Salon 101 // Open Mic

Hi everyone, my name is Colin Goldberg, and I'm a Techspressionist. Today is December 4th, 2025, and we're here at the Techspressionist Salon Number 101. This is an open call, sort of situation, or open mic, as we like to call it, where artists can just jump in and share what they're doing. It could be, like a planned presentation, or just kind of an impromptu thing. So we have a bunch of artists in the lineup. Right now, we're gonna have, Renata Janiszewska start us off, and then we have Bill Rogers.

Colin Goldberg

We have Michael Pierre Price. Clayton Campbell, Tommy Mintz, and Sahar Moussavi. And then, if we have more time, if there's anyone that would like to present, after this current lineup, you know, just, put up the raise hand tool and, you know, start to add people to the queue. So, before we jump into the first presentation, if everybody who is not presenting could please please mute yourselves.

Colin Goldberg

And then we will, get going. So the first artist that is going to be presenting is our, fearless Instagram curator, Renani Yanishevska, who's, devoted a ton of time and energy to this community, really helping to you know, keep this presence on social media going, and also, sourcing artists and finding lots of great artists to be added to the Artist Index. So, for all of those of you who are on here who are new to the community, or anyone watching on YouTube, if you want to, have your work seen by Renata.

Colin Goldberg

Add the hashtag Techspressionism to your posts, and, they'll show up in a hashtag search. So, so yeah, that's a good entry point as far as involving yourself with this community. And then certainly attending the salons, I think, is kind of… The next level of participation, Renata and I were actually discussing this recently, and I kind of started thinking about, like, what Techspressionism is, and so the use of the hashtag is kind of like a first layer or level of participation that is.

Colin Goldberg

A way to get involved, and if you identify with the idea, the second level, I guess, would be coming to these salons, which is really where, you know, the community convenes, and people get to know each other. Also, the co-working sessions, which happen on a weekly basis. It's an excellent way to be involved. And then… and then, you know, down the road, several of us have actually become curators within the group. I see Tommy here, Mintz, who's curated two, large, exhibitions, Brooklyn and Chelsea, and Cynthia Beth Rubin, who, curated the Uzbekistan Museum show.

Colin Goldberg

I curated the show in Southampton, and, you know, there's been a number of other exhibitions, online and offline, that have been, you know, put together by various community members, so I think… you know, I would encourage anybody who's involved to, you know, jump in and start, you know, putting things together if you'd like. So, so that's enough out of me. Without further ado, I'd like to pass the mic on to Renata.

Thank you, Colin.

Renata Janiszewska

Hi, I'm Renate Anushevska, and I'm coming to you today from Lion's Head, Ontario, Canada. I'm going to show you some completed projects from this year. The first one is called the Lumen Suite, and it was made upon request for the ISAEA 2025 Media Arts Symposium held in Seoul. The curator was Yeohyun Ahn. She's an artist on our Techspressionist Artists Index, and a graphic designer. With this exhibition titled Creative Graphics, she created a space where fine art and graphic design could meet.

Renata Janiszewska

Since the venue was the Museum of Calligraphy. Which is found inside the Seoul Arts Center, I decided to make works that contain glyphs, or Roman alphabet letter forms. I showed 30 paintings in this Lumen Suite, and they were displayed via a slideshow on a TV monitor, wall-mounted in portrait orientation. And when I mention the glyphs or the characters, you can see the Y's… Here… and… you can see my pointer. Okay, and then zeros, there's an elongated zero here, and a couple of zeros there.

Renata Janiszewska

Here is… An ampersand, which is one of my favorite characters. And it's made out of wireframe in this work, which makes reference to the underlying mathematical order of the form. It also references the constructivist and Bauhaus movements. Bauhaus is kind of a favorite of mine. But the severity of this wireframe is lightened by the color palette, which is very fanciful and non-technical. And for me, it recalls the color palette of Rococo art, paintings in particular. The… Custom brushes I make resemble wire in this work, so you can see there, and there, and also… The colors of these brushes are derived from color in the painting, so if you see this red up here… The brush took on the same hue of red there, mixed with pink.

Renata Janiszewska

And also there. And these… I made you a close-up, so… these… Brushes are… standing out because of the combination of shadow and light that is on them. And also the high-res files, because all of these paintings are done on a canvas that is 6,000 by 8,000 pixels.

Renata Janiszewska

And here's another example from another painting of the wire brush, and behind it, you can see very atmospheric and very diffuse brushes. And this one down here, because it's blown up, it doesn't really gleam, but when it's smaller, it looks quite golden. I'm always trying to get metallic… things going on in my paintings. So this painting here is full of cheroscuro, or an interplay between shadow and light. And I really… I was recently in Amsterdam, and I was able to look at some paintings by Rembrandt in the Rijksmuseum, and this drama that Karascuro makes is always really, something I love, and here's… you can see in this shape.

Renata Janiszewska

Just how strong the play between light and dark is. The show in Seoul led to an invitation from a curator, Hong Gyeon Mok, from GMAP. And GMAP is in Gwangju, South Korea. And it's Guangzhu's… now been named the… one of the… sorry. Guangdou is a UNESCO media art creative city, of which there are 25 globally. So, it was quite a prestigious venue, and it's a state-run venue dedicated to international digital art exhibitions, educational initiatives, and cultural exchanges.

Renata Janiszewska

So I have 3 different bodies of work in this exhibition. One was a series of 5 videos that I… with sound that I had made in 2023, and the other was, 20 paintings that were… landscape mode, rather than… vertical. So here's one of them. And it was shown… they were both shown in very, very dark exhibition halls. The rooms were very, dramatically not lit, so that the work was projected onto the wall. So this painting would have been projected on a on a scale of… 12 feet across, and 8 feet tall.

Renata Janiszewska

And also, if you look here, and… here, you can see these atmospheric brushes that I call the asteroid belt. And if you look at a detail, I noticed when I was scanning here that I used an eraser. Through these parts to break up the… The effect, and to give it more illusion of being not made by A brush on a computer, but more of, like, a hand-painted work. This… all this drawing by hand is something that I really strive to retain in much of my artwork, whether I'm… it doesn't matter what I'm using.

Renata Janiszewska

In the digital realm, I feel it's important to… show the hand of the artist. Here's another ampersand painting. This is from the 20 paintings. And the background is watercolor, and I'm just showing you this one so that you can see what happens. When I deliberately drew on top of the watercolor. And put this effect in that… it's just like working with… on a piece of paper. It's really quite beautiful to work with. Here's, something that has different degrees of, softness to it. So this entire shape here looks like it was made with a watercolor brush.

Renata Janiszewska

Whereas these shapes here, you can see how crisp they are, and this one as well, here on the right. And I'd also like to point out the color palette in this painting is very soft. It's peach and pink, and there's this really wonderful dark Umber that I… it's a brown with a lot of red in it, and… I just really enjoy being able to mix my colors with such precision. In these painting programs that I use. This one I'm showing you because it has some… other, linear brushes in it.

Renata Janiszewska

One on the upper left is very metallic, and there's the same brush down below. And the one on the right, the colors of this brush come from all the colors in the painting. So when I created the brush, I was able to take a snapshot of a part of the painting. The program read the color and then turned it into this very dynamic-looking linear brush. And another feature of the brushes is that you can make them very wide or very narrow, and you can also play with the intensity. You can make them more opaque.

Renata Janiszewska

There's so much choice. You could spend all day just Fiddling with your brush settings. So the last piece I'm going to show you with… show you is something that was commissioned, or it was done specifically for the space. The curator… Hong Yan asked me if I would do something for their immersive room or black box space. And I chose to… do the… you are forever in the disco. Because the space itself was like a nightclub. It was very dark, and the… work was 3 videos that were projected on 3 walls, and they went from the floor to the ceiling, and I had to work with the technical team to make sure I had just the right number of pixels here.

Renata Janiszewska

And also that they would be seamlessly joined here and here. And the chairs, the sofas, or whatever, couches on the floor, were there to give you the scale, so people would be sitting here, so a person would be there. And it has the elements of a nightclub. The sound actually came up from the floor, and I made a special piece of music for this work, and very disco… related sounds. But when you think about it, a nightclub is dark, a nightclub has… Mirrors, it's loud, and that's why I was happy that I chose the subject matter that I did. And one final note about this picture is it's from YouTube. There is a very good documentation of this on YouTube, which I'm going to drop into the chat when I'm finished.

Renata Janiszewska

I don't like showing video over Zoom. I work hard to make my videos very fluid, and the motion of the video is part of the work, so I prefer to just say, if you're interested in seeing it, it's on Zoom, sorry, on YouTube, and I will… I will drop the link. So, here's some installation shots that the museum did for me, and you can see this takes place in Venice, so you can see a part of the Venetian architecture here. And the visitors, or the patrons of the disco in the story, are Venetians. And some of them are from centuries ago, and some of them are very chic, modern-day Venetians.

Renata Janiszewska

Here you can see there are mirrors at the back of the room, and that's the exit door on the bottom right. And I think people are always drawn to the human face, So… I really did try to focus on making characters come alive, and it's kind of wacky, the whole thing, but it worked… it worked really well, and it was well received by museum staff and visitors. This is mirrors. Upon mirrors. Here's a little window. Looking out onto Venice.

Renata Janiszewska

And I use disco balls in some of the work. And they're based on the disco ball emoji. One of the characters in close-up.

Renata Janiszewska

Thank you.

Renata Janiszewska

Thanks.

All right, thanks so much, Renata, for sharing that beautiful work, and quite an impressive, install as well. Really, really incredible location, and the way it was set up, very nice. So… the next artist in the lineup is Bill Rogers.

Colin Goldberg

Oh, you're muted, Bill.

I'm Bill Rogers.

Also known as Stellar Fire. I'm a light artist.

And all of my art… It's based on digital photographs of refracted sunlight.

Oh, Bill, would you mind mentioning where you're zooming in from? I forgot to ask.

Moving in from California, sunny California.

Sunny California. And Renata is from Lion's Head, Canada. I forgot to ask that part, but if the artists who are presenting wouldn't mind also just mentioning where you're zooming in from in the beginning, that'd be great, so people can get a sense of how, sort of diverse the geographic spread of everybody is. So, sorry to interrupt, Bill, why don't you go ahead?

Okay, so I live in California, sunny a lot, and I use that sunshine to make art. I refract the sunlight. And, capture those images with a digital camera. So all my art is based on still photographs, but sometimes I animate that, and I'm going to show you some, highlights from a show I have coming up this weekend in Miami during Miami Art Week. Can you see a black screen?

Yep.

Okay. So I can animate my still photographs. And create art. Now, this is for a… I show these folks wanted a… Art video to play on screens throughout their event, So it needs to move. The idea is it's supposed to be kind of psychedelic and mind-altering. So I used some samples of my recent kaleidoscopic explorations. I take my photographs, and I've, you know, manipulated them, and distorted them, and created these kaleidoscopic, Somewhat mand. Effects. To animate them, as you can see, I have them moving, and moving in different directions.

Bill Rogers

Doing different things. Each one of these scenes you're seeing here is based on a single digital image of refracted sunlight.

Bill Rogers

I'm all about color. And I try to create warm. Movement and, you know, provide a,. Overall meditative, hypnotic effect, as if you're floating through space on a cloud of good vibes. Which is appropriate for this show.

Bill Rogers

As you can see. I call myself a crystal rainbow artist, but my rainbows are not your average, everyday rainbows. I'm… have the ability to blend rainbows and create a whole vast variety of hues and textures. And tongue. And that's what makes my art special. Nobody else does anything like this.

Bill Rogers

Have a long-arm effect. And the idea is to not… create meaning, or to have you think about things. Actually, I want you to turn off the conscious part of your brain. And just let it wander. And if your mind is wandering, then new thoughts, new ideas can come into it, and that's why the… kind of effect I want to have on my viewers.

Bill Rogers

Very abstract. Very unusual. And this is, like I said, this is, some highlights, some examples of my show this week. And… That's what I do. That's what I've been doing recently.

All right, thank you, Bill. Thanks for sharing. Yeah, very, I saw, comment in there, very meditative, and, absolutely, yeah, it's, it's… it's really very entrancing.

Let me also say that I've showed some early drafts of this work to people in the Techspressionist working session, and got some very good feedback that really helped me dial it in and Prof… Create what you saw.

Awesome. Thanks so much. Oh, and I neglected to, let you guys know in the beginning that there are Zoom translated captions available, for the salon. I'm trying to remember exactly where the documentation, was, if you go to the salon page, there's a link, and that'll explain, basically, where you can download a set of instructions to use those, so you can pretty much, you know, read, what people are saying in a variety of different languages. And that was, courtesy of Cynthia Beth Rubin, who also helped organizing the co-working sessions.

Colin Goldberg

And, with… along with, Cynthia DiDonato. And those sessions are held, every week. There's a link on the Techspressionism.com homepage where you can register. Thanks, Cynthia. She put a link to the translated captions in the chat. Where you can register on the Techspressionism.homepage.com homepage to participate in the co-working sessions. Which are group working sessions where everyone gets together and just kind of works, and they interact, I think at the end of it, so… Anyhow, we're moving on to the next artist, which is, Michael P.R. Price.

Thanks, Colin. I am,. Signing in here from, pretty sunny Phoenix, Arizona, so… if anybody wants to beat the winter snow, feel free to come out this way. It's gorgeous this time of year. So… What I want to share today… is work that I've been creating this summer and autumn, A lot of you… who know my work or have been part of the community for a while know that I often focus on rather abstract, surrealist sorts of work. My interests in the areas of physics with my background. Also very interested in the intersection where physics meets neuroscience and consciousness and spirituality. I tend to not focus on human beings, but the universe and showing our humanity by looking at the universe around us and what it means to be humans in this existence that we're all part of.

Michael Pierre Price

I… Began thinking about, Renaissance portraiture, especially religious, portraits, and then I was curious about if I could bring my own take on Portraiture that would be connected with this… this intersection of physics and consciousness and spirituality. Blending old and new, thinking about portraits all the way from back in the Renaissance, all the way through Andy Warhol. And so, I began doing a number of experiments using AI, using my work, using some photography.

Michael Pierre Price

And developing what I'm informally calling, portrait landscapes. And you will notice in a lot of the work here. That, the human quality is… sort of diffracted in some ways, sort of taken apart and put together, and the landscape Symbology that I've got in a lot of the work. You'll notice, things like… Stair steps, spirals, circles, trees, a very muted landscape. They're all meant to look at our human quality several layers below what today's selfie culture is all about, where you're always looking at the outer, and so for me, I'm trying to dig a little bit deeper.

Michael Pierre Price

So I'm gonna just kind of go through the samples that I have here. These are all still very experimental at this point. A lot of them have been done fairly recently. And I… I'm, working on, Fine-tuning them, if you will.

Michael Pierre Price

Much of the portraiture is meant to look back at the viewer, so I kind of want there to be maybe a little bit of discomfort, as the artwork looks back at you. These… these paintings, for me, again, are very psychological, very spiritual. Causing… hopefully causing the viewer to kind of look inward as well.

Michael Pierre Price

As I've explained before, in previous salons, much of the work that I do with AI is very Customized in the way I work with the AI. I purposefully use language, ambiguity, conundrums to challenge the AI. And so, for me. I am using very amorphous starting points, not knowing where this might lead to, and as somebody who's always wanting to experiment in the work that I do, I'm often surprised, and I find new trails to, follow and see where some of this work is leading to. You'll notice on a number of these that there are small figures along with the large human portrait, or the large human head. And for me, that's the psychological part of looking inward, confronting our thoughts confronting, our humanity, if you will. And so, for me, that… that's where a lot of these small figures come in, is that confrontation with that inward journey.

Michael Pierre Price

I like the idea of the landscape as a very simple, muted background. For me, it… it connects us to the universe, and it's… my feeling of the spiritual in me being just in awe that we even exist, that we could be here today, that we could look at beautiful artwork and think about it, and see the beauty that we bring forth, from this collection of cells that we're all made out of.

Michael Pierre Price

This one I particularly liked because the stair step for me is a really big Element in a lot of these, but these stair… these stair steps look more like books to me, and I… I love that quality.

Michael Pierre Price

Many, many of the works were really, really challenging to create. Like I said, a lot of experimentation. A lot of looking at what I felt, were commanding works,. And even though some of the techniques are different and varied, there's, to me, a very strong thread that runs through all of these pieces.

Michael Pierre Price

Alright. Thank you.

All right, thanks so much, Michael. I really enjoy seeing your work and how it's developed through the years, and you know, you're one of the people on here that's really been here pretty much since the very beginning of these salons, so…

Thanks, Con.

It's cool to see, you know, the longer that people are here, the more that, you know, we can see people's body of work develop, and how it kind of moves in different directions, and I think that's what really makes it interesting as an experience to be part of an artist group like this.

Oh, and, and actually, sorry to interrupt, but before, before I end-end, I do want to thank The co-working group. A lot of my time that I get to experiment is part of the co-working, and getting feedback, like Bill mentioned, is really, really, invaluable. And I also want to give a shout out to, Aaron Koh, to Karen Leflour, and to Renata Yanashevska for ongoing, Zoom meetings that we share and talk about. Our work, and it's really why I've continued to be part of this, because this feels like, people that have so much to share and give.

Michael Pierre Price

And, yeah, so thanks, Doc. And thanks to you, Colin, for getting this all off the ground. We're still here!

Yeah, no, I mean, it's… it's pretty… it's pretty wild that, you know, we're on our 101st… first salon. I mean, it's just mind-boggling to me. But, you know, I just think that it's something where the consistency is what makes it, you know, valuable, and starts to really create, you know, create a group. So… and that's how it was originally conceived of, was just an artist group, and then however anyone else wants to define it or look at it, you know, that's… that's up to, you know, sort of conjecture. But, I think at its core, you know, it's an artist group, so… and I'm zooming in from, North Bennington, Vermont, and it is… going to be negative 1 tomorrow, apparently. We're getting an arctic blast overnight, which is… not something I'm looking forward to, but at any rate, we will move on to our next artist. Oh, and Michael, also, one other thing that I wanted to mention about your work that I think is interesting is you know, that you're not trying to create prompts to achieve a specific result, necessarily, which is sort of the traditional way that people think about using AI, and specifically, you know, text-to-image AI versus… using it as a scientist, essentially, experimenting, what if I put this in here, and let's see what it does? You know, and I think that's an interesting approach, and an interesting way to think about AI.

Colin Goldberg

Is to, you know, to… we had a salon a while back called Breaking AI, which I thought was a great title. I forget who exactly came up with that, but I think, you know, it was Renata, yeah. Made me think of Breaking Bad. But, you know, breaking AI is, like, how… you know, how can we make it do something that it isn't supposed to do, or it's unexpected? And actually, on a tangent, I have a neighbor who lives around the corner who has a daughter who's my daughter's age, and they play together and everything.

Colin Goldberg

And I found out, that she worked on Gemini. She worked for Google on Gemini, and her job was breaking Gemini, making it do things that were either they shouldn't, you know, it shouldn't… it shouldn't generate this, basically. It's unsafe for public consumption, or, you know, it's just not what it should be making. And I thought, wow, that's… that's a pretty awesome job. You know, she's… she's a computer scientist, but not an artist, but I always thought that… I was just like, wow, that's… that's pretty cool. So it's interesting to see how artists are, you know, using these tools in novel and interesting ways, and this has been an ongoing part of this conversation, there's been a number of salons on the topic of AI. It looks like we might be gearing up for another one based on some correspondence that's been going on between some of the artists in the group.

Colin Goldberg

And it's something that's really brought a lot of attention to Digital art, computer art, whatever you'd like to call it, technology-based art, just as the NFT phenomenon did, you know, in the early 2000s, which, you know, that's sort of subsided at this point, but, you know, AI has been the next sort of wave of interest. And usually it's pushback, both in cases of Crypto and NFTs, in terms of the sort of outrage of how could this be, you know, $25 million for this NFT, which now there's been a number of articles about how almost all of these NFTs are basically worthless, or very, very low in value.

Colin Goldberg

And then, you know, now with the AI conversation. You know, is it art? Is it not art? Is it going to be the downfall of humanity? All these things basically make people think and talk a lot about AI and its relationship to art, which is a good thing, because most people aren't thinking about art in general, especially in mainstream media, so… Yeah, it's… I think it's a net positive. So, anyway, I'm kind of rambling here, but our next artist is Clayton Campbell. So, Clay, if you're here, if you want to jump on….

Colin Goldberg

You're muted, Clay.

I haven't, presented here before. This is more of an announcement than a… A real presentation of my work, but.

And where are you, zooming in from, Clay?

I'm zooming in from Philadelphia. It's not quite as cold as where you are, but I'm… I'm freezing today. Anyway, I am going to talk a little bit about a project I collaborated on with Cansu Waldron, who's the founder of Digital Arts Blog. For this past year, it is called Making Our Miracles. It's in the wrong biennial. It's one of the pavilions it's the second time she's done this, and she invited me to be in the first one as a participating artist. I had a project that I was developing based on my time living in New Mexico and studying, ex-boto paintings. Which, for those of you who don't know what they are, these are historically, handmade devotional works.

Clayton Campbell

Created in the 18th and 19th centuries in New Mexico. By… you know, campesinos and poor people who, when they experienced a miracle. They would make a painting of it. And make a vow for the miracle having been answered, and they would write down what that story was. They're really quite wonderful as image-text pieces, and the tradition of votive art goes way back in time. I was interested in talking with Kansu, how we might approach this, as… In a contemporary format.

Clayton Campbell

And the theme of the wrong biennial was everyone must be using some form of AI-assisted application in their work, whatever they were doing in the dozens of pavilions they had. Let me share the screen briefly. And… so, this is the, home page of the Wrong Biennial, and if you haven't been here, there's a Tremendous amount of stuff here that's fascinating, really great, pavilions and hundreds of artists. Here we are. What we did was… This is a humanist project.

Clayton Campbell

But filled with artists who are really working from all kinds of directions with different AI-assisted practices and styles. We first put out an open call that went out internationally, and people anonymously submitted stories of either miracles they experienced, or just something… Transcendent that had happened to them. And this was taking place, you know, in a… A year that… Undoubtedly has been tense and anxiety-ridden and very uncertain for a lot of people, not only nationally, but internationally. So, this project was intentionally done to sort of mitigate some of that tension, and take us somewhere else.

Clayton Campbell

Spiritually. And I think the experiment was to see how the artists involved, which included Stacey Ant and Vince Fraser, Laser Gun Factory, Gusenka's Funhouse, and cari ann shim sham, besides myself. How we'd respond to these stories that came in. So, if you come to the show, which was curated by, Kansu. She, Assign the stories to the artists. And then they authentically and honestly, made what they, they, What they did. I'm just gonna give you a peek inside.

Clayton Campbell

Kansu picked the gallery, she hung the work, I stayed out of all that. I wrote essays, I made a lot of work for this show, but this is generally what it's like. And without going too much further into this. It's not that hard to navigate. This is a room with a lot of my work in it.

Clayton Campbell

There are a number of, interesting AI videos in it that I made for the first time. So there's some, exploration going on. This is one of Stacey Ant's pieces. But I'm gonna stop here, because I think you should come in and find out for yourself what it's like, and it just was a terrific experience doing this. We are,.

Clayton Campbell

We're planning on, doing other iterations of this project. And, that's really my announcement. It's a… it's… it's worth spending 10 or 15 minutes in there. Some of the work really needs a more meditative Embrace. Some as a quicker read. I know you all understand this, and what it's like looking at different kinds of digital art making. But anyway, that's what I had to offer, and thanks for your attention. Appreciate it.

All right, awesome. Thanks, Clay, and thanks for joining us. You know, welcome to the community, you know, first time presenting, so I hope you'll be back to share more of your work. What platform was this online exhibition created in the 3D space? Would you know, what was used to…

It's literally called Virtual Art Gallery, there was another one we were looking at called Matrix Kunst. There are a lot of them now.

Yeah, yeah, we use that one, Kunst Matrix. We've used that one, yeah, for some of the early shows. Can you paste the link to the exhibition in the chat, so people online here can know?

Oh my god.

Visit it, and then they can bookmark it and.

I will do that, and Yeah, as this experience goes on, I can critique some of the, up and downsides of using things like Virtual Art Gallery and, you know, how…. How it could be better. So, just a comment, because people have mentioned the Loop Art Critique. I've been in a couple of their cohorts. There's that kind of space to work in, which is wholly different. Then there's this sort of Simulacrum of a white cube gallery. They're both okay, but, you know, they're very specific intentions and outcomes that will occur, so… Anyway, let me, post that in the chat, and thank you. Appreciate everyone's time.

Awesome. Thank you, Clive. Alright, so next up, we have our illustrious artist and curator, Tommy Mintz.

Thank you, Colin. I'm gonna try to share….

Tommy Mintz

Is that working?

Yeah.

Slideshow. Should say to Expressionism, so on. Am I sharing my whole screen, or are you just seeing?

I'm seeing your desktop with, like, a smaller.

Umbrella.

I bet.

I'm gonna try that again, I'm sorry. This is… difficult, right? And now… Is that better?

Yep, and now it's.

Awesome. Thank you. So, yeah, I love seeing all this great new work. I mean, I feel like, I don't know where to start, ever, in talking about my own work, and I feel like a number of people here have seen my work before, but, what I do, just as a general practice, is I… I'm sorry, hi, I'm Tommy. I'm… coming… zooming in from Brooklyn, and most of my photography is, of Manhattan, where I spend a lot of time and live. And, this is, collage that I generated from a sequence of photographs that I took and then ran through a program that I wrote.

Tommy Mintz

That, is… Comparing? Pictures, pixel by pixel, for what's different. So, areas that are different get layered on top. I have a little video here, it's 26 seconds long, of my process, so I'll take a sequence of pictures, compare them, those black and white, alpha channels, if you were, are the Comparisons, and what was white is getting Retained in this, collage, time-lapse collage that is being algorithmically created. I wrote this in Python, it's a couple hundred lines of code long. It doesn't use AI. In fact, it's kind of dumb, and I appreciate the glitches that the process creates, including these edges of the frame. So, in both photography, where my, practice emerges from, and into painting, where I think my practice is going at this point, both contain these series of edges, right? Sort of setting up a space that you're working within, and I like making that evident within my work here, you see both, a painting that I'm working on in the foreground, as well as the picture that I'm taking. So, I guess this is a painting going on, it's a little older, so… Mark, there's another picture. Oh, so, here, in the foreground, you can see, my hand and the painting I'm working on, and this is a little close-up of that, looking at the Zaha Hadid building and sitting on the high line. I like hanging out, having, you know, this sort of parade of tourists or people walk by. Here, I'm on the High Line again, painting on the High Line. A lot of movement passing by, and that, energy is something I really appreciate, and find myself gravitating towards. I did a recent Scotia one? I did a recent collab with, LaserCat.

Tommy Mintz

Who's, one of our favorites. Local mascot, so… so, to be seen more of. So this is, again, on the High Line. There's a public sculpture, something I'm very interested in. There's this large pigeon that was actually recently de-installed, and, what I enjoyed most about this collage, and why I like to put it in my viewings is the way that the edges of the, collage seem to look like a bird. You know, like it's a bird in flight, wings spread, tail below.

Tommy Mintz

And then the pigeon's in the middle, sculpture of the pigeon. I'm very drawn to bicycles. I'm very interested in them both as a political, answer to life's energy challenges and transportation challenges, and, also the thing of beauty, circles. Are a form that I'm fascinated by, and I noted them a lot. Like, there's a lot of strong circles that are showing up in people's work, whether it's, like, Michael and his eyes and spirals, or Renata, and those shapes that you're… you have in yours, and Bill. You know, this sort of circle of… colors that we have. Here's a… the Guggenheim Museum in Manhattan is a… is a place that has these wonderful circles I enjoy. Here I'm painting it in the foreground, and then, photographing it, and people passing by. So I'll be there for maybe 20 minutes or so, and I really started this painting just as a way, to really a subterfuge, to strap from the fact that I was there photographing. People wouldn't look at me as a photographer, but instead as a plain air painter. And, oh, how cute! And so here I am, you know, painting the tourist area. This is, where the carriages pick up people. It's actually called Artists Gate.

Tommy Mintz

In Central Park on 57th Street and 6th Avenue. This is Mineta Lane and 6th Avenue, bicycle lane, new bike lane there that I'm painting next to. Bicyclists. So, I've been printing very large, and trying to, you know, both print on fabric and metal and paper and all sorts of different materials. Thinking about the materiality of things is something I'm very interested in. And then I've been painting, so this is a, Photo collage of me playing air painting in Patchogue this past, late summer. This is Terry Street. Open the arts day, they set up all these arts tents, and I have a bunch of people, painting, panels on the street, so that's me, you know, chatting with people and making this painting. And my paintings have really become of, like, bicyclists?

Tommy Mintz

I've been really interested in professional cyclists, and this is Amway Van Art winning at the last stage of the Tour de France. And… and here we have… and I'm also very interested in Byzantine, Mosaics, and I recently went to Istanbul, where there's some of these amazing ceilings filled with these mosaics of saints and their… the stories, and here I'm putting cyclists in places of these saints. I'm also thinking of things like pilgrims and these sort of roots of… in the upper right-hand corner there, you have, Team Yumbo Vismo, which is my favorite team for all you cyclers fans. This is, and I have it, titled at the bottom, Saint a la Philippe.

Tommy Mintz

Breaks away from the Peloton. Julian Olivewe is a favorite. So, that's where my work is right now. It's a strange place. I don't know if this is Techspressionism or what, Colin, but, you know, I find myself oil painting in relation to everything, and I'm still out there photographing all the time, and, you know, making more collages, and… and doing that thing, but it's interesting how, I think, it has circled into very unexpected… place, I'm glad to share.

Tommy Mintz

What's going on? I said, and I haven't been doing anything, but then I'm like, okay.

I'm sure you're always doing something, and yeah, that's really cool. It's cool to see that, you know, you're moving into doing some painting as well, and you know, maybe at some point, those things will cross over, or actually just start on a bunch of new grounds. Behind me, I went to a show recently, that, you know, were oil paintings, and I thought, you know. I'm gonna dig out my oils and, breathe some fumes. As long as my daughter's not around, I can do that. So, yeah, and really, you know… it's cool to see what you're doing also. I'm curious, I'm looking forward to seeing the results of the LaserCat collab.

Colin Goldberg

And it looks like, you know, I know that LaserCad is putting together, what's gonna be a very interesting show, I think, for… in Manhattan, I think in March. So, and if you, aren't familiar with LaserCat, there is a cameo in the salon for the Chelsea show. I'm not gonna say exactly where in the salon it is, but he does appear. So… Yeah, that's about it on laserCad. Anyway, Sahar is now up.

Hi, everyone! I'm Sahar, I'm Savi, I'm zooming from… Iran, Kilong Province. And I changed my mind, I'm going to share some of my pieces from the Narrative Treasures exhibition in Tehran that recently I was, participated. So I will share my… Screen first.

Sahar Moussavi

Can you see my screen? Sweet?

Yep.

Okay, so, the narrative, exhibition was actually based on one of the first story of Rumi, in Maslavi, book. And, I entered, like, the last months of the exhibition, because it was a jewelry design exhibition, and with my background in design in… Jewelry design with AI, and product design, and AI, and metaverse, and everything, they asked me to join their team. So, the first thing they asked… they asked for some, actually, AI-generated images based on the story. And I think it's… my first, job, for… to generate AI for a team on purpose.

Sahar Moussavi

So, I have to generate some images based on a 12th century story and, which is a narrative, and… and set… in 7 scenes. So, I… it… it's… it was really challenging, and it took, like, a month or more for me to, to generate these images. They… so the style is, like, miniatures, Iranian Persian miniatures, and, it should… and they asked… me to be linear, like, white, and, be the background… the background should be, like, a special color code, and so the story begins with a king, see a slave girl on her way… on his way, hunting, and he falls in… he falls in love with her.

Sahar Moussavi

And he buys her, and takes her… took her to the palace, And, there are several… The second… one thing is, the girl becomes sick. And I'm… I was trying to… like, create a whole scene like a miniature, and there wasn't any main scene for the girl, so the… King became so desperate, he went to a mosque. And he cried and prayed, and he fell asleep, and he dreamed… in his dream, a saint came to his dream and says that we will send you someone, and that Cure is with The man that we sent. Next day, king is waiting on his palace, and someone appears from distance.

Sahar Moussavi

The one who was, actually, promised and, the saint said that I have to speak with the girl alone, and he stayed with the sick girl, and he realized that she is in love with someone in Samarand, which I think is in Uzbekistan now. So, the king sent after the man in Samarit, and he brought… gives him golds and jewelries, so… and lets them stay together for a few months with the girl, so the girl…

Oh, it looks like, Sahar might have lost her connection.

I'll continue.

Nope.

Can you hear me?

Yep.

Okay.

Sahar Moussavi

So, Okay, that's the 16, and they stay… they spent some time together, and… but the doctor was actually poisoning the man. So the man dies, and the girl realizes that, what's she doing? And she gains her freedom. So, that was actually a long story that I have to compress in seventh… A scene and make them all together with AI generated, and that was printed and, printed and, framed in the exhibition. So, I want to share another… thing I did for the exhibition.

Sahar Moussavi

I will stop sharing, and I will open a video.

Sahar Moussavi

So, I was in both the curation team and also the participants, and the exhibition was very important because it was the very first exhibition, happened in the World Heritage Golistan Complex. So, ICOM, or ECOM, International Council of Museum, was there, UNESCO Iran was there, and also our sponsor, and it was the very first exhibition in that location. So I designed 3 collections, based on the story, with AI, with AI, some jewelries in 3 collections, and I chose some of those collections, and make a video, of them.

Sahar Moussavi

And the interesting part was that people approached me at the exhibition and asked me about AI, and they said that they was trying to make some AI images, and they say that AI is difficult. And I said, yes, it's difficult, it's not, like… if you have a purpose, and there's a subject, it might be very difficult for you to generate. So, I will share the video, and I hope it plays with the music. Can you hear the music?

No, not getting audio.

Okay. What should I do to…

You might have to stop your share, and then when you start sharing, there should be, like, a checkbox to share audio.

Yeah. Okay.

Sahar Moussavi

So… I make this video with AI, with my selected pieces, and I made the music with Tsuna AI.

Sahar Moussavi

And the other thing I did for them is I created a special… space, so… and the music is very Persian. So, Suno can create, many versions and many styles of music. And I also, created a, a special, for them, so people, from everywhere can, can, like, see the… Exhibition. So, I have, just a teaser of it here. And I made, music with Sumo again.

Sahar Moussavi

Oh, I think that's not the final… That's not the final version. Try to find it.

Sahar Moussavi

So I made the music with Suno, and I added the photos of the final pieces in the exhibition. So that was what I was doing the last few months. And it took a lot of time. Thanks.

Thanks so much, Sahar. Really interesting work, and very diverse. I also want to add that, you know, it's very cool to have you zooming in here from Iran, and, you know, to see that there's an international Community here, especially, you know, like, I've never met anyone from Iran before, and I'm sure a lot of the… well, I can't speak for everyone else, but a lot of the American artists might not have either. So I think, you know, getting to know other members in the community just brings, you know, everyone together in a way that I think is kind of unique, you know, and it's cool to see you know, international artists get involved, and also to, you know, to get this different sort of aesthetic perspective, cultural perspective.

Colin Goldberg

You know, from other parts of the world. So, so thank you for zooming in. I just wanted to share… well, I'll share an… an open call that I got from Nina Sobell, and then I'll just share a couple things that I've been working on, too, since we're at the end of our lineup here for scheduled artists. So, let me just share my screen here. Can you guys see Artist Open Call up on the screen? Okay, cool. So, we have this open call. This came in from Nina Sobell, which is for the art… Loop Art Critique. And I'll put a link to this in the chat, but basically, I believe this is for the next Cohort of artists. Media artists are invited to join a special critique club with Loop Art Critique and guest artist Jillian Meyer.

Colin Goldberg

So, looks like it's still open, artist selected, January 12th. So, I'm gonna paste that into… The chat, which has disappeared now that I'm sharing my screen. Let me just stop my share so I could paste it into the chat, so if anyone wants to… learn more about that, or apply to it, you can do it through that chat. And I just wanted to share, really quickly what I've been doing. Over the last month or so, which is… I've been, experimenting with Sora, which is OpenAI's new, relatively new video, platform. So, been doing some fun stuff with that.

Colin Goldberg

So I've been doing sort of two things. The first thing, it was just sort of, like. Play where, you know, I saw that there was a way to generate, sort of, these photorealistic, videos, which… this was the first one that I did. Let me see if I can get the… Treating code like pigment, brushstrokes made of data. It's still about emotion, just channeled through the circuitry. You don't hide the machine, you let it… What we're doing with Techspressionism is treating code like pigment, brushstrokes made of data. It's still about emotion, just channeled through the circuitry.

Colin Goldberg

So, you know, what would Warhol say about Techspressionism? And then I… I had to meet him myself. Techspressionism is what happens when emotion collides with a motherboard. We take the digital tools and let them stutter like a heartbeat. Instead of oil and canvas, it's code, tablets, projection. Techspressionism is what happens when a motion… so this is sort of a continuing saga with Warhol being involved, and then there's these art world types. A Techspressionism? Please, that's just laptops having temper tantrums, not an art movement. Precisely. All pixels, no pressure. Evening. Hey, have you two heard about Techspressionism? Mr. Warhol? A Techspressionism? Please, that's just laptops.

Colin Goldberg

So that's… that's my little… that's my little commentary in the art world there. You know, and I've been… yeah, so… oh, this is the final, last one I did with… with Annie. It's like silkscreening with electricity. I feed the machine ideas, and it spits them back as colors I never dreamed of. And it's painting pictures all by itself? It learns from everything that invents. It's like silkscreen. And then just… just for kicks, I did this one. The mountain's quiet, yet it speaks. I can hear it in the wind. Zen is like that. You don't force stillness, you just see it, just noticing and letting go. When you let go, you're as free as that cloud drifting past the peak. The mountain's quiet, yet it speaks.

Colin Goldberg

So all the dialogue was actually generated by Sora, which is just completely mind-boggling. I then decided, well, what'll happen if I start feeding it my old work? So this piece was, a print that I did back in 2005, and I had actually posted the still image, like, a week prior, which was… this was a digital drawing that I did, and then I printed it as a monoprint, which now, Greg Little, who is my graduate advisor, I gave it to him as a gift before I finished grad school. So, it's a one-of-one work on paper, and then I ended up feeding the photograph of this piece into Sora.

Colin Goldberg

And animating it, experimenting with different prompts, and this is what it ended up with. Which I thought was really interesting. And then I started thinking, well, what if I feed in, some of my actual paintings? So, earlier this year, I did a piece… it was a fairly large-scale painting. Let me see if I can find the, there's an image of… yeah, so this is the piece, so you can see the scale. It's called Manifest, and then there's a, a more clear version of it here, where you kind of see, I guess, sort of small, but… so anyway, I fed that piece in and started thinking, like, because, you know, I'd done these AR pieces are based on digital drawings, and the gallery I'm showing with here in Vermont, Helmholtz Fine Art, the woman said, you know, can you have your paintings be AR? And I said, well, I don't really think so, because there's brushstrokes, and I don't really know how I could do that. So, I fed that piece into Sora, along with a couple other ones, and this is the most recent one that I did, was that… Manifest piece, let's see how here it is.

Colin Goldberg

So that's a 23-second loop, and what I've been doing is I've been starting to feed in some of the older paintings of mine, especially the… I think it's interesting to feed in ones that have actually sold. Like, this piece, Nottingham, was another piece that was from 2023. It's about the same scale, 36 by 64. And this was the first one that I actually put into Sora and was playing with. So you can see that it actually… animated it, and those are my actual physical brushstrokes in acrylic paint, which are then lifted it off into layers by AI, and, you know, through hours of prompting, literally, like, to get the effect that I wanted, I was able to do this, and splicing together a bunch of different clips and looping them in Adobe Premiere.

Colin Goldberg

And kind of, like, playing around, you know, in terms of editing it together. But I thought, you know, this is a way that I can then take some of my older work and actually bring it to life, which I think is really interesting when it's actually hand-painted work, because I was doing this with digital drawings in the past, which are already created in layers, which are able to be animated, you know, manually relatively easily, but I thought this was not something I'd ever be able to do with hand-painted work, so… So my bad, AI actually showed me how to do that, or gave me a… gave me a pathway on how to do that, and this is another one. You know, it's interesting, too, because sometimes the renders are much better resolution than others, and this was, you know, the same platform.

Colin Goldberg

Much lower resolution than some of the other ones, and the ones that are from scratch, like the Warhol ones, are very high resolution. This one was from a digital… this one was from an AI, a composition that I did originally in AI, and then the pink forms were drawn… hand-drawn in Illustrator on top of it. But it was still able to pull that apart, and I thought it was interesting, because the original art was created in AI, it seemed to be able to create a lot more depth in the actual movement within the forms, which I thought just was interesting in terms of you know, process. So, so yeah, that's kind of what I've been doing.

Colin Goldberg

With AI, and you know, now I'm hooked on it. At first, I was just… sort of skeptical, and even with, like, the Warhol stuff, or Bruce… putting myself in with Bruce Lee, I mean, it's… to me, that was sort of like, okay, like, it's sort of like a toy, like, what can I make it do, you know? But when I actually fed my paintings in there, I had this, like, aha moment of, like, wow, I could, you know, actually do something with this. So, so yeah, that's… that's what I've been doing.

Colin Goldberg

I see there's a hand up. Tam, do you have your hand up? Thank you.

Hi there. This is my first time on this call, and I'm really glad to be here and to meet everyone. Thank you for showing your work. It's been very interesting. A lot of it is new to me. Mostly, I… as far as I've gone, it's just working with AR. But I find all these concepts really interesting. I was wondering, Colin, with the pieces you just showed. The movement in them. Did you choose that movement, or did Sora create that movement when it made the video out of your paintings?

Kind of both, you know, it's like a collaborative process, so… I mean, a lot of it was based on experimental prompting, and then curation, you know, so probably… 5%, 10% of the prompts actually did anything remotely interesting, and then, you know, I ran out of my, like. 5 free renders for the day, or whatever. So I ended up spending some money to… giving it to Sam Altman, and made my first OpenAI purchase of buying a bunch of render credits, which, you know, I sort of tore through voraciously after, like.

Colin Goldberg

Very… not very long, but yeah, I mean, a lot of it was using, you know, I mean, basically, I'm putting in prompts, and I actually used Techspressionism and Techspressionist in my prompts, and it actually did things that were kind of interesting. Like, one of them I said, move… moving… flying through to expressionist space. As, like, a prompt, and it actually did something pretty cool, where it was, like, pulling things apart, and, you know, like, I was surprised that it even did anything.

Colin Goldberg

And then I put in flying through space, and it did something different. So clearly, semantically, it understood something about what that… term or word means. But yeah, you know, I think it's a collaborative… to answer your process, I think it's, you know, I see it as a really a collaborative process, as far as, like, what The AI does, it's based on human input, and then there's a curation process of… taking the things that actually are successful and, you know, putting them together, or successful, you know, in my eyes, as far as what my vision would be. But a lot of it actually is very unexpected. Like, what Michael said resonated with me, where… I mean, the first time I ran an actual painting in there and was able to see what AI did with it, I was just flabbergasted. I was like… this is unbelievable, you know, that it could actually do this. And then I have, like, some old… really old, like, college work that's figurative, and I'm, you know, at some point, I've been itching. I'm like, oh, I wonder if I feed this one in there, what can I make it do, you know? So, it's pretty cool.

Colin Goldberg

So yeah, there… I see a couple more hands raised. Thank you. You're welcome, and welcome to the community. Hopefully, you'll come in and share your work, next time, so…

I'd like to… I'm from New York City.

Oh, awesome. Welcome, welcome. Thanks.

Hey, Colin.

Yay, Renata.

I wanted to say that the color is really true in your animated paintings. I've been doing the same thing as you, feeding it into AI, and at first, the colors were not very true.

Lately, they've become…

Extremely, faithful. But what I really want to say is, could you take a look at your email right now, please? We have a surprise for you there.

Oh, okay, let's see….

Colin Goldberg

What?

It's from all of us.

What is that for?

It's just a way of saying thank you for holding the community together for 5 years. You do so much for us. We wanted to express our appreciation and hope it comes in handy when you go to Hawaii.

Oh, thanks so much. Thank you. Thank you, Renata, and thank.

It's our pleasure.

Everyone who, who, who helped. Yeah, I really appreciate that. No, it, you know, it's, it's, it's my pleasure to, you know, to be able to keep, keep working on this and keep it going. That'll, that'll certainly come in handy. So yeah, very, very excited. I am going to be going to visit my family, in a couple weeks. My mom is from, Honolulu, and, my dad was a nice Jewish boy from the Bronx, but they met during their graduate studies at University of Hawaii, and that's where my sister lives, my whole family, so this will certainly come in handy, and I'm bringing my girlfriend, Jessica. So, yeah, looking forward to that. But Renata, thank you so much.

Colin Goldberg

That's a very nice surprise, and to get it live during the salon, that's pretty cool. So yeah, that's… that's amazing. Wow, I don't know what to say. Oh, Sahar, you have your, your hand up.

Colin, the videos were really cool and amazing, and I don't know if you know Nima Nilian, usually, Renata reposts her, his artwork, and his recent works is, made with Grok… AI. Yeah, maybe you.

Yeah.

Try that.

Yeah, yeah, I've been follow… I've been following him and his work, you know, with AI. There's a couple… he's one of the people that I saw early on really creating pretty startling results, you know, Sustame also from Paris, from France. He's, you know, he's been working with AI for quite a while.

He's based in Belgium.

Oh, and, oh, System is? Oh, yeah, okay, he's… but he's originally from France, right? And now he's in Belgium?

Ukrainian. No, he.

Oh, no, no, not, not, NEMA. Oh, wait, it's… I was talking about Sustain, but NEMA is from… he's…

Yep. He's Iranian-based in Belgium.

Based in Belgium, gotcha, gotcha. Cool. Yeah, if you want to paste his Instagram link into the chat so people could check it out, I don't know if you're able to, but, he would.

I can't do that right now. Maybe run out, I can, I don't know.

Sure, I'd be happy to do that.

So… Yeah, I think that kind of brings us close to time. I don't know if there's… there's still, like, a little bit of time. If anyone else… on here wants to just share and show something, you know, that you've been working on, definitely Grok is one that I've heard of, though, and I guess Gemini also has, you know, video generation capabilities. I mean, it seems like there's… there's more and more options. I know OpenAI has another one that will generate… that's for coders, also, that'll write code in a variety of different languages, which I think is kind of interesting as well, so… Sahar, did you have someone else?

I want to share, an AI site that, I usually convert… I recently convert my… converted my, hand drawings to 3D models. I detailed 3D models. So I was just… Show you my screen.

Sahar Moussavi

My fellow expressionists from co-working know… are familiar with these images that I usually render based on my hand drawings, and I found this, AI, Studio 3, please? That, can, generate, 2D… image to text, image or text to 3D and other, stuff, and, it's very accurate and high-detailed than meshy AI, because I usually do, like, 3D models, so this is one of the things I wanted to share with you.

Wow.

And the maps are really cool.

Sahar Moussavi

And the other thing… God.

Sahar? Do you… Yes. Do you… do you… are you able to… Determine how many polygons or how accurate the model is. Can you, you know, simplify it or make it more complex?

Yes, you have the option to choose the polygon. It's, upper left. You can see the poly… poly count.

Okay.

And see the count. So, you can choose that, do you want a high detail 3D model, or a low-poly?

Okay.

So this is also based on one of my drawings that I converted to, first an AI image, and then I imported it to studio. Triple 3D AI. I'm… really working. Resounding with this AI, it's very fascinating.

Awesome. If you could paste a link to that… Yeah, that'd be great.

Sure.

Yeah, I mean, the speed at which these tools are being developed is pretty staggering, and I'm sure that, you know, I would… I'm not sure, but I would wager to guess that developers are using AI to make more AI, so it seems like we're in sort of this Curve of acceleration at this point with the development, because AI is being used in its own development now.

Awesome. Office of the project.

Cool.

Yeah, it's very true for game development right now as well.

Someone told me, actually, that…

I was surprised.

Yeah, I heard, Michael, with regards to that, somebody told me that, I guess, I think it's Microsoft. Is opening up, a game development platform for users, so it'll be like a marketplace where users on Xbox can create their own games with an AI engine, and then publish them and sell them as, like, an indie… Game development marketplace, but the games themselves are developed through text prompts. So you could be like. You know, it's like Dungeons & Dragons. You're in a jungle… you're in a dungeon, and there's a troll on the left, and, like, 3 doorways to the right, and, like, it's generative, so, like, as you're moving into these.

Things that you're creating, right, through prompting, it's, like, on the fly, generating the environment. I mean, it's, like, insane. It's totally mind-boggling. Yeah, it's totally transforming things, yeah.

You know, it's a little frightening that, you know, I mean, they're gonna be publicly available on a platform like Xbox. I think Microsoft's gonna have their hands full with some issues there, but oh well. Alright, so we're getting pretty much at the time limit. We do have, this after-party thing, which I don't know how much I'm gonna be able to participate in, because my day job, which is freelance design work, my client is… Bugging me right now that I should be on a call, with her. But, what was I gonna say? So next month's salon is… is set. Basically, it is going to be moderated by, an artist who is on the recent salon that Erin Ko, was the… the mediator for moderator, and… it's gonna be, moderated by Heidi.

Colin Goldberg

Bo… Beauvaire? Beauvaire? I'm not sure if I'm pronouncing her name right, but she was on a recent salon, really interesting, and it's gonna be, entitled, Intra Action Between Art and Science, New Modes of Knowledge Production. And there's gonna be a bunch of different Panelists on there. I'm gonna be posting that information, shortly on the salon page, so… so next month is set. It should be a really interesting salon. I don't think any of the, presenters have been on here before, so it'll be really brand new material, and Heidi, is… is… A very interesting practice. You could see her on, I believe it was Salon 99, I think, yeah, 99, involving… Tech, and science, and bioart, and all sorts of stuff like that. She's been… done TED Talks and, you know, really interesting artists.

Colin Goldberg

Also, so yeah, and then I guess February and all forthcoming salons are open, so if anybody has a topic that they'd like to, you know, do, and a bunch of artists that they'd like to feature, you know, I would say have at it. So… that's about it. I see Cynthia just posted a call for, SIGGRAPH Art Gallery, which is in the chat right now. And, yeah, without further ado, I think I'm gonna shut down the… The recording, but anyone who's willing and would like to stay for the after party, you know, we could come up with some topics for future salons or whatever, but I probably should go. So… we will, end this recording in 3, 2, 1, and cut.