So I find the sessions to be really helpful for actually sitting down and doing work because I can always find something in my house that needs to be done, other than making art. So These have been really great because I know I have it's like an appointment. So I sit down and I get work done and as Cynthia said, you start thinking about things beforehand. So sometimes I will do some collaging beforehand just to kind of get ready for the session.

Cynthia Beth Rubin

If I'm not Prepared that week, then I will just do collaging during the session. So this is just one of the collages I made while I was during the session that I worked on. I just turned it into black and white on my camera. And this was last one I worked on. So I had tried dying some fabric with ink and then doing some stitching into the ink, but the ink was bothering me. So then I photocopied it. Photocopied the fabric and then imported it into my Procreate and then was working on this is what I did yesterday.

Cynthia Beth Rubin

And so I want to thank Cynthia and Cynthia for organizing this because it's been super useful for me. Thank you. Your work is fascinating. Yeah. Really beautiful. Beautiful collage. I like that it's spare, you know, and it does. It's not a lot of clutter. It's spare. And Strategic in the placement of the shapes. And the textures. So thank you for sharing. Thanks. I love seeing other people's work that's like super detailed and complicated. And then I try to do that myself and I can't. I just always end up taking stuff out. Yeah. So could you share what are some of your thoughts in creating, for example, the first two pieces that you shared? What were some of your thoughts in during the creative process?

Cynthia Beth Rubin

Really, I'm just looking at interesting shapes and shadow and stuff that I can play off of. I never really have an idea when I start working on anything. So I use like, like when I draw, I automatic drawing. So I always just start out with trying to find something that I like and then building off of that. Usually I'm very into tones. So shadow has like a lot of light and dark have a lot to do with it. I really, really like stitching right now. And if you look at my own Instagram, who I follow, there's a lot of people who are doing like hand stitching work. And so I've been trying to figure out how to incorporate that more into my pieces.

Cynthia Beth Rubin

So that's a thought that I always have now when I'm working on it is how can I incorporate the stitch into it? I invariably always turn it into black and white. Sometimes there's a little bit of color in there, but not often. And the first pieces I was working on for collaging, I, for some reason, they all seem to kind of look like boats. And I don't really know why, because I don't live anywhere near water and I don't like being on the water. So it just was sort of this weird sort of thing that came out of it. And then I just sort of went with it because it's, you know, just what comes out of your subconscious, I guess, or something. But, but yeah, those are sort of the things that happen when I'm working.

Cynthia Beth Rubin

Yeah. Well, water is a symbol of nations in the human collective subconscious. And it's also a symbol of life and rebirth. And so maybe the current turmoil of our world might have found its way into your work. I have a, I have a teenager and she's, you know, contemplating life as an adult and it's been stressful right now with, you know, seeing everything. That's going on in the world. So we've had conversations about that. So you never know that kind of stuff sort of creeps in. Yeah. It's how you problem solve. Yeah, exactly. Mm hmm.

Cynthia Beth Rubin

I wanted to also mention about seeing Deanne last year at this time out in Edmonton and the space where she lives is extraordinary. It's she's outside the city. And it's a beautifully open sky. And I think that openness and also that idea of north that Canadians have because we live with ice and snow for so much of the year, especially Edmonton gets a really long winter. And that might have something to do with the black and white and the spare quality of the work.

Cynthia Beth Rubin

Yeah, I'm definitely a prairie girl. I love my open skies. I don't like being surrounded by too much stuff.

The next topic for discussion is the idea of a show in real life. And if a few songs ago, I'm not sure how many but Tommy Mintz came up with showed us a five minute tour of Clive Holden show at the Kingsborough campus of the college where he teaches. In Brooklyn. And then he came to propose an idea of having a show in the same space in the summer of 2024.

Tommy Mintz

And I'm really excited about the idea because he also mentioned that there may be computers in the space itself where people can interact with the work in a virtual way. And I'm also interested for my contribution to put still works that you can hover your phone over using an app like Artvive. To have them come to life using that technology. So maybe Tommy, you could talk a little bit about this Brooklyn 2024.

Tommy Mintz

I'm trying to manage two screens at once. I'm going to try to share from my laptop here because I have everything kind of organized and talk through my iPad and see if this just works. So, oops. Oh, here's a, I just shared in the chat, by the way, a virtual, you know, this is this is Mozilla hubs version of the Kingsborough Art Museum space that I built out, thinking about a previous show, so we can strip this down the walls and reinstall our work. So this is the exhibition there. So, the current exhibition there. Right now, is this. Do we have this working? Sorry, everything seems to go really slow on my computer when I open up Zoom. So I apologize for that.

Tommy Mintz

So, the Kingsborough Art Museum is a big square space 42 feet by 42 feet. Two walls are covered 14 feet up in, is this showing up as I go? Yeah. Oops. And hopefully this is a video not playing, sorry. Here's an installation of Clyde Holden's piece, which is a very long rear projection screen that we have hanging with fishing line, basically, and a very thin wooden frame atop it. And I'd like to reinstall this piece.

Tommy Mintz

And fill the walls with work. And have some tables with computers. And have another screen. I expect it to be dimmed down like this. But I'd like to have lighting on individual pieces. We could have clip lights or something small. I'm also thinking about how to handle audio. Whether we could have small speakers and tables or parabolic speakers. I know there's a number of us who are musicians and are interested in sharing audio.

Tommy Mintz

So, and I'm hoping to avoid headphones just for sanitary reasons. Don't get me started. So, this is what's there right now. It gives you a sense of Clyde's work, which he was in the Southampton show. He's actually heading to Paris right now to mount another thing. Anyway, this is the outside of the building. Where sort of a modernist 1960s brick bunker style, if you will. And here's a view of campus. They're hopefully going to get this digital screen working in the front. Maybe we could get some work on that. Thinking about that. We also have, oops, that's my foot heading to campus. We have prints that we put out, out on the public space. This is the street front that people come, here we are, to our campus from. So, here we have a big gate. People enter the campus. But we're allowed to promote our image there.

Tommy Mintz

So, I know we have promotional image. We could also think about that. Think about, like, what it means to have, oops, here we're back here. So, this is a sense of the space. We have these very nice walls. Really. So, I'm working with Sungjin, there I am, Seungjin Lee, who runs the Digiana Studio. Here's an elevated view.

Tommy Mintz

In Long Island City right now. And he's been also coordinating live events. We're planning on doing live programming. Is that working? I feel like this is stuttering through a video. I'm sorry if that's lagging and not showing. But I'm hoping to just give you another perspective on the space. This is me up in a lift. Sort of giving a pan. Let me see if that will play the second time if I do it this time. It seems to, I'm sorry. It plays on my computer. I don't see it coming through on the screen. But, move on. Here's another elevated view. So, we have adjoining lecture halls that we're planning on doing live. And we're doing some, oops, this is a friend who I'm asking to be on the show as well. They etch. They use etching techniques to create giant boards that are beautiful. To trees and stuff.

Tommy Mintz

And here's some other work I'm soliciting for the show. I don't know what that is. I'm sorry. Hope I know where she starts. This is the area, though. This is Brighton Beach. We're on the water. It's a big, beautiful campus. We have the opportunity to propose a program. That's a car accident outside campus. We have sculptures around campus. I suggest looking at the place on Google Maps or Apple. You know, look at the satellite view or the walk. Here's another set of work that I'm planning on asking to be on the show. This is Mike Romeo, Nightshining. He does sculpture. I'd like to have some physical pieces. I know we've had some of my physical pieces in the past. This is food in the neighborhood. Come to the neighborhood. There's really interesting food in South Carolina. This is a wonderful hot table and plov.

Tommy Mintz

Make your own plov bowl. So I'm just giving you a sense. Oh, and we have lots of fish. There's actually a lot of nature around. Right around Jamaica Bay is an estuary. Oh, here's Seungjin Lee's work, which is here's some AR, augmented reality fashion that he's created with this model, Momo, and his work and filters. So I'm just giving you a sense of the stuff, like the range of stuff that I'm hoping to be able to share with you. And then I'm hoping to include here's the space filled with student work. So we can actually get a lot of stuff in there and a lot of people fit in there. But we also have these adjoining spaces. Let me just show you my picture of other spaces. We have display cases that we could imagine putting prints into. This is in a main hallway on campus.

Tommy Mintz

I'm going to keep going through spaces. Here's a picture of campus from above. I don't know if we'll get a projector. My dream someday is to have a projector bright enough to project on that triangle building. Isn't that a wild architecture thing? I'm sorry. I'm going the wrong way here. So I think that might be all of the pictures I have. Oh, here's sorry.

Tommy Mintz

Going back one. Here's this exterior space that we're planning on doing live events in, maybe having some music and other stuff. It's an amphitheater. And this is actually where they do graduation. They just have a big tent here and thousands of people fit in this space. So we're hoping to have one day of live programming. This is MoMA. I'm sorry. This is inspiration stuff. I'm just going to scroll through this. People, go see the show at MoMA. It might have closed already. This is the screen show. They had selfies. Screen show at MoMA. How did they install at MoMA? Binder clips and projectors. I love it.

Tommy Mintz

So, you know, we can go all different directions. We can go all different directions and thinking about how to display expressionism. I think in a professional manner. MoMA had some very interesting solutions that we can lift a couple of these presentations from. I have a small budget for materials, for shipping.

Tommy Mintz

I'd love to have artists do presentations and, you know, live events, panel talks, that kind of thing. As well as these performances that Sungjin and the Brooklyn crowd, I met a couple of these people, are doing. I was hoping I could find these other pictures of the Brooklyn people doing their wild stuff.

Tommy Mintz

Anyway, I'm sorry. I'm running out of time here. But we do have a lot, I think, that's in the mix. And I'm going to ask everybody to submit work, you know. And I'd like to just have the widest variety of, you know, Techspressionisms. Yeah. Broad range of facets of approaches. I don't know. I don't want to put words into people's mouths here at all as a co-curator. But it's an exciting opportunity, I think, to sort of continue what Colin began with the Southampton show. If anybody's interested in writing about these things, that would be greatly appreciated.

Tommy Mintz

You know, it's one of those things that I feel like some people are really good at, you know, describing this sort of, ephemeral thing that I'm not so good at. I'm going to stop sharing my screen at this point. And see if that works. So, Renata, was there something that you wanted me to talk about in particular about that? We haven't opened up our call for artists yet. We're working on a Google form. Going to just make sure we don't have to send it twice. You know what I mean? We're ironing out our bugs in our call right now. Yeah.

Tommy Mintz

Two questions I have. One is a rough idea of the dates. The rough idea of the dates are July 14 or 17 through September 14 or 17. It's going to be the same day of the month. I think it might be the same. Don't quote me. One of those two. Okay. And I... Okay. That's really nice to have that long a time. And as far as equipment and projectors and stuff. And the computers and screens and all the display paraphernalia.

Tommy Mintz

How do we fund that? How does that get to happen? I've been writing grant proposals. This is kind of a grant driven installation. And I've now applied for a couple grants. And I've received one. Yes. So far I haven't received any no's yet. Which is nice. But there's a bunch that are still in process.

Tommy Mintz

Whatever. So, yeah. That's how I'm funding things. It's a little bit DIY. There's a place called materials for the arts in New York that recycles stuff. So if we have particular things that we want to build out of common office materials. Or if we want a desk or tables or chairs. We've built that kind of stuff in the past. And, you know, with found materials and low budget. I buy stuff at Home Depot and get reimbursed. For my grants, basically. For building stuff often. That screen. You know, the material for the screen. I purchased a place in Secaucus that specializes in it. And we sort of put it together ourselves. I don't have any staff.

Tommy Mintz

Really. We have a person who's the director of the museum space. And he's very supportive. But he doesn't have a budget. Although he's so happy with Clive's piece, by the way. And we just got a review. I need to post the review to the chat here. It's very nice review. We might have budget for postcards and food for a reception. Or something like that. Through the auspices of the museum. I have money, I think, for materials. Enough to have an array of screens. Some Mac minis. Some just nice $150, $200 monitors. You know, those are really nice these days, actually. And plenty of raspberry pies. Those up the wazoo. So we can really drive a bunch of different screens if we choose. Okay. And as far as people helping you in any way, are you looking for helpers?

Tommy Mintz

Sure. I mean, we're organizing right now the next meeting of the co-curators on a Sunday in October. And if anybody's interested in, you know, helping out and thinking about, you know, how to make this a good show, yeah, that would be great. Let me email me. My email address. Tommy, I put a note in the chat.

Tommy Mintz

I don't know if you caught it or not. But I can help in the background, health depending, certainly. Fantastic. I think this sort of putting together documents and calls for art, we don't have to all be in the same place. We can just totally organize. That would be great. Thank you. Tommy, have you considered a fee for the call? We have. And we rejected it. Because it's under the auspices of these Kingsborough Community College, just part of the City University of New York. Any money that we're handling has to come through one of two places routed through our channels, if you will. Okay. And I'm not going to get into the weeds here. That's performance art and some other, you know, magic. But what I found is it's worth just going for these approved funding sources, you know, that will provide.

Tommy Mintz

And people see, you know, out there, there's a lot of nonprofits that will fund you. If you have a nonprofit yourself that you're part of. And we are. So we receive funding from a foundation to, you know, support our programs within the college. And, yeah, so that's what I've been doing. I've been going out and sending nice emails to people and describing what we're doing. And, you know, sometimes it turns into something. So right now I'm waiting to hear back. I'm much more funding, actually. As I said, I don't want to get into the details. But I think it's plenty to cover the material expense. It's never going to be enough to reimburse artists for their time, you know, that we put into our work. But it will be hopefully enough to defray all shipping expenses and make sure, you know, we have publicity and a catalog.

Tommy Mintz

And, you know, that it's worth everybody's participation as artists. You know, it'll be a real show. Does that make sense? Yeah. Thank you very much, Tommy. You were on the verge of saying your email. I think I put it into the chat. Did I say it to you directly? Yeah, I see it now. Sorry. Because I was chatting with Lee. Oh, Lee. Okay. Thanks, Lee. Yes. We'll chat.

Tommy Mintz

And just to answer a question I saw in the chat earlier, in this exhibition there will be scope for a reel of works by artists who are in other countries. Yes. We encourage. Submission. We will be encouraging submission from everybody around the world. We will figure out how best to display things as curators. I mean, that's going to be our job is to figure out how to make sense of this. Right. And organize it into a nice presentation and space. I do think that a lot of the work will be just on screen. Right. We will have some very nice screens. And I think I'm going to build an array of four screens together that will fill a very nice space. A space of a wall.

Tommy Mintz

Great. We'll also manufacture on site for people overseas. And I think Colin is donating or lending some of the collection from the Southampton exhibition of international artists as well. So, absolutely. International. Two thumbs up. Great. We are kind of running out of time now. Renata? Yeah. We skipped over the Instagram idea.

Tommy Mintz

Yeah. It was 1259. We usually go an hour and a half. Okay. That's what I wasn't sure about. If you want to talk about the hashtag and then Sahar, are you ready to present? I think she is. Hi, everyone. Yes. I think as my eternal. I think I can present now. Okay. So, if you would go now and then Michael, the hashtag, when is next?

Tommy Mintz

Okay. So, can I share my screen? Please. Thank you. Can you see my screen? Okay. So, I'm going to go now. Yes. Yes. Can you? Yes. Okay. Actually, we are lost in a rainy dark road. We trusted Google Maps. So, can you see my screen now? Yes. Yes. Do you see my screen? I cannot hear you. Yeah. We saw the thumbnails. There. Yeah. They're back again.

Tommy Mintz

Okay. So. Sahar, if these are all on a Google Drive, do you want to share the Google Drive with one of us and share the link to the Google Drive? We can show them for you. Maybe she could put the, oh, I'm sorry, the phone in a landscape way. Yeah. Oh, I. Sahar, we're going to go now. We're having trouble hearing your audio.

Tommy Mintz

If you send me the link to your Google Drive and share it with me, I'm happy to show it to people for you and then we probably can hear you. So, I'm going to put my Gmail in the chat that might work for you work a little better I think trying to show the visual and talk at the same time may be too much for your internet it seems that sahar is not with us at the moment but that's a great idea cynthia so as soon as she pops up again if you could suggest it and in the meantime, while we're waiting for Sahar, because she did write to me before the salon today to say that she's in another city, and she's not sure about the stability of her internet connection.

Tommy Mintz

So without further ado. If you wanted to explain the hashtag idea. Sure. So I think one of our big successes has been our Instagram page. Obviously, Colin strategically used the hashtag idea to gain a lot of visibility for Techspressionism in the early days, and it certainly has continued on to today. And I was thinking, is there a way for us to leverage the success of our Instagram page in a way that might be a slight difference from what we used to do? Well, that's the sort of thing we've done today. And my idea is that potentially periodically under Renata's astute taking care of the page for us, which Renata, thanks for all your hard work. I know it's a lot that goes into it. My idea was for us to create a hashtag that would be live for maybe like a week. And that if you use that hashtag under a theme, you know, Renata and I came up with something, you know, kind of goofy like life on Mars.

Tommy Mintz

So that then anybody who created artwork that posted to our Instagram page that also had that extra hashtag life on Mars, that then that would give Renata a way to curate and highlight during that week or at the end of that week, the pieces she bought were notable. And that way we would have basically kind of a call to artists to create around thematic ideas. And that we could do that on an ongoing basis. And it would be a way to highlight the artwork based on themes and also hopefully draw more artists realizing that we're calling for art specifically around different ideas. So that was it. It's an. Easy way to implement what we already have that we're doing successfully.

Tommy Mintz

And I thought it might be an interesting idea for us to give a shot at. And when Renata told me, yeah, she could do that, I thought, OK, cool. So that's the idea. I'm just trying to figure out how we can publicize this the best way, but for sure, the hashtag will say TS, which is short for expressionism, X, life on Mars. X, football, whatever the theme is that week and probably one week in every month.

Tommy Mintz

It'll be happening, so I don't know how to publicize it other than tell everybody, you know, I'll figure out a way of perhaps putting a post up on Instagram about that. Have you thought about collaborating with people? Thought leaders and other arenas that may run contingent to your theme that you want to run, for instance, you know, life on Mars. I have at least one Twitter follower who is in training at NASA for a Mars mission.

Tommy Mintz

And she started, you know, very early on. And there are others like that. And NASA is very active on Twitter. I remember being invited. I was invited on at least two occasions to attend events at NASA launches based on Twitter involvement. So you might want to contact them and let them know in advance that the Techspressionism Instagram account and by default, the Techspressionist group, we're planning to do an initiative on X regarding life on Mars. Is there a contact person that we can involve? I mean, people who are in training for a specific mission who can tune into the feed. You know, they don't have to create any type of narrative on their own, but maybe just be available to respond to what people post, like saying, yeah, yeah, this really resonates with X, Y, Z, you know, that we're doing and that we've been taught.

Tommy Mintz

So I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. And I think that's the kind of work that we're doing. Say hashtag NASA, along with TS, whatever the theme is, I think that would be enough to garner attention by all those people who follow NASA. Right. They have a huge contingency.

Tommy Mintz

So I think NASA actually has a contact person on their website and their images are public domain with permission, but they're not really, I mean, it's a little bit of a fuzzy area, whether it's completely public domain. Yes, it's your tax dollars at work for people who are U.S. Taxpayers, but you do, I think they would be thrilled. I think it would be better, you know, Karen's nodding. I'm nodding. I'm absolutely nodding because I just had an experience with an older radio with NPR and I was trying to get permission for it from back in the 70s. And I just ended up, couldn't get anything. I just ended up getting permission from the radio station and NPR to put it anywhere by doing, you know, contacting with form emails or anything. Eventually I called somebody who turned me on, turned me on to the next and I got the permission within 24 hours and both the radio station and NPR were thrilled to realize that this archive existed.

Tommy Mintz

So I would contact NASA and see if you can talk to somebody. Yeah. If you can get them to buy it. I think we're going to have to move on from this topic because it's really theoretical at this point. We haven't decided what the first hashtag TSX will be, but if it is life on Mars, then thank you very much for all of your suggestions. Can I just ask a question about lead time for these? Because for me, that's really crucial.

Tommy Mintz

We have a topic. Yeah. It hasn't been fully fleshed out. We have five subjects or five ideas that we brought up today. I want to give Colin a few minutes to talk about. Thank you for asking this question. You asked to be able to explain. I'm sorry. It was at the beginning of the chat. The wrong biennial. Yes. The wrong. That's it. Thank you, Lee.

Tommy Mintz

Yeah. Thanks, guys. So I just wanted to let everyone know now that we're recording that the wrong biennial is an online exhibition. It's almost like an exhibition of some sort. Exhibitions and Techspressionism has a pavilion this coming for this coming biennial and it will be basically the virtual tour and other associated content from Techspressionism digital and beyond which was the show that was in southampton so anybody that was in that show which there's quite a number of artists will now also be in the wrong and that's going to include you know the artist pages and all that other auxiliary content as well there's also a component of the wrong called wrong tv or wrong dot tv which has video content and a good amount of the video material associated with the show will be posted there as well including the commentary or curators come in conversation with helen harrison and Christiane Paul who's the digital art curator of the whitney helen harrison is our group advisor and she's the current director of the Pollock-Krasner house and study center in east hampton so it should be you know a nice mechanism to drive traffic to create awareness about the expressionism and certainly you know I look forward to you tommy's efforts and really appreciate and applaud his initiative for getting a second you know large-scale physical show organized so yeah that's pretty much it for me thanks guys thank you and for those who want to see the wrong and check out wrong tv the opening of the of the biennale is on the first of november of this year so do you have a title for the pavilion colin yeah it's just going to be Techspressionism digital and beyond basically so it's going to be the show as it's presented on the Techspressionism site with you know some of the content called out and some you know sort of emphasized for kind of a broad audience now that it's an archived event but yeah it's basically going to be the virtual show and I think it's you know it's a really nice 3d capture of the space Southampton Art Center and a way to create awareness and you know drive some global eyeballs to that exhibition speaking of global eyeballs the wrong TV is it comes out of Portugal it's a cable TV station and it broadcasts 24 7 artists videos and last year the year before sorry the year before last they were included in Nuit Blanche at the centre Pompidou in Paris so the wrong started out really small but it is getting bigger and bigger and I think that it's generating more and more press if you go to their website it's the wrong.org it's all one word the wrong.org and you can check the press that's been coming in about the various biennales so Sahar are you there for us

Yes I'm here and I have shared my images with Cynthia good thank you Cynthia I'm going to present the last two sessions of co-working with Cynthia and others who participated these are the images that I made two weeks ago in the co-working expressionism co-working session I worked on my light photos and for an hour and I modified them and worked in Photoshop as you see thank you Cynthia for sharing and I had many like few images out of my lights art and light photos I usually take photos of digital like car lights at night and then the last session last week I combined these photos I use these photos with some of my 3D renders and which we will see now these are all images I made two weeks ago but the expressionism for working so then yeah so this is the final image that I made last two days ago in the expressions of co-working I collaged up light photos with my 3D renders and this was the image that we made so on Tuesday for working.

Sahar Moussavi

Thank you. I'm sorry that I missed that so long because my internet was really unstable. Thank you, Cynthia, for sharing. Thanks. Okay. I guess I'll stop to share, people. Thanks. That was really beautiful, Sahar. Thank you so much. Really nice. I loved it. I see biomimicry in those images. They resemble what I recall of arterial walls, cross sections as seen underneath the microscope. And some of the images also remind me of ultrasound images of various hollow organs. The uterus, the heart. Thank you. And whatnot. Is there any feed into your work from the human anatomy realm or the biomedical realm?

Sahar Moussavi

I really don't know. When I start working, I really don't plan for something. But I start working and I just go on. And I try different filters and different things. And sometimes it's unconsciously. I think I don't really plan for it or have an idea, clear idea. Actually, my ideas are not clear. But at the end, I reach to some point and a result.

Sahar Moussavi

But I have to say that these co-working sessions are great. I have made... It's really, really productive. Thanks to Cynthia. Your work is beautiful. Thank you. It's really great to see all the work coming out of the co-working. We really should applaud Cynthia Beth Rubin and Cynthia DiDonato for starting it up, making it happen.

Sahar Moussavi

Well, I think we did it because we needed it. So it's thanking all the participants. We've covered all the five points. We said at the beginning that we wanted to try to adopt at least one of them. Personally, I feel we have done that in the form of a real-life show organized primarily by Tommy. And I feel that Tommy put out a call to people if they wanted to participate. As organizers or help in some way behind the scenes. So I feel we have succeeded in adopting one of the five ideas.

Sahar Moussavi

Susan Detroy, do you have a presentation for us? Oh, sure. Okay. It's going to be five minutes. I'll let you know at the five-minute mark. Great. Okay.

I'm going to screen share. So that's this one. And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it.

Susan Detroy

And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it. And I'm going to have the whole process of doing it. Which are that I'm going through work. I'm going through things that I've created over time. And in my artwork, I'm doing some, what I'm calling remastering. And I'm going to show a couple of pieces that I did during the pandemic.

Susan Detroy

I'll just show clips of these. Are you hearing this? I'm going to stop so I have enough time to show something else. All right. So that was started, I started that piece in the beginning of the pandemic. And I have several short videos that I was learning how to use CapCut and Motion Leap. And I now use those regularly.

Susan Detroy

Also, another piece that I, started as an NFT and then moved it into CapCut to create a new and different piece from the rose response imagery that I've done. Okay. Stop that. Okay. And then I'm going to show you, I'm going to show you, this was a movie I started quite a while ago that I remastered. And it's going to show lovely. It's called the Eugene Mayer's Art Show. So I'm an avid bike, leisure biking person. And I make videos about my biking regularly.

Susan Detroy

And this will show as part of an exhibit in, I don't know, I don't know, October. And lastly, this piece I started also in the pen during the pandemic. And I worked on this piece, the last coworking session and also found out through experimentation, through using Motion Leap, which I haven't used in a while. I used it a lot during the pandemic. And learning editing that now there is an AI segment.

Susan Detroy

Oh, I should just play it. That I have started to incorporate with this piece. So I'm like that. I'm using work that was created in a, in different time and headspace and then remastering to, and using new tools. So, all right. I don't know how much time that is, but you have one minute left. Okay.

Susan Detroy

This originally played during the pandemic at a local place. A local gallery. That was all about. Things were only shown at night. Okay. Stop that. And come back and. Where am I? Okay. Okay. So I'm going to stop there. I'm going to stop there. Okay. Thank you. Thank you. Susan. Thank you. I. Very much appreciate the coworking space. To be connected to people. That do digital work. Because where I live. There's not the artists are mostly two dimensional. Hanging things on walls. So thank you very much. Thank you. Thank you. Thank you. Thank you.

Susan Detroy

But I'm out of here. It's. It's my it's really been great to see the evolution of work over the years. For a lot of us, many people weren't doing animation and they're now animating. And yeah, it's hard. And I. Go ahead. I just I also want to say that inspiration and understanding and feeling about digital work.

Susan Detroy

It comes to me through the screen. I'm in Eugene, Oregon through this group, through this group and the co-working, but the salon has. A pivotal part of my development as a digital artist, so I want to say that out loud. When I talk with people, I agree with you about the salon. When I talk with people about expressionism, I always say what Tommy Mintz said, because I think he captured it beautifully. He said, to expressionism, it's life-changing.

Susan Detroy

It's really, I can't say how much I'm happy and thankful. And I don't know how to sum up the meeting we just had. If anybody has any remarks about any of these ideas that were presented, please. Please speak up. Do I still get to show? You have four minutes, Lee. I thought you were going to show when you back earlier, but it's okay. Oh,

Okay. Okay, so I'm sure screen. So as a lot of people here know, I do these paintings behind me a lot, and I turn them into videos. But I was telling Colin before, and he said, show us the software. Here it is. Okay. Show us. The software. So I'm opening up DaVinci. I don't know if anybody here has used DaVinci Resolve. I was using Olive when I decided to not use Adobe Express anymore.

Lee Schnaiberg

But I was missing mirrors, which I really miss. I use them a lot with Adobe. Now, here's one of my pieces. I'm just going to scooch a little bit forward, because the thing I wanted to talk about with this piece, actually, I wasn't able to skip. But the thing I wanted to. I wanted to mention was how when I was a VJ, and when I was doing a lot of real experimental film and video in the 90s, feedback was really fun to play with. If you've got a really good camera and a good monitor, you can alter the feedback by pointing the camera at the monitor.

Lee Schnaiberg

And what I discovered here, and it's going to happen in about 30 seconds, And if anybody is... Oh, that's weird. It just stopped. That's strange. Ah. I am so sorry. I don't know why. Oh, okay. So let me just skip ahead. What really was interesting to me was I found that by mixing... Because this is all mirrors, and I'm moving mirrors around over my painting. But what I found is what's about to happen is that I'm going to have to do a little bit of a video feedback. And what's going to happen right now? Feedback. I start to get video feedback from this process of too many mirrors. And I was going to say, if anybody's epileptic, please look away. But what I really wanted to show was those 40 seconds really got me excited, because I started to look at them. Each one is a unique frame.

Lee Schnaiberg

And there's 40 seconds. So there's 1200 of these. I mean, talk about a generative piece in a weird way. And I know that a lot of them are somewhat similar. But I also think, wow, these are like such dynamic variations on my painting. And if I can find like the top 1%, that's 12. If I can find 12 of these unique pieces, and I have about... In this piece, this piece is 20 minutes long. And I have about...

Lee Schnaiberg

How do I stop sharing? Okay. I have about 3 minutes total, maybe 4 minutes of those, where it's a different version each frame. And so that's thousands that I get to choose from. And I'm really excited about that. So I just wanted to share that. The actual video is really kind of fun, but it's long, and it's a whole process. So I just... This is a really little thing I wanted to share with everybody. That if you use DaVinci, which is... My favorite software now for editing video. If you do any video of your stuff, there's a free version. There's also a paid version, which is like 200 bucks. And it's for life. As opposed to Adobe charging you a subscription forever.

Lee Schnaiberg

And I find it really fun. But it gives you so much control on the mirrors that you can play with this kind of... Like, you know when they build those mirror boxes and infinity boxes? You can get that kind of effects. Like, I only showed you one little section, but there's so many variations on the feedback.

Lee Schnaiberg

And to me, it's like a brand new type of feedback. And I've always loved video feedback and audio feedback. So it's a new little playground or a little medium to play with. And I wanted to share that with everybody. So thank you so much. And I think we're... Oh, we have a minute left. Thank you so much.

Lee Schnaiberg

Thank you very much, Lee. It's always great to see the developments and those nipdicks that you're doing. Do you use DaVinci to edit those? No, I haven't done any video with those. Those are another dumb joke. Well, you were there for the very beginning of it when I thought, how do we do something Canadian? Tim Hortons in a bowl of poutine. No, Bob and Doug in a bowl of poutine. How do we get to Canadian? And then I turned... I was like, oh, look at these Canadian artists. So those nipdicks, those are just simple.

Lee Schnaiberg

They're like, what's it called? MS paint. You can flip an image. And if you blow it up to 800, you can really line them up nicely. But you can't do anything else with that as far as I'm concerned. I don't think it's a drawing tool. But for the nipdicks, that's all you need. Because those artists are so amazing.

Lee Schnaiberg

Could I interrupt and ask you to show us the painting, the original painting? Oh, of course. Yeah, thank you. Okay, yes. Let me just go back here. And this is so weird. I'm so sorry. Why am I not able to find it here? Maybe... Okay. Here, yes. This is the original painting. I can even go like this, I think. Will this work? Is it big there for everybody?

Lee Schnaiberg

You haven't shared. Oh, okay. I haven't shared. Oh, my gosh. I'm such a dummy. Okay, let's try that again. Let's try that again. Zoom. Go back to Zoom. Go then to share at the very bottom. The big green one, obviously. Da Vinci Resolve. And now... This is the original piece. And like this entire series, it's just one line. It's a continuous line with black on one side and white on the other. It looks really complex, but it's really simple. I mean, I think... We're not... I'm seeing your video editor, the editing. I'm not seeing the painting. Oh, that's horrible. Okay. I thought that you could... Can you see it in the middle of the screen or no? Yes. Okay. So I was trying to do it full screen, but yeah, that's the original piece.

Lee Schnaiberg

And yeah, it's a line that I haven't stopped drawing in way too long, like decades and decades. But I've gotten it better. But if you see the actual piece, you can always see a little bit of the graphite of the actual... I use a nice, like a 6B and really nice paper and then ink. And then I'll blow those up onto canvases.

Lee Schnaiberg

And sometimes I'll do something like with the MS Paint, flip it over so that I have the mirrored images and I can make two of the canvases. They fit together in a weird modular way. But I also find that playing with the... Playing with the... I don't know if you can see, I'm scrolling through this, the video. There's different... With the mirrors, you can get different effects. Sometimes they just blow up into these crazy patterns and they have this really nice sort of generative moving to it.

Lee Schnaiberg

But I always try to go back to, like back to the... Bring it back to the painting and then get into space. And... But what really got me excited was... Thank you, Lee. Lee, we have to wrap it up. I'm afraid. No, that's okay. I was... Thank you so much. Let me stop sharing. Thank you. Thank you so much. Thank you. Thank you. And I want to say thank you to Michael and Lee both for helping with the moderation today.

Lee Schnaiberg

And there's an after party for anybody who wants to stick around. And we'll probably talk some more about the ideas that we generated. And finally, I just want to say it was great to see both Moritz from Germany, Anton from Russia, and some Canadian artists as well. Deanne, Jan from Toronto, Lee, and myself. Thank you. And I wanted to say something. I wanted to invite everybody.

Lee Schnaiberg

Can you hear me? Yeah. Hi. I wanted to invite everybody to an event that I'm doing tonight. That... Cynthia Beth Rubin was kind enough to send a link to. It's work that we were doing as Park Bench and originating the first performance series on the Internet and other installations. And I would appreciate it if everybody registered and came and joined us.

Lee Schnaiberg

That's all I wanted to say. Can you paste a link to the registration in the chat if you can? Oh, you did. Okay. Great. I did. Go back up. And I just want to say we also have Iman here from Iran today. That's right. Yes. Thank you. Bye. All right. So I guess we are wrapping up. Do any of the moderators have any last words before we close the recording out? No. All right. Thank you. Thank you. You guys all good? All right. Well, yeah. I just want to say thank you very much to all the moderators and all of the participants in this experiment called Techspressionism. It definitely has gone way beyond what I ever would have anticipated. So it's really just very gratifying and amazing to hear the idea that this could be life changing. It's just blowing my mind. Certainly it's changed my life, though.

Lee Schnaiberg

So I'm really happy that all of you guys and gals have been a part of it. Thank you, Colin. Absolutely. All right. So if anyone wants to stick around, we will be having an after party after the recording closes, AKA an advisory board meeting. So whoever wants to stick around gets to help direct the recording. But if anyone wants to stick around and share their thoughts on how they feel about this project, feel free to put them in the chat box. You know, where this whole thing goes. And with that, we will cut in three, two, one. And....