Salon 108 // Los Angeles and Beyond

Hi, everyone. Today is…

It's Thursday, July 16th, and welcome to Techspressionist Salon #108.

My name is Colin Goldberg, and I'm a Techspressionist. The.

The focus of this salon is our current exhibition in LA, which is called Techspressionism 2026: Los Angeles and Beyond.

And just quick,

Little intro on what Techspressionism is. I coined the term back in 2011 to describe my fusion of digital tools and expressionist painting.

It was first referred to as a movement by Wired in 2014.

And in 2020, I initiated the formation of an artist group around the idea with fellow artists Oz Van Rosen, Steve Miller, and Patrick Lichty, as well as art historian Helen Harrison, who served as director of the Pollock-Krasner House and Study Center.

Which is the former home of artists Jackson Pollock and Lee Krasner from 1990 to 2024. Techspressionism has since grown into an international community of artists working with technology.

Comprised of over 350 artists from more than 45 countries.

And the group or movement or whatever you want to call it has spread largely through the use of the hashtag on social media.

And I think now we're up to around 85,000 posts on Instagram using the hashtag. So that's how a lot of the artists have been sourced and discovered is through the use of the hashtag. So this show is going on right now at LACDA, which is the Los Angeles Center for Digital Art. And there are three, exhibition curators slash organizers, and these will be the moderators of today's salon. And they are Randi Matushevitz. Lucy Boyd-Wilson, and Victor Acevedo. So, without further ado, I'm going to, pass the mic on to Randy, and, I'll let her take it from here. So, The floor is yours, Randi.

Okay, thank you, Colin. So, what I wanna… say, first of all, is welcome, and thank you all for participating in our Curation Techspressionism 2026 Los Angeles and Beyond. As you know, Colin mentioned it's at Lacta, and Lacta is… been a gallery specializing in digital art in Los Angeles for nearly 20 years. It is truly the only venue for a broad spectrum Digital and interactive, immersive art experience, you know, probably not like Dataland, but for artists to show monthly and highlight solo shows and group shows. What's exciting about this show is it's the largest show we've had on the West Coast.

Randi Matushevitz

And especially to be in Los Angeles, and to reach this community during the SIGGRAPH week. It's a highlight for us. And I'll be talking about this dual show experience that we're having, which is also with the DAC community. So, just to say a little about what's exciting, we have 37 artists, a couple are in teams. So that leaves us with 34 prints. 17 videos on 7 monitors, a monitor highlighting the Urgench shows that were in Uzbekistan, and a DAC collaboration monitor. Something, just a little bit about The thoughts behind putting this show together is, in our minds, it was a testament to our camaraderie, to our collective spirit that defines this community of artists.

Randi Matushevitz

Because we are fine artists in the sense of Techspressionism, having an expressive form of experience through technology, which is often different than the data-driven visual work that might also be part of technology. So, our work is a living medium of expression, communication, and discovery. The artists gathered are united by passion, courage, and an unflinching willingness to push boundaries. And our work is an exploration and investigation and a leap into the present and the future, and the very nature of what art can become when human creativity meets the expanding possibilities of our technical age.

Randi Matushevitz

What's also going on at the show was a very unique opportunity for a collaboration with the digital art community. We were introduced to two curators, Gustavo Rincon and Joshua Dickinson, who were putting together a new medium, new media architecture. Exhibition, which at first we were not part of, but upon meeting us, I think Cynthia introduced us, Cynthia Beth Rubin, we were able to collaborate and form A voice for visual artists in this technological experiment.

Randi Matushevitz

So we asked for a call of who was interested, and so many of us were interested. But in the end, with a very tight time limit. The DAC group. Selected the artists, and just to say, if you were not selected this time, just keep in mind, this is the door opening to many such collaborations. And we look forward to seeing, you know, to seeing what that will grow into. To say a drop about the exhibition with DAC, again, and that will be shown at The SIGGRAPH conference, and there will be a discussion around this collaboration of visual art.

Randi Matushevitz

Composers and technologists to come together, create something new. I think all of the projects started with our work from Techspressionism as a foundation, and the title of that project is New Media Techspressionist Architectures, exhibition, experiment. That's a lot of words, I hope I got it right. And it's, very exciting, and we'll be talking more about that with you later. Lucy. All right.

Thank you, Randy. Fabulous introduction for the show and the vision. I love hearing your curatorial statement. And happy to be here. Good morning, everybody. Me, Randy, and Victor are on the West Coast, so this is good morning.

And I'm gonna share my screen.

All right, I thought I'd start with this. Two images, the one on the left is the front cover of the catalog, which is fantastic, and Cynthia's gonna tell us more about that, at the end.

And the image on the right is the poster.

4 Lacta, which Rex put together, and all the participating artists, your names are on that. Poster, 34 artists. The artwork is by Cynthia DiDonato. Cynthia, thank you so much for allowing us to use your beautiful beautiful artwork for.

The posters and promos looks absolutely wonderful.

Randi Matushevitz

So the show has 34 artists participating, and there's digital prints on the walls, 32 prints. There's, 16 videos on seven monitors and a video installation in the projection space and a catalog. I hope everybody gets to get a copy of the catalog, because it's really a wonderful thing to have. I thought I'd start with…

Just showing the exhibition layout, and do a quick walkthrough, and later there'll be more details on each video monitor and print, but whenever I'm not present at an exhibition. I always wish I could understand the layout of the gallery, so I thought I would start with that. So here's Lacta from the street. It is downtown La on Spring Street. And you can see the posters in the window. And this is the flow plan. So the front door on the right.

Lucy Boyd-Wilson

In the center of the gallery is this projection space with three walls around it. And the reception desk is here. So you can see that the gallery has a front section where an artist called David Victor Feldman. He's showing his work. He's not a Techspressionist, but he should be, and I'm going to definitely invite him to join our group. And then the main space back here. There's prints on this big wall, and this wall and this wall on the left side of the reception desk. All of these are monitors. There's a monitor on this wall, a monitor on this column. These gray blocks are columns.

Lucy Boyd-Wilson

Two monitors on the wall of the projection space and two more monitors over here. Two monitors on this wall and another monitor on this column. And this is where Rex keeps his printers and storage. And this is a recessed space which you'll see. And Rex was using it for creating his synthesized music for this show. So that's… that's the layout, and I'm going to show photos coming in through the front door, and we'll move around the… the gallery just… just quickly, so you get a sense of… Of the arrangement. So as we come in through the front door.

Lucy Boyd-Wilson

David Victor Feldman is the artist showing his work in the front part of the gallery. And here's the back wall of the projection space. The cube. I'll call it. I'm calling it the projection cube. It's the cube in the center of the gallery. So this is David's work. He uses postscript to generate his work. And this is the space at the front. On the right hand side of the front door is the door, and here's the other side of the front door with Victor's work. I'm sorry, David's work. So now we're going to go down the right-hand side of the cube. This monitor is used for showing the DAC collaborations. Here's the monitor on this pillar. And… here we can see the reception desk in front of us and the rather blurry recessed space in the in the back, with the monitor on the wall on the right and two monitors here.

Lucy Boyd-Wilson

On the cube. And there's those 2 monitors again. Okay, so now we're in the main space at the back, looking at the reception desk. You can see the prints on the wall on the left of the desk and the monitor to the right of the desk. The camera moving counterclockwise. This is Rex with playing, playing his music with his synthesizer board and guitar. I hope you get to hear some of his music, because it was really, really wonderful and textured and fascinating. And here are the 2 main walls with the prints. Nice big prints and very bold.

Lucy Boyd-Wilson

Rex… Rex did all the layout and the hanging of the artwork, and everything is printed here at Lacta by Rex.

Lucy Boyd-Wilson

The monitor on the pillar on the pillar is showing the Uzbekistan digital reel, and I'll talk more about that later, and 2 more monitors on the wall next to it. And this is the projection space, the cube in the center of the gallery. And then on the far side of the projection cube, there's two monitors on the wall, like this. Every monitor has headphones attached, so you can stand and listen to the audio. Many of the… I'd say most of the videos have audio with them.

Lucy Boyd-Wilson

And then there's the front door beyond. So that's it for the walkthrough. And now I'm going to stop screen sharing. And Victor's going to show photos of the reception and more. So. Over to you, Victor.

Okay, great. Thank you. Lucy, that was great. Okay, let me up share screen here moment. Second here.

Victor Acevedo

Excellent. Okay, and then we go into play mode. So I figure you guys can see this right.

Yes.

Okay, great.

Yes.

Okay, so anyway, the title slide of the show, Techspressionism 2026, Los Angeles and Beyond. So these are, titles of the different sections of this slideshow. So these are, you know, people and vibe photos for the reception. I get an idea of the gallery being populated on the night, July ninth. 2026. And we had a good crowd. It happened during what's called the Art Walk. I think it's the first Thursday of every month in Los Angeles, downtown Los Angeles.

Victor Acevedo

So we over the course of 4 h, we get a lot of people coming through. This is just the tip of the iceberg on the slides, and there's Stephen Perry, who. I believe came in from Texas to be there, so it was great to have him there. We were… representing for to expressionism up. Or 4. And others. Anyway, so some video highlights. Well, here's actually another still. Okay, I guess. Let's go. Yeah. Why, maybe I clustered these. Okay. In the wrong order, but this is Rex playing his synthesizer piece.

Victor Acevedo

And then the next slide is actually a little video snippet of that. They were very busy.

Victor Acevedo

Sorry, sir. Sorry, sir. Thank you.

Victor Acevedo

So it's very electronic, very drone-like. His instruments with all those patch cords is called a modular synthesizer. And he's doing something with his SG guitar, with scraping this electronic device across the strings to add to the drone texture. Here's another shot of him, so… and it was a spontaneous performance, it wasn't on the bill, but when Rex does a performance, it shows that he was particularly inspired. For the evening and for the work that was being shown. So that was a good sign.

Victor Acevedo

Going on to, Prince on the Wall, which you're now familiar with, were these establishing shots. I wanted to kind of give some other angles. There's the Uzbekistan. Monitor to the left of that group of prints, medium shots of see how these were placed to the left of the reception desk. Another shot of this. The cube. Of. To different angles of that area. So you could get the interpreter. Juxtaposition of how things were kind of synergizing together, if you will. And these are just some random highlights that came up in the time that I had to assemble this.

Victor Acevedo

Oh! We have a lot more photo close ups of just about everybody's work. But this gives you some. A little closer take on what's on that. Grid of… pieces on the wall.

Victor Acevedo

So video highlights. Okay, this is going faster than I thought, which is fine. Here we go.

Victor Acevedo

And this is just unedited raw video, and then I'll show that other one that we were looking at before we started. But these are actually installation video.

Victor Acevedo

It says, an order. This will give you a nice sort of panor… slow pan panorama. There's two takes on it. Okay, take two. And this does almost like a 360, which is kind of fun, so you really get a sense of… with the room. Looked like and felt like as it was populated by Techspressionist art. Okay, so… I'm gonna… Pause on the slideshow, and then I'm gonna play a video that I was rehearsing earlier. Let me What? That. Give me a moment here. Oh, yeah. And this is actually unedited, it's almost 4 minutes, but I will just play little sort of sound bites of it.

Victor Acevedo

Oh, okay. Has the… The ambient sound of the opening itself.

Victor Acevedo

No, I don't think Well, yeah.

Victor Acevedo

Sounds good. Yes. Right. Oh yeah. Yeah. Yeah, that's a good idea.

Victor Acevedo

Okay.

Victor Acevedo

A mouse m.

Victor Acevedo

And that's what I'm going to do. Yeah, that's a good idea. Okay.

Victor Acevedo

So this has. Some nice sort of. A bit just… and sh. Lots of more of the pieces. My intention was to do the whole roll. Those babies. We had gallery viewers who took precedence in that moment. Yeah, exactly.

Victor Acevedo

I think we can get Rex, I'm gonna ask him to repr. Cynthia D. Donato's piece, I think something Captain. With the color profile. I know she's noticing. The colors aren't quite right. So I'm going to follow up on that just as a note between us that's being recorded for posterity. We'll see what I Oh. No. So let me jump ahead a little bit.

Victor Acevedo

Positive. Translates both into The sound. Visuals again. I don't know. That's true. I don't know. I don't UC's piece, I love the sections of it. Organic geodesics. Essex. He's running in. Gentleman is. We love them. We're here for you. My name is Lar. Attached to a publication in Los Angeles that follows art and art openings and artists. It was great. That he was there. Thank you for having me.

Victor Acevedo

Kind of going through this.

Victor Acevedo

I'm in the front door. So like I was saying, course of four hours, people just kind of keep trickling in. I would think, you know, we could have usually 100 people. Depending on the… What's happening on the Art Night. How many people might come in, but sometimes it gets really packed, which is amazing, but just for a short time, and then it… Thins out. We're going to stop anyway. I know it's.

Victor Acevedo

Right, okay.

Victor Acevedo

Yes.

Victor Acevedo

Randy's piece, it really, I think, really comes alive in the video. Oh my god. Yeah, yeah. Yes.

Victor Acevedo

So there's that. Oh, let's see. Okay. And then, oh yeah, so we're already at the catalog, and I'll just touch on it, and then Cynthia's gonna come on. Cynthia Beth Rubin, come on at the beginning of the Q&A section. And she'll get in more in depth with the catalog. Here's the cover, it's a cropped image, and then here's actually a live blurred snap of somebody looking at it. Literally at the opening. And here's the acknowledgments which we can go into later. I will say this, that the I guess I'm in a position to say this like.

Victor Acevedo

The catalog exists in the world because of Cynthia Beth Rubin. She was the leader for this project side project that was integral part of our presentation. Paul in Los Angeles of the Techspressionist movement. Maria Trianda Fallows was integral to the layout, and she used AI to collate the images and some of the captions. Gregory Little also helped out with the, in design work. And some of the layout. The front and back covers feature a detail of Cynthia DiDonato piece. She was gracious enough to allow us to have a detail I thought might be good to do that. And she was okay with that. And I was. Cynthia tapped me to design the cover which I was honored to do.

Victor Acevedo

And we're also thanking Colin and Renata. John is a Zuska here. For all they've done, for their continuous support of the vibrant Techspressionism community and all its events. Lucy Boyd Wilson was particularly integral and important for keeping us on track and organized behind the scenes and then. Randy root. Referred to her statement that she wrote. She wrote on behalf of the curatorial Group. And Randy was a major part of this as well. I mean, the lead, the people that took the lead were Lucy and Randy on this, and then I was started as an advisor, but I got more and more involved. So I got involved as a curator as well. So that was a great honor. So I'm gonna stop sharing. And that was that. Thank you.

Right.

Thank you. Thank you, Victor. It's so great to see real footage of the show. It just makes.

All the difference. And see the animations actually animating on the monitors. And to hear the sound. So, yeah, thank you for that. Really enjoyed.

I see.

Thank you. Yeah, it really brings it back. It was an amazing event, really. And it, you know, and like a lot of amazing events, you know, you don't really know in the moment. It's cool, it's engaged, fantastic, but this is gonna really… have resonance into the future, I believe. Yep.

Yes.

And I want to add, real quickly, as we go progress, and I think there are more shots of the videos, if you're wondering. As I decided, or coordinated, who would be on each monitor the videos playing, because it's a long to stand, but we have more shots, I hope, or we'll take them. I tried to aesthetically let them pick who would loop together to highlight each individual's work, as well as be something interesting to look at on the monitor itself.

Randi Matushevitz

And so I hope as we progress, or more things come out about that, you'll see it was really well received, and just adding that the gallerist, Rex, has invited us to return, and it was wonderful that he took a chance and gave us more than half of his gallery. And at the same time, was super excited, and said how professional we are, how professional our work is, and it's one of the best shows he's ever had. And I just wanted to say that as I pop out for a second, and I'll be back.

All right. Thank you. Thank you, Randy. Okay, I'm going to share my screen again. I know. So, I'm going to be talking about the video artworks, or going through images of the videos on the monitors. So, as I said before, there's 16 video artworks. From all of you Techspressionists on 7 monitors. So 2 or 3 videos per monitor. Randy did the pairing of which ones would go together, and Rex decided which monitor they'd be displayed on. But yeah, I think Randy did a wonderful job pairing artists on the monitors.

Lucy Boyd-Wilson

So the first monitor is on the column. When you enter the front, it's on the right-hand side on the pillar. So, for this monitor, it's, artwork by Susan Detroy and Renata Yanoshevska, and this is a photo showing Susan Detroy's video artwork. And here's a photo of Renata's video art. Looks wonderful. These 2 monitors are on the back of the projection space. The monitor on the left is Colin Goldberg, Gregory Patrick Garvey, Alan Hirsch, and the monitor on the right has Bill Rogers and Maria Trienda Fellows. And here's a photo of Colin's artwork. And Greg Garvey.

Lucy Boyd-Wilson

Alan Hirsch.

Lucy Boyd-Wilson

Bill Rogers. And Maria Trianda Fellows.

Lucy Boyd-Wilson

So on the far wall, the other side of the cube. The monitor on the left is Cynthia Beth Rubin, paired with Michael Woodruff and Mark Chavez and Ina Conradi. And the other monitor on the right is Audrey Phillips and Randi Matushevitz. And again photos for each Cynthia Beth Rubin's work. Michael Woodruff. Mark Shepherd and Ina Kanradi They work together as a team.

Lucy Boyd-Wilson

And this one is Audrey Phillips. And Randy's piece.

Lucy Boyd-Wilson

And these 2 monitors are on the other wall of the cube. The one on the left is Cynthia DiDonato and Karen Le Fleur. And the right-hand monitor has Negin Ehtesabian and Patrick Lichty, who also work as an artist team, and Victor Acevedo. Here's a photo of Cynthia DiDonato piece, Dancers. And Karen LaFleur.

Lucy Boyd-Wilson

Negin Ehtesabian and Patrick Lichty. And Victor Acevedo. So I'm just so glad that we got to see some live shots during the show where everything was actually animated. But these are at least photos of each video artwork on the monitors. And the next segment is going to be showing a little bit about the New Media Expressionist Architectures Exhibition Experiment, which we also call the DAT Collaborations. DAC stands for Digital Artist Community, and it's a SIGGRAPH subgroup. And this is the poster.

Lucy Boyd-Wilson

Curated by Joshua Dickinson, Tuna Bora, Gustavo Rincon, and Randi Matushevitz, and there are six collaboration projects. The collaborators were put together by Gustavo and Joshua. And each group consists of an expressionist artist and an audio music composer and technologist. So…. For showing on the monitor at Lacta, each project has a clip of two and a half minutes, and the total runtime on that monitor is 15 and a half minutes. And here's a photo.

Lucy Boyd-Wilson

Of… Somebody listening with the headphones. Yeah, all the monitors have headphones attached. And this piece that we're looking at is the team that Cynthia Beth Rubin was part of this team. This piece is called Ambient Ocean. Okay, I have a trailer video where each each of the collaboration projects shows just 20 seconds. So this plays for two and a half minutes. And I want to warn you that the title. The title screens go go past very quickly, and only 2 seconds. So read fast and don't blink and don't miss the titles. So Okay.

Lucy Boyd-Wilson

Oh, I'm having technical difficulties. Suddenly.

Lucy Boyd-Wilson

I'm just going to pause it. Can you hear the audio?

Yes.

Okay, great.

Yes.

All right. So that just gives a sense of the range of those six projects. They are. Some are augmented reality. A couple of them are metaverses. They're exploring different types of technology and interactivity. And the audio is also really interesting. So it's been really interesting being part of these teams, not knowing. How each project would turn out absolutely a true collaboration. And, as Randy said, we hope that this is just the beginning, and there'll be more collaborations in the future.

Lucy Boyd-Wilson

This image that we're looking at is one of the projects that Randy was part of. This piece, I believe, is called Garden of Becoming. So… Yeah, one full, that these collaborations by Gustavo Rincon and Joshua Dickinson were able to be presented here at LACDA. And now the projection space, which is a video installation by me, Lucy Boyd Wilson. That's four videos, Metasource, Habitat, House on Fire, and Tree. The runtime is eight and a half minutes.

Lucy Boyd-Wilson

That's the projection cube in the center of the gallery. A couple of photos. And I'm just going to play a 45-second clip, which shows each, just 20 seconds for each of the four videos, just to give a little sense of… Of the visuals and the audio. Thank you.

Lucy Boyd-Wilson

All right, so it was just wonderful to have that opportunity to play in the space at Lacta and the… it's using a short range, ultra short range projector. You can just see a little bit of it at the bottom of the screen here, and the music is playing from the projector. And I was just amazed at the quality of the audio coming from that projector. I didn't know it was possible for a projector to sound so good, but it really filled the space, and excellent volume and bass. Apparently this, projector has Yamaha speakers in it. So I was just very, very happy with how the installation turned out. And then the Uzbekistan digital reel, the Hello Uzbekistan was an exhibition at CAMUS, the Contemporary Art Museum of Uzbekistan in Urgench. It was an exhibition that showed last fall.

Lucy Boyd-Wilson

Very much put together by Cynthia Beth Rubin, and several Techspressionist artists went over to Ergench, curated by Shirin Tashova, who's the director of Camus. And part of the… part of the exhibition was a digital reel that was put together showing 28… Techspressionist artist. The full runtime of the digital reel is 8 min. The reel was created by Michael Woodruff and music by Stephen Pare. I won't be showing the reel here, but it was really great to have it at in this Lacta exhibition.

Lucy Boyd-Wilson

And. So… this is the monitor on the pillar, where the digital reel was… was playing, and here's a couple of images of artists who are on the… on the reel. This is… this one is Verneda Lights, one of… The Techspressionist in our community. Carrie Ann Shimsham. And Yeohyun Ahn. And just congratulations, everybody, all your artists for your amazing and beautiful images that got printed and your videos and audio and music and all of everything. And especially thank you to my… to co… curators, co-moderators, partners in crime, Randy and Victor.

Okay.

And now I'm going to end the sharing. And, Cynthia, if you would like to talk about the catalog, that would be fantastic. Okay. Big thank you to Cynthia. She was so instrumental in continuous consultation, I have to say, like daily. So thank you. Thank you, Cynthia. Okay.

Well, I have to say this was, like, a wonderful project, and it was amazing to see how it grew. As you know, Randy curated a show a year ago with Lacto with a very small group Of Techspressionist artists, and then when I was in Los Angeles in… over Thanksgiving, and I gave Rex the catalog. From the exhibition in Urgench, he said, oh, you have a digital reel, why don't you show it? And, this is… this is what grew out of those two things coming together and that conversation. So it's really been a thrill. Before I share, there are a couple things that I want to say so I don't forget them, which is that there'll be a second reception for this exhibit.

Cynthia Beth Rubin

Next week on Thursday evening. I think that's the 23rd so if you're in Los Angeles for Siggraph, or if you have friends in Los Angeles, of course they should go see it whenever they can, but you can tell them about that reception. And the other thing I wanted to mention is that our digital reel that we put together for Urganche was the entire exhibit was so well received that it then traveled to Art Station in Samarkand, and Lee Day, who I think is here.

Cynthia Beth Rubin

Today went over and represented all of us then, and then it was played in Karshi, during… in the American Makerspace, and now it's in yet another museum in, Artakiva. The entire exhibit, including the digital reel. So if you have friends who are going to Uzbekistan, it's going to be until the end of July, playing in the museum in Artakiva, and I believe it was the inaugural show for that museum. It's a new Tourist area that was built adjacent to historic Kiva, so that there's information about what people can see in Kiva before they go in, but it also has a really nice space. So, I'm going to… try to share here.

Cynthia Beth Rubin

And tell you a little bit about the catalog. Let me scroll back up to the cover which you just saw. But if I'm going to be talking about the catalog, it's nice to start with the cover, and hold on just a second, because I had reduced the size of this a minute ago. There. You know, whenever you practice something before… oops, okay, I think that's the best size I'm gonna do on the fly right now, so that everybody can see the catalog. And… The curatorial statement that Randy wrote is particularly moving. If you can hold on just a sec, I'll try to zoom in on it a little bit.

Cynthia Beth Rubin

It really was amazing to see people come together, and I feel like this is what Techspressionism is the show encapsulates the idea of without a lot of bureaucracy, which is one of the things that Colin really, we have to credit Colin for, you know, no bureaucracy and Techspressionism. People can come together and figure out how to cooperate, and it's really been great. Here's a little statement from Rex about what LACTA is, and I think many of us have participated in Rex's shows through the years because we admire his model. They're all different ways that galleries can stay afloat, and he's found one and we want to be supportive of what he's doing, because as Randy said, there aren't many galleries. So, a statement about Techspressionism, and then I'm just going to go through and show you quickly Maria, who's here.

Cynthia Beth Rubin

Did this incredible thing of, populating the pages. We collected, The mechanics of this is, as I think everyone knows, if you use a Google form to collect information, it can automatically go into a spreadsheet. And with today's technology and smart people who know how to use it like Maria, you can take The spreadsheet and populate pages. So you have different fields. So, really wonderful, and we built this on top of the previous catalog that we had done for Techspressionism.

Cynthia Beth Rubin

In our Gensh, which… we had cleaned up a lot of the style sheets, and that Weintraub put a lot of time into making sure that the style sheets were working. And so, although we changed some of the fonts. When we saw it on the page, because everything was clean. So we now have what we need to be able to change catalogs. I mean, pre future shows can build on this. So let's see if I can move forward without doing this page by page. There must be a way here I can go view, as a slideshow, so I think this will work.

Cynthia Beth Rubin

For me to just show you what's here. I want to add that I hand color corrected everybody's image into CYMK. And I can make those files available to you if you want to have a CYMK version of your file. So. It just happened that the pages came out really almost perfectly. Who was side by side? We went alphabetical. Alphabetically, and I was just kind of like, oh, alphabetically, like, something's working, because the colors and forms worked really well.

Cynthia Beth Rubin

So these are the acknowledgements that Victor just brought up. And… We wanted to end the catalog with this wonderful statement. Because it's, here it is. It's a way that people have it publicly. Join the community. So that's it. This is the back cover. A flip of Cynthia's image the other way and darker. And again, Cynthia Di Donato was wonderful about saying, sure, use my image. I want the catalog to look good. I'm, you know, whatever you need to do to make the catalog look good. I'm fine with it.

Cynthia Beth Rubin

So, that's… What I have about the catalog. And we hope for those of you who are in LA during SIGGRAPH week, we can get some catalogs to you. For those of you who are in New York, who want to meet me at Grand Central on Saturday, the 25th, when I'm coming through at 8 o'clock in the morning or 8:30 or whatever, the red eye, and I get into town. I'd love to have breakfast with you, and we could arrange to give you some catalogs then. And… That's basically it.

Awesome.

Okay. Yeah!

Thank you, Cynthia. I'm so glad you actually flipped through the whole catalog. It was really great to see it, each page from front to back, because it's wonderful to have. I have it right here. You know, this is great. I really hope you… I think you will all be happy to have one. So Yeah, any thoughts or comments or questions? Brandy, Victor, any of you like to share something?

Well, I'll just say it was a real honor to be able to help coordinate the show, to be the liaison with Rex. And, the liaison with Dak, and to take, a real forward, but also behind the scenes, very active role. I'm very proud of this show. We look great.

And.

I was able to invite some curators I know who are not in the digital community. And several of them did show up and were very impressed. It was eye-opening. For them to see the work we're doing beyond what the slop category we get told we are in many ways now with social media and the hypes out there and for them to see it as art. The way we intend it, and something that's important, and an addition going forward. This is part of our new language, it's our paintbrush, it's our clay, and it's an exciting time. So thank you all for participating, and I look forward to coordinating something again.

Right.

Awesome. And I also want.

Yeah, thanks, Randy. That's great. I just wanted to chime in and to say, yes, I do feel that sense of it was an honor to work on this project. Working with Lucy and Randy was really wonderful. We had a great, synergy together. Getting everything done, keeping everything on track, and then in parallel was the Dac collab. So at times it was intense, but I think it all sort of worked out really well. And once again, you know, I'm honored to have been part of bringing this, the Techspressionism.

Victor Acevedo

To Los Angeles in a… in a big way. I mean, this is the largest, probably the largest expressionist exhibition on the West Coast yet. So and it's a very high profile. For the city of Los Angeles. It's downtown very high profile venue. Really, it's on the map, and it's actually been in existence in various incarnations for 22 years, according to Rex. So it's and it's and it's still, and it's going strong. So it was a really for those of you that wanted to be part of this. I think you made the right decision, because this is a like, I say, this will have significance and reverberations into the future.

Victor Acevedo

And I'm very proud of it as well.

Thanks, Victor. Cynthia DiDonato.

I just want to say thank you again to the curators and those who worked on the catalog. But I also want to say you made me feel as though I was there. For the.

Good.

And… That… is a tremendous, it represents a tremendous effort on all your parts. So again, thank you so much.

Thanks, Cynthia. Yeah, we absolutely wanted to do the best we could to just like, you know, bring the show.

To you, because normally I don't get to go to any of the exhibitions, and it just… it's always so wonderful to have them presented in the salons and get a sense of, you know, the buzz, so… we did what we could. Anybody else? Any other thoughts? I have a question. I'm wondering if the… videos and photos that you all have shown today, which… I…

I want to say ditto to what Cynthia said.

Would… could you possibly put those in a Google file so that we might,

Access them for our own sharing.

Yes, absolutely. We're going to make them available in a Google. Thank you.

Folder, somehow. Everything will be available, and then Colin will be adding things to the website. You will all be able to get a hold of your things. That's part of the goal.

I want to share with other people, try to get a couple of people I know in LA to go. So thanks.

Right.

I have to say this team has been working night and day for weeks. So, you know, I know that they're very organized to get things to Colin to get onto the website and into Drive, but they had to compile the videos, get everything up, get to the opening and prepare for today. And it's just been amazing how much work. Has gone into this. So if… if it takes a few days to get the stuff into Google Drive and get it to Colin so that he, who also has been working really hard on many things, sticking on the website, just it's really… just give them a chance to do it the right way and to breathe a little, which I'm sure everybody is already thinking. I'm just… Thanking…

In the.

Thanks team for working so hard.

Thank you, Cynthia. Yeah, we've all been tearing our hair out, but we're good.

For people who are coming to SIGGRAPH, I am doing a general presentation with Greg Garvey and Randy and possibly Patrick Lichty. And maybe Lucy will be there. We're trying to figure out. Anyway, at SIGGRAPH on Thursday afternoon, over lunchtime. At SIGGRAPH. And I also, while I'm speaking, the DAC, which stands for Digital Art Community of SIGGRAPH, as you know, SIGGRAPH is mostly people in the computer science end of computer graphics, and the digital art community focuses on the visual art part of it, and at the large SIGGRAPH conference, which we'll have.

Cynthia Beth Rubin

At least 10,000 people there, maybe up to 18,000 people. You know, no one knows the numbers until after it happens. There's an art gallery, and the collaboration projects will also be Adjacent to or in the art gallery in some way, so people who come to SIGGRAPH should see that, and come to our session. As well.

You know, I wanted to add something. Thank you, Cynthia, to that. The second opening reception that's tied to SIGGRAPH at LACDA. Is on, as Cynthia mentioned, Thursday, July 23rd, for those of you who will be in Los Angeles during that week, and it's from 5 to 7. Oh.

At Lacta. Oh. And, yeah, so there's a lot of art-related events that are happening. Throughout the week, which, we're excited about. And that's another part of this synergy, is to connect the Techspressionist movement to this SIGGRAPH organization at large. Is a big deal. And there will be a, oh, sorry, Victor. I just wanted to say, for those who don't know, SIGGRAP special Interest Group on Computer Graphics and Interactive Techniques.

In case anyone was wondering.

And.

But I can't. I would say for those going to SEGRAF, there is a panel discussion scheduled about this project. And I will be on the panel, if you happen to be there, speaking as a co-curator of that, also. So we'll be highlighting, our participations. It's very new for this community to have visual art that's not… in my… Observing, not film, not… in just tech or data-driven, and it's really wonderful that this experiment is doing something new by bringing the visual artist's voice.

Randi Matushevitz

Into an equal playing field. And I'm really grateful to Gustavo for wanting to do that, and giving us that opportunity. Yeah, I.

I just wanted to add quickly. I think Jackie Morey is on this call, but I can't see who's here. So Jackie, who's one of the participating artists, was the founder of the digital art community of DAC. And so it's really important to recognize way back that if it weren't for Jackie, you know, all of us.

Thank you, Jackie. Thanks.

Thanks, Jackie. And I wanted to say that panel that Randy was referring to that she'll be on, and I believe I'm going to be on it too. Recent addition is on Wednesday. I'm looking at my calendar. July 22, from 3 to 4, 30. And I even have the room number 404. A, B. For those of you who are actually going to be at Seagraph in the conference at the conference. So Little detail there. Thank you.

What's the availability of the catalog? If any of us are interested and aren't going to be there physically, can we order it somehow, or what?

Yeah, so I can, I can answer that. So, as you know, The way that things work into expressionism is that people who are passionate about a project are the people who essentially, you know, taken on and front the money for it, as Colin has done with website and Zoom, and so what we did is we ordered 50 copies. And we can give those to people who are in LA and we can mail them to people. And we ordered enough copies and we can order more so that we'd like people to actually take them in not just one but two or three and make sure they get into the hands of curators. In return, should you choose to Gift me in some way, because I paid for the 50 catalogs, that would be great.

Cynthia Beth Rubin

But it's not mandatory, because we don't make things like that mandatory anti-expressionism. Meanwhile, I also spoke with the people who handled the printing. Hello, print! And they are aware that some people may want even more catalogs. If you order just one, it will cost you $18 or $20 or something. From them, which we are able to give you from our pot, you know, three for… much for about half that because we were in quantity. You can also order 25 directly from them or which is something you thought people might want to do or 5 and.

Cynthia Beth Rubin

What Daisy said is that you could get five of them ordered directly for, I think we calculated $43 and some change. And I will actually give you the same production file so that it would go through very quickly.

Okay, thanks.

So yeah, it's a long answer, but you know, that's, here. So.

Yeah, Cynthia, thank you for taking care of all things to do with the catalog. It's really nice to have a copy.

And I have to say, again, we could have not done this catalog without Maria writing the script so that she could take what people did in the Google form. And if you noticed, we asked you twice for information. I mean, things kind of got… grew organically. So first you submitted, and then went, oh, wait.

Thank you.

Do the catalog the right way, so thank you to everybody who took the time to go back in and fill out the second form, and then Mario was able to write the script and populate the pages very quickly, and it's just amazing, because I think from now on, we'll be able to do catalogs for everything that we do.

Right.

Okay.

Any other comments or questions? Any comments about that collaboration?

I just wanted to say, you know, thank you to you guys, to the three organizers. You know, you did an amazing job. The show looks awesome. The DAT collaborations especially are really compelling. You know, when you showed them, it just really was another level of how the group can interface with, you know, these other facets of, you know, technologists, basically, and what can come out of it. I really think that interactive and screen based work is something that's really important because it can be sort of Consumed and enjoyed, you know, by people remotely in a way that physical work cannot, so I think that might be an interesting, you know, model for things going on in the future, you know, and we have a bunch of different things happening now with various, you know, kind of virtual environments and things like that, that'll be in upcoming salons, so, I'm looking forward to that, and I know Randy had mentioned, you know, a possible salon.

Colin Goldberg

Based around the DAC collaboration, and maybe opening that up to other artists that want to participate, so… so that's all really cool, you know, wish I could be there in LA to see the show, but you guys did an awesome job, you know, presenting it, so, kudos.

Thanks, Colin.

Thanks, Colin.

I wanted to say that,

I mean.

One part of, I love the fact that you all did so much documenting and sharing today. That was probably the best I've ever felt about a show that I can't go to and how clearly I can see what's happening. I appreciate that deeply. And the other part I wanted to say, as I enjoy the fact that it's we have prints, we have physical prints, and we have moving work. I think that's a really good fit. For me, and it looks like it's a good fit for the people in this group for the future. I enjoyed that tremendously. Thanks.

No. Great. Yeah, before Lee, I just wanted to say that those of you who have prints in the show, you can have the prints mailed to you. You have to connect with Rex and he'll charge you shipping, but you can get your prints mailed to you. I'll leave.

I was just wondering if you could talk a little bit more about how the collaboration worked and how you had, you know, interacted with people, what the process was a little bit. I imagine it was different for different people.

Mmh.

Yeah, and I'll start, and I know Randy and Victor and Annette can also speak. The team that I was in, I have two composers. Yes, Stephen Paré. Steven Ferre is one, and Yue Hao Gao. So it was just wonderful working with them, by Zoom over the weeks, and, so that, that was our team. I was doing the visuals and the sort of technical. Stuff, making it interactive. And Steven and Weihao were doing the music. Very different types of music. So it was very interesting, you know, combining, combining that.

Lucy Boyd-Wilson

But yeah, anybody else want to talk about their Teams. Victor.

Yeah, well. It was really amazing for me, and it was. It was a stretch, you know, sort of late in my career, so to speak. To step out of my comfort zone and to collaborate, because I'm not really haven't been used to collaborating. Sometimes art is a solitary. Endeavor, and it has been for me, I mean, you have an audience, you interact with other people, but in terms of actually making the work and making all the decisions. Small and large to make a final art.

Victor Acevedo

Product, is… was a stretch for me, but it was really fulfilling and, amazing for me to do it. I felt great about it. So I worked with, a composer, his name was Ella… formal name and real name is Alessandro Fadini. He's originally from Italy. We call them Alex. We call them Alex. And he teaches at Texas A&M University. And I think it's in College Station, Texas, where Stephen would probably be familiar. And, so he's a PhD candidate. He's teaching there. He's in music, and he's like a digital musician.

Victor Acevedo

At a very high level. So, but he, he was also the author of the, it's really an app based VR, I'm sorry, AR app, augmented reality app. On the video screen, you'll see this sort of block cluster rotating slowly around, which had my video on it. But that was really the final result of three people in collaboration. So I did the first video in my style, which is, many of you are familiar with, sort of an overlay of geometrical form. Pattern structure kind of overlaid on recognizable you know, live action video, but in this case, just about all the video.

Victor Acevedo

That is in my piece is AI. It's all AI generated. It's I'm using runway. So, that was… it's been a transition for me of… of recent times of… before I would… pull imagery from, the world with a video camera, and that was the basis. Or I might, you know, interact with a hired model and do something, or… get some stock footage of a of a real person. But now it's like you can do it with AI, but not to put actors out of work, or whatever. You know, we have to jump ahead and use the tools that are available to us. I like runway because it doesn't really it kinda… it's close to live action in terms of the look and texture of it. You know, we know the mid-journey sort of look, you can spot it a mile away, which is… so it… there's these gradations of, the synthetic look of imagery that's being generated, and, you know, we're going through, and it's getting more and more, you know, every… daily, there's new tools, and there's new, Capability on the technological end in terms of the apps, and Hollywood is getting behind it, you know, actually. Even though on the, you know, the news that's broadcast is, you know, there's a strike and they made an agreement that you can't use AI-generated actors. Okay, this first go around, you can't. But everybody else around the actors are moving ahead on AI production, especially pre-production, pre-vis. And it allows modest practitioners like ourselves.

Victor Acevedo

To present, like, time-based narratives. That way beyond what we could normally have put together in terms of special effects. Environments, the narrative, and all of that. You know, they're like micro movies, and, you know, you can push it as long as far as you want, from pure abstraction, or to a more, sort of, maybe surreal narrative. And that's amazing. So anyway, so there's that. You know, that's kind of what I brought into it. It's like my own sort of neophyte.

Victor Acevedo

Uses of AI. And then, The composer who I mentioned already, Alessandro Fedini. He used to be a jazz player for 15 years in New York, and before he went into like, I guess, postgraduate academia. And he presented a rough sketch. You know I took it. He allowed me. He's very flexible in the collaborative to allow me to edit his piece, so it would sync with what I'm doing. Another part of what I do is called visual music. So there's the synesthesia component, the phenomenology of the audio and the video.

Victor Acevedo

In type sync. Anyway, I should speed up. I'm… maybe I've been… had this bottled up, and I'm… you know, you give me the opportunity to go on at length, so I'll try to wrap it up. But I thought you might find it interesting. Like, what… to Lee's question, how did it work? So then, but I'm looking forward, I haven't seen the… I've only seen prototypes of the AR App on the phone. And at SIGGRAPH, there'll be a version that people can actually download on their phone and experience that cube, and you can walk around it.

Okay.

Oh. You see it through your phone, and it's as if it's… that cube's in your room. You know, you sink it to the floor, and it does all this amazing stuff. I mean, that's beyond what I know how to do, but hence the need for a collaboration. And then we had the technologist Joel Zika, who is now a full Phd. Oh. Person, academic. He teaches there also at Texas A&M. He brought it in, I think, initially into Cinema 4D, and he mapped this video with the music that had been further developed onto the cubicle cluster.

Victor Acevedo

And that was real important. And he handed that back to Alex, who then brought it into the app. So, it was a kind of a, for me, in my sort of, you know. As a neophyte in this extra extended use of media beyond what I've known… I've had experience with. It was really fun and exciting. So, anyway, that's my wrap-up. I should hand it over to Randy, she can talk about… she worked with two co-labs.

Wow.

Thanks, Victor. Yeah, wonderful. Each of the projects looks so unique. Annette, did you want to? Add something.

Sorry, Annette as.

Yeah, let me unmute. So the kind of collaborations I've done in the past were mostly where I basically hired and directed a sound person or a technology person. And this collaboration was very different. We didn't set specific roles for anyone, because all of the, all of the three, kind of technology people, Pierre, Xolobert, who does sound, but also does visuals, Slavica, Seprikovic. Who, is a technologist, but also does visuals, and Bianna Bogosian.

Annette Weintraub

Who does robotics and many other things, but also does visuals. We… the approach we took was to take my projects and I made the files from some of my panoramas and virtual still lives available to the group. And Slavica came up with a list of tools and then we all kind of fed my images into those tools in different ways and keeping in mind. Kind of the through-line of my work, which is to kind of situate iconic, everyday objects into a kind of urban space. So that was sort of the through-line that everyone followed, but using different tools and different processes.

Annette Weintraub

And seeing what we came up with and then making kind of a compilation of those experiments. And I found that like tremendously inspiring because it's given me a number of different avenues where I see my work going in the future. So we didn't come up with a kind of unitary video, but we came up with a compilation of experiments, again feeding some of my elements into AI assisted tools. And then bringing them back into a kind of urban environment. So you see elements of LA, Toronto, and New York in the video.

Annette Weintraub

And also some, Pierre did an amazing video in Comfy UI, using my panorama. So, it's just given me… so much to work with. And it was a really, really interesting. Collaboration, and… Our piece also has two AR components, one that I did. Using a tool called Stylee AR, and one that Slavica did. So you see both the New York subway and a neighborhood in Toronto kind of filtered through the objects that I work with. And I think you'll be able to see that at the show in LA, but also at the SIGGRAPH installation.

Annette Weintraub

So it was really, I felt it was an incredibly productive experience and I think it kind of expanded our work, and it introduced me to a whole range of other tools, so I was, like, really, really happy to be part of it.

Awesome. Thank you, Ann.

So, yeah.

Same.

So I could say something about the collaboration that I worked on. So my team was absolutely fabulous. I worked with Aaron McLaren and Patrick Hart, and they each of them works with composing music and with technology. And… they we went with all of these. We went through a lot of iterations and started out with one idea, and it evolved to something else. I personally had been thinking I didn't really want to work with plankton forever, but they were really taken by the plankton and encouraged me to do that. And then thanks to the co-working group.

Cynthia Beth Rubin

I've said this previously, I was… have been encouraged to include some of my direct electron scanning microscope imagery. And so. We were trying to figure out how to bring this all together, what they were doing with composing, and what I was doing with imagery that I had already manipulated from photographs. And at some point, I mentioned that there's data in Narragansett Bay, which is where the ocean comes in Rhode Island, the… The long-term Narragansett Plankton series is probably the longest running sampling in the world. From 1954, people have been going out on the boats once a week and seeing how, how much, what's happening in the ocean waters, and they were able to take that data. So the music it is… composed from sounds from the ocean, but changes in frequency.

Cynthia Beth Rubin

And rhythm to respond to the real data of what's happening in the ocean. And then they took the same ideas, and we decided on this in collaboration. They started transforming the colors and things in my imagery, which I had generated using from my own images, but then using AI to create the animations. And applied similar rhythms and changes responding to the data to the imagery. So it's an amazing, I mean, that it all came together in that way. And it's, for me, it just was great to work with these guys. They really were brainstorming and coming up with new ways of thinking.

Cynthia Beth Rubin

About how to make people aware of the fact of not just what's happening in our oceans, which are vital to our existence. But incorporate the fact that there's data. With data collection, as you know, is essential, and was at the moment somewhat under threat. So Anyway.

Mmhm.

That's our piece.

Thanks, Cynthia.

Yes.

Yeah, the collaborations were… it was really interesting, and as Annette said, it… you know, it's different from having a vision on your own, and… Directing everything when we're collaborating together is that we're each equal collaborators and don't know where the project's going to end up. So that just makes it really, really interesting. Okay.

Come on.

I think Randy had to step away, but she, as I was saying before, was worked with two groups, which was quite, I would, from my vantage point, quite a feat. And they're 2 different, very different kinds of expression. And at some point I think we're gonna have the real on the on the Techspressionist website. Oh. Again. And yeah, it's fascinating. To see how Randy's work got expressed in an augmented reality, and also in a worlding, as they say, sort of environment. One was kind of unnatural.

Victor Acevedo

Immersive. World, and the other was more of a straight sort of mobile app experience with interactivity. Oh. So you know, not only is it augmented reality, it has an interactive functionality. And that's another thing. So these tools are real are really expanding the palette that most of us are. Probably, you know, I should speak for myself. But I didn't, you know, when I started in computer art in the 1980s, we had nothing like this. Just having a computer graph, you know, just a paint system was amazing, or 3D modeling animation on the desktop was amazing. But, you know, we've gone light years, so to speak, since then, so it's exciting.

Victor Acevedo

It's everything is opening up again. So for us at this stage of our careers, I mean, the field is wide open again. So it's exciting to share it with you, and you know. And let you guys know that. It's there. You guys should jump in as well if you if you want to.

No.

I guess if there no more comments. I just want to thank everybody, artists, all of you who participated in this with your images and videos and audio music and everything. And it's just been a really amazing show to be part of and putting on and wonderful to show it to you, share it with you today. And with that I think I'll pass the meeting back to Colin. Thank you. Everybody. Oh, is Colin here? Okay.

Yep, I'm here. So thanks so much, Lucy. I believe this was your first, time moderating, and you did a great job, so I welcome you to come back and moderate some more. Hopefully, something to do with your awesome dome, work in these immersive environments. I think that'd be really cool to… to learn more about that. And yeah, the show looks amazing. Again, big thank you to you, Lucy, Victor, and Randy for, you know, spearheading it and Cynthia as well for, you know, leading the catalog component. So.

Colin Goldberg

Really, really cool. Great to see, you know, Techspressionism getting spread to the West Coast and especially to the SIGGRAPH community. So… The upcoming salon is going back to the first Thursday of the month. This month, it was slightly different, just based on the exhibition schedule, but the next one will be on Thursday, August 6th. Since it is relatively short notice, this is gonna be a standard sort of open mic style salon, so anybody that, you know, wants to share, their work, I would encourage you to share current work, what you have going on in the studio right now.

Colin Goldberg

And it'll basically be sort of, like, on a first-come, first-served basis, you know, like, so if you want to show up, like 1145 or something, then we can start, you know, a queue going of… who wants to share and stuff like that. And then based on how many people want to share, that'll kind of determine the timeframe. But I would say probably, you know, five to 10 minutes, hopefully we'll get a bunch of people sharing. You know, and if… if anybody wants to step up to moderate that, that would be welcome. Otherwise, I guess I'll moderate it since I came up with the idea, as the rule goes, supposedly. So that being said, I think we're going to bring this recording to a close. Oh, Cynthia.

Yeah, I just wanted to plug the Uzbekistan videos that are on Techspressionism. As we know, Cynthia Beth Rubin, a number of moderators and artists have.

Okay.

In participating in videos where, the artists. Shared their artwork and their process with Makerspace participants. I have to say, I've been looking at a number of the videos myself that I didn't get a chance to see earlier. They are very well done. So please. Check them out and I think you'll find rather interesting information about their processes. Thank you.

That's great.

Thank you.

And if I can just jump in and do one more quick plug, which is for the session that we had with the French artists. As you know, one of the artists spoke in French, and Tree Skull Town, and if you go back, we now have it subtitled enabled, and that's also on the website. It's subtitled enabled all the way through, so that you can share it with people in France who want to be able to see the subtitles in the people speaking English and French. But you, I would also encourage you to go back if you could not follow what was happening at the time, because Zoom changed their caption interface, and it's really hard for people now to get live captions. We have to revisit our instructions on that.

Cynthia Beth Rubin

So. Go back and look at all of the salons. Actually, Colin has a wonderful link off of the main website to any salon that you missed.

I just wanted to add onto what Cynthia DiDonato said about the videos on YouTube. I just watched them and they're invaluable and I really encourage everyone to continue with those. For me, as a relatively new person to the Techspressionism co-working group, they were invaluable. Awesome.

And parenthetically, those are all subtitled enabled because they were geared also at people in Uzbekistan. So you have to click the little CC and pick your language. But for anybody who wants to see them in any other language, I'm not sure who's on the call today. Just know that you can do that.

All right. Awesome. Yeah. Thanks so much. And the videos for the Uzbekistan show, if you go into onto the home page, there's a section for the Uzbekistan exhibition. And a big red button that says exhibition website. And then if you go into the exhibition website, there is a section for presentations, so, that is how you find it. I could actually just… Condition.

We have to… we have to add a few more that weren't… they're all on YouTube now, but I don't know.

Yeah.

Yeah, on this. Page…

Yeah, there's a good number of them. So the way that you can get there is off of the main menu, you go into exhibitions. And then we have the Uzbekistan show, which is the. First one on here. Click into that. And then under media, which is where all the photos and videos go. There's a tab for presentations. There's also a kind of a quicker way to get there. Right from the home page, if you go down to where the Uzbekistan show is, there's a link that says virtual presentations, and that brings you directly to the presentations page, and there's a number of them.

Colin Goldberg

Here, with, time codes for when each artist Presents. So, a lot of good information and, you know, instructional, content there. So, definitely check them out, and much appreciated to everyone who helped, put that together and participate in it. So. So, all right, we will bring this to a close now. I would encourage anyone who wants to stick around for the after party to do so. That is just kind of like… you know, we're, off… off the record, so to speak, but people can just, you know, hang out and share. We will be having a, an open mic style salon, this coming, Salon in August. And then after that, there's a couple different things, lined up. I know that Randy had mentioned, doing something with the… the collaborations, the DAC collaborations. We do have a, a collaboration and process with Loop Art Critique.

Colin Goldberg

Which is a virtual environment where a bunch of different artists in the group have participated in various events and, things like that. They're a really interesting platform. Recently partnered with the ICA in Miami. So we're going to be doing something with them. And that's about it. So I'm going to stop recording in three. Two, one, and cut.