---
type: salon
number: 89
title: Mariniana
date_recorded: 2024-12-05
date_published: 2024-12-05
video_id: gesSwVo36wo
url: "https://www.youtube.com/watch?v=gesSwVo36wo"
duration_seconds: 5531
moderator: Renata Janiszewska and Karen LaFleur
speakers:
  - name: Renata Janiszewska
    country: Lion's Head, Canada
    start: 423
  - name: Karen LaFleur
    country: Cape Cod, MA USA
    start: 1696
transcript_source: zoom-transcript
languages: ["en"]
---

## Colin Goldberg [00:00](https://www.youtube.com/watch?v=gesSwVo36wo&t=0s)

Name is Colin Goldberg and Oop. There we go. My name is Colin Goldberg, and we are here in expressionist salon number 89 today is Thursday, December 5, th and today's salon is going to be presented by Renani, Anaszewska and Karen LaFleur. They're going to be talking about their Current Museum Exhibition, Mariniana, which is up now at the Cape Cod Museum of Art. Two-person show of Techspressionist. Moving image works before I hand the mic over to the 2 of them.

We have an announcement or a little instructional bit from Cynthia, Beth Rubin, who's researched and gotten real time translations set up on the zoom account. So that's something that'll be available to everyone in this salon, and also in the co-working sessions. So, Cynthia, if you want to give a brief explanation, and maybe some instructions on how to use this functionality, that'd be great.

## Cynthia Beth Rubin [01:05](https://www.youtube.com/watch?v=gesSwVo36wo&t=65s)

Sure, and I'd like to invite Sahar and Yeon, who've been using it more than I have to jump in. If I'm not giving the clearest instructions, because it's been very successful in our coworking. I have to preface this by saying, the translations are not perfect, and what I have to remind people is we're visual people. So the most important is looking at the images and getting a sense of what somebody is saying. And those of us who are hosting or working on things if we see it not making sense. But we understand it. I've been taking time out to kind of summarize what somebody's saying, and I think people should feel free to do that. So in your screen, in your if you go down to the bottom and hit show captions. There's a little CC. That says, show captions.

There's share host tools. AI companion. Well, I have host tools, apps, and show captions. Has everybody seen that? And you probably already know how to show captions, which is also very useful. If for some reason you're not understanding even English to English. For many reasons that can happen. So it's useful to have show captions. And then why that is clicked on. If you kind of click and hold over to the right, you'll see caption language, and you can pick captions. Oh.

Shook! You know what? I'm not getting it right now, for some reason, maybe it's English to English, Sahar, do you want to jump in.

## Sahar Moussavi [03:03](https://www.youtube.com/watch?v=gesSwVo36wo&t=183s)

Yeah.

## Cynthia Beth Rubin [03:04](https://www.youtube.com/watch?v=gesSwVo36wo&t=184s)

Okay.

## Sahar Moussavi [03:05](https://www.youtube.com/watch?v=gesSwVo36wo&t=185s)

Okay.

## Cynthia Beth Rubin [03:07](https://www.youtube.com/watch?v=gesSwVo36wo&t=187s)

Yeah, and explain to people if you go under captions and then.

## Sahar Moussavi [03:12](https://www.youtube.com/watch?v=gesSwVo36wo&t=192s)

You have to choose the language. Last time I chose Persian, and you chose Korean and Heather was speaking Persian. So you was able to read the caption in Korean. And you were able to read the captions in English right.

## Cynthia Beth Rubin [03:33](https://www.youtube.com/watch?v=gesSwVo36wo&t=213s)

Yeah. Are you getting that now? Though I'm not convinced we fully enabled this.

## Sahar Moussavi [03:40](https://www.youtube.com/watch?v=gesSwVo36wo&t=220s)

Do you? Do you want me to.

## Deann Stein Hasinoff [03:43](https://www.youtube.com/watch?v=gesSwVo36wo&t=223s)

Sorry. Only thing I see is the is showing captions for the in the one language for everybody. So the translate button that we had yesterday or on Tuesday. Isn't there? I don't know.

## Cynthia Beth Rubin [03:57](https://www.youtube.com/watch?v=gesSwVo36wo&t=237s)

Not there. No, okay. I thought that we had it. But we don't. So we for some reason we don't have it working. I thought we did. So. I guess, for today people just need to leave. Their people will be speaking in English, and we will have to leave it to English to show captions.

## Roz Dimon [04:18](https://www.youtube.com/watch?v=gesSwVo36wo&t=258s)

Thea. It's Roz. I'm just gonna say one thing. It's probably obvious, but if you can't find the caption button, I found it under more 3 little dots at the bottom. It wasn't caption wasn't listed, so I went to more, and then I went, and caption came up. And when I go into it. Sometimes it comes up, but other times it doesn't. But there was a whole list that showed English. It had a whole list of different languages, not doing the translation. I.

## Cynthia Beth Rubin [04:46](https://www.youtube.com/watch?v=gesSwVo36wo&t=286s)

Should say, both speaking language and listening language, and we enabled it for the Tuesday group. And it's you know, I had to write to support, to do it, and I did it along. You know I did it like 6 over a month ago, and cannot figure out how to enable it for this group. I do want to say, though, that when you show captions it's not intuitive. But if your captions are showing, you actually can click in the middle top of that window and move it around. So when people are showing something, if it's blocking the image that is important to know, because I didn't know that for a long time. It's not that intuitive doesn't have a bar at the top that makes it so obvious that's how you move it around, and I do know that people have important stuff at the bottom of their slides when they're sharing, so you'll want to move it if you are.

If you do have that, we will just have to keep working on this. I have to find the email that support sent me. And I just found I thought it was Sahar. We thought it was working for a minute.

## Colin Goldberg [05:57](https://www.youtube.com/watch?v=gesSwVo36wo&t=357s)

It seems like it was. But maybe the functionality is different when recording is happening. I mean, cause I know in your coworking sessions recording is off right.

## Cynthia Beth Rubin [06:10](https://www.youtube.com/watch?v=gesSwVo36wo&t=370s)

Oh, that might be

## Colin Goldberg [06:14](https://www.youtube.com/watch?v=gesSwVo36wo&t=374s)

Because now I'm seeing it come up in like I don't even know what language that is. It looks like Chinese. But the translation language for me keeps changing without me changing it. So I'm thinking, when a user in the zoom is changing it, it's changing it for everybody. I don't know, you know.

## Cynthia Beth Rubin [06:31](https://www.youtube.com/watch?v=gesSwVo36wo&t=391s)

Okay, yeah, that's.

## Roz Dimon [06:32](https://www.youtube.com/watch?v=gesSwVo36wo&t=392s)

Yeah, that's happening for me, too. Colin. Yeah.

## Cynthia Beth Rubin [06:35](https://www.youtube.com/watch?v=gesSwVo36wo&t=395s)

Yeah, it's coming up in Korean type now. So Colin and Cynthia, we are at 1216. Keep going. Yeah. Forget.

## Renata Janiszewska [06:46](https://www.youtube.com/watch?v=gesSwVo36wo&t=406s)

You don't mind. Maybe we could work on this at the next beginning of the next salon beforehand.

## Colin Goldberg [06:52](https://www.youtube.com/watch?v=gesSwVo36wo&t=412s)

Yeah, I think.

## Cynthia Beth Rubin [06:54](https://www.youtube.com/watch?v=gesSwVo36wo&t=414s)

Full session, or afterwards is better. Okay.

## Colin Goldberg [06:58](https://www.youtube.com/watch?v=gesSwVo36wo&t=418s)

Alright. So without further ado, Renada, you wanna take it away.

## Renata Janiszewska [07:03](https://www.youtube.com/watch?v=gesSwVo36wo&t=423s)

Sure. Thank you, Colin. I'm Renata Janiszewska, and I'm speaking to you today from Lion's Head, which is on the northern Bruce Peninsula in Canada. We have about a foot of snow at the moment we're expecting several more feet over the coming days.

## Nina Sobell [07:20](https://www.youtube.com/watch?v=gesSwVo36wo&t=440s)

Hi.

## Renata Janiszewska [07:25](https://www.youtube.com/watch?v=gesSwVo36wo&t=445s)

Going to be talking to you about how I nailed the theme of ocean in the work, Mariniana, the interrupted wave.

## Nina Sobell [07:33](https://www.youtube.com/watch?v=gesSwVo36wo&t=453s)

Hi.

## Renata Janiszewska [07:34](https://www.youtube.com/watch?v=gesSwVo36wo&t=454s)

And.

## Nina Sobell [07:35](https://www.youtube.com/watch?v=gesSwVo36wo&t=455s)

To get my audio going.

## Colin Goldberg [07:40](https://www.youtube.com/watch?v=gesSwVo36wo&t=460s)

Can everyone that's not presenting just mute.

## Renata Janiszewska [07:49](https://www.youtube.com/watch?v=gesSwVo36wo&t=469s)

So the goal one of the Goals, Mariniana, is to spread expressionism to land-based institutions as opposed to over the Internet. And we made a 44 page catalog, which is online that's available.

## Nina Sobell [08:06](https://www.youtube.com/watch?v=gesSwVo36wo&t=486s)

Hello!

## Renata Janiszewska [08:07](https://www.youtube.com/watch?v=gesSwVo36wo&t=487s)

Through the expressionism website under exhibitions where Colin has made a micro site, Karen put together this catalog.

## Nina Sobell [08:16](https://www.youtube.com/watch?v=gesSwVo36wo&t=496s)

Oh! Hi!

## Renata Janiszewska [08:17](https://www.youtube.com/watch?v=gesSwVo36wo&t=497s)

The layout. Hi, Nina! That she did this layout and made the book look really wonderful. The 1st page gives you an explanation of why we called it the interrupted Wave. She also gives you a little definition of Techspressionism down at the bottom. So right off the top. We have this.

We have this talk about Techspressionism and how it relates to. Gosh, I'm having some problems here. Okay. How it relates to the work that we made for Marine Anna. The theme was because Karen has had a lot of experience. Living by the ocean. She started making artworks as a child on the beach using natural materials, and she currently lives on Cape Cod, very close to the shore. We divided our work into 2 Modes of interpretation. I was going to take the theme of ocean, as it is shown in myth and legend and fairy tale. And she's going to. She did work with Lucas Tanzer, who's a marine biologist who studies ocean currents, and he is part of the Woods Hole oceanographic Institution. Karen divided her piece into 3 parts, the 1st you can see a gif on the left, showing a whale and fish, and the title of her 1st part was Aqua Columnna, and if you can see my pointer, these are some stills showing very dark deep water, and then moving upwards closer to the surface.

And then you get to the image that you see moving on the left fish and whale. Her second part of her work is aqua tribulentum, and this has more to do with the eddies and the flow of the water, and I'll draw your attention to this beautiful image up here, which is actually an interpretation of one of Lucas's instruments that he uses to measure the current. And she created this in Blender and made it a part of her moving image. Work here, which, as you can see, is very colorful and beautiful.

And her last part of the trilogy is Aquaplanetta, and on the left you can see images of the ocean systems that are circumnavigating the entire globe. But beyond that, beyond the globe you can see, there are images of the cosmos behind. So it really has a multi-layered approach to this last part. The water systems are all connected on the planet, the ocean systems. A few testimonials about Karen's artworks and her moving image works. Her moving image works resume, and I'll draw your attention to this image at the bottom. Right.

Karen was invited to project her work onto the post office in the village of Pachogue, Long Island. Who they have. A festival every fall called Moca Lights, where they take moving image works and display them outside in the village after dark, and both Karen and I have taken part in this festival for several years. The institution is called the Patchoke Arts Council, I believe. And they usually start asking people in June to submit work for the event in October some more information about Lucas and his scientific research.

And then a page on Nancy Tucker. Nancy Tucker is a composer and musician, and she has scored the works for Karen's moving images in Mariniana. She's also worked with Karen on numerous other projects. They go back quite a long way, and I think that she's really pleased with how this project turned out. Here's a double page spread of an image from my work called in Bangor, and this work talks about 2 sisters. I made up a tale after I made the work actually or during it. And they're 19th century New England women who live on the coast of Maine.

And their husbands are fishermen, and there's a storm at sea. And the anxiety and the dread that they feel is communicated in the work. As to what's going to happen to their families. There's a bio here of my own. And also I wanted to mention to the audience that all the music for Mariniana, for my part, is composed, recorded, and produced by me in my own studio. Here in Lion's Head, in Canada. This piece, called Sadness Lament, is based on an Inuit tale. It's about a woman who's done something wrong, and she's thrown into the sea as a punishment.

And fishes come and eat her flesh, and she turns into a skeleton, and a fisherman catches her. And the woman thrown into the sea really made an impression on me. This piece. Has kind of a driving force to it that I'm going to show you a bit more about it later. This mermaids is another theme that I took when I was very small I read or heard the story of the Little Mermaid by Hans Christian Andersen. And it's a truly cruel and terrifying story for a child, because it concerns a woman who's a mermaid who has no legs, who falls in love with a human prince? And it's her dilemma. How can she be with the person she's in love with.

And it was made a big impression on me and in my mermaid's piece. Here I created these strange, watery creatures who are half human half Fish, and their misery about living under the water. The other theme I took for Mariniana was that of the Sirens. And here you see a number of the Sirens, and I have a quote from Homer's Odyssey, because they appear in it as characters Producing celestial music and luring sailors onto the rocks. This image here was made fairly early on in the project, and I think you can see it's the epitome of a doomed ship on the left, and I blended my work with the work with works of naval Marine landscape if you will, waterscapes. And this turned out really well for me, because the ship on the left.

It doesn't look real at all. It has these spikes on it. It has this cross, this Christian iconography creeping in. It's about to tip over. There are a lot of people on deck. The one on the right again. Mid journey was different when I was doing it back in 2023, and it looks like it's about to take off into the atmosphere. But I really like this dark Bruise colored cloud and the fear of ocean. The fear of the power of the ocean is something that inspired me a lot doing this project because I had a bad experience in the Atlantic swimming as a child, and I've never gotten over a certain kind of reverence that I have for the power of the oceans.

There are a couple of testimonials here. One is by an art historian From Canada who writes about, has written about my work, and the other is from my friend the author, Jan Martel, who wrote Life of Pi, and he also wrote about my work. Moving image works resume, and one show I was that was Techspressionist show at the Cotuit Center for the Arts, with some other, a few other Techspressionist artists and curated by Karen in 2022. So to get more information into the hands of a curator. We wanted to explain Techspressionism to the reader, and we've done a I think, very good job of putting it into 2 pages. You have a link here to the exhibition that was held in 2022 at the Southampton Center for the Art Center Techspressionism digital and beyond.

Curated by Colin Goldberg. You have links to the Techspressionism website, to the Techspressionism, Instagram, and some information about the number of saloons we've had, and how you can see them. And also a quote from Helen Harrison, who's A well-known American art historian who's the group's advisor Specs really important again for institutions to know and to have. And a link to one of our 3 trailers. The trailers are all different lengths for different purposes.

The venues where the work is showing and will be shown, and the contact information thanks Bibliography. Karen has references here to the marine science that she referred to. And the back cover matches the artwork on the front cover. While I am getting ready for the next share. Here I'm just there we are. I was thinking a lot about the emotions that Drive my work, and I have a quote here which you might have heard before. But it's from Louise Bourgeois, and I think it's quite relevant to the work that I've done.

A work of art doesn't have to be explained, she said. If you don't have any feeling about this, I cannot explain it to you. If this meaning the work of art, doesn't touch you, I have failed. And so one of the things that I do when I make my art, and it's always the same. It's always about emotion that comes 1st before subject or anything else, and I try to block everything else out and just focus on the feelings. And, Colin, I'm going to mention here. He invited us to do this salon because he wanted to allow other expressionist artists to see how it's possible to share a project and widen the perception of the community through land-based Venues rather than just online.

So when I started creating work. I looked at some reference materials, and I was making images in mid journey. So here this is a mashup of my work, with Portrait of a of a ship. And I know it doesn't look like much. But this image really inspired me. It doesn't look like a ship in the middle, but it made me think about how I wanted to present marine mythology and marine subjects again. I'm not talking about the stories as much as I'm talking about my emotional response to those stories.

And I made sketches of, and like short little clips to try to understand how I could convey motion, and how I could convey water, and you can see here that the color of the water is very unnatural, but it nonetheless. It was a stepping stone for me. These images of the women were part of another piece I was working on. He was for the wrong digital piano. And I made with Midjourney, Renaissance portraits, Northern European Renaissance, Madonnas, Italian, Renaissance women.

There's a lot of shell and ocean iconography in the work of Botticelli. So if you think of Venus on the half shell. This one even has a lobster claw. If you look at the lower left hand corner. So those were some of the ideas. Here's a glitch portrait of a siren, and if you look closely at her ear, you can see that there are crustaceans growing on it again. A lot of these themes that I was working with were about the dread and the longing and the emotional impact that living near water or underwater has on people. Here's a little Sea urchin that I made again another sketch. And basically, I really didn't use this at all. But I show it to you because the movement is so much like one of those creatures that lives underwater and scurries from coral to cave.

Here's the piece I talked about earlier. You can see it a bit closer. Now you can see all the people on deck on this Looming doomed ship on the left. And also the bruise colored clouds on the right, the kind of almost purple black gray. To me it just has great emotive power. The green water, the gray, bruised looking sky.

So I made a sea. I made a sea serpent from that image, because those were the ways that ancient people used to explain things. They made myths and stories around the elements. See, and here's another take on the 2 ships where I flip The color. And I added some more images, and I wanted to make a kind of surrealist View of those ships at sea. What makes it surrealist for me is this Blue, green, spiky in the foreground on the left, and how it has sort of just stuck itself there.

Here's another sea serpent like clip! That again was not used in the final, and this is sorry 2 ships with a shape and a siren in the foreground, and I didn't use the image The way you see it, but I used it in this clip, and if you pay close attention you will see those 2 ships right there. And I wanted to say one thing about the sound. I was really pleased with a lot of the music that I created. I'm playing you this clip because The sound of seagulls. They're going like that in this music. And I just wanted you to be able to hear that, even though the images and the music didn't make it into the final. But I was really satisfied with the sounds I created here.

I've had a lot of questions about my use of emojis in my work, and I wanted to explain briefly for some of you who've asked me. There's a way of painting with emojis that involves putting your work, whether it's still image or video through software. That then applies a layer of emojis over top of varying sizes and varying colors, and I took a still here from this next clip that I'm going to show you. And if you're really interested in trying to emojify your work, and I really am fascinated by the Emoji, I really think it's going to become more and more important as time goes on in digital art and digital art history.

The name of the app is Bleach A, and I will drop it into the chat at the end of my talk, and it's free, and they have a paid portion. But I've tried both paid and free, and there's not a whole lot of difference. So if you have any questions about using it, you can, you can contact me. Here's the clip.

Oh, oh, cool. Okay.

I'm showing you this because it's The best, the best success, most successful attempt I made to make light The look of sunlight underwater The way light shows when you're below water, the kind of greenish yellow, luminescent.

And just. An example of a siren's face, and how ghoulish and macabre they can be. If you look on the extreme right, you'll see she's missing her mouth and a portion of her nose again. These are not real creatures. These are myth mythological ones. And at the bottom of the sea. And I just wanted to remind you that Marina Mariniana is playing now in the auditorium at the Cape Cod Museum of Art. It's only available to view there. You can watch the trailers, and you can look at the catalog, but we are keeping the work itself exclusive to the institution that's showing it now.

And I'm going to hand it over now to my co-author, Karen.

## Karen LaFleur [28:16](https://www.youtube.com/watch?v=gesSwVo36wo&t=1696s)

Thank you, Renata, and I'll add a clap, too. That was wonderful. Let me set my share up here for a quick second. I am actually going to be doing 2 talks in one. So mine's going to be a little longer than Renata's. But I'm trying to take it from my artwork point of view, and also from how we put the show together some of the elements that we worked with. So I'd like to start. Colin hasn't heard this yet, and none of the Techspressionist community has heard this yet. I just received this from Benton Jones, the Director of Art of Cape Cod Museum of art.

The Cape Cod Museum of Art is fortunate to showcase the Techspressionist moving images of Karen LaFleur and Renata Janiszewska in their exhibition titled Mariniana the interrupted wave, working closely together with them over the course of 2 years, I witnessed how their individual approaches to the subject of ocean evolved, changed, and responded to one another. Their technical execution and devotion to the subject matter eventually landed them organically with the Fleur Scientific inspired ocean imagery and Janiszewska's exploration of ocean mythology.

Techspressionism is here to stay, and we are proud to bring this art form to the center of art appreciation for our audience. Lafleur and Yanniszewska applied themselves completely to this digital exhibition, and the final project is a milestone for the movement. Congratulations to everybody for 5 years of hard work. And thank you to Benton Jones. For sure. I'm going to start this talk thanking people because I don't want to forget people along the way. I want to thank Benton Jones, Curator, Director of the Cape Cod Museum of Art, Joyce Gromer, Cape Cod, Museum of Art, Senior Marketing Manager, Erica Stapek, of the Cape Cod Museum of Art Education program manager.

Kathy Skrissell, Driscoll, writer, Provincetown, Independent newspaper, Lucas Tanzer Woods Hole and Woods hole, oceanographic institution, Scientist mit Hui, Phd student the digital arts, blog, Nancy Tucker, composer, Colin Goldberg and Techspressionism Art League of Rhode Island Synergy Project, and Renata Janiszewska, Mariniana Techspressionist artist my partner on the exhibit this just shows what it takes to get a show off the ground. There's a lot of people involved. So I want to start with the venue itself. This is the Cape Cod Museum of Art. It's a regional museum for the Cape and Islands. It has beautiful exhibition galleries within the building. They also have, I believe. Now it's over 2,000 pieces in their permanent collection. They take their collections seriously and archiving data. All their archives are now digitized, and they've gone through a huge restoration program because they have a lot of historic pieces in this museum. In the back of this room there's a small gallery, and beyond that is a whole educational building, and to the right, where you see that darkened door, is this beautiful gallery space that they have, which has beautiful, diffused light from the skylights overhead, and to the left of that main room is this, all season space where they exhibit sculptures. This show just happens to be my husband, Philip Piper's show that I curated for him in this space. And then outside they have pathways through a sculpture garden downstairs is their permanent collection exhibition space, and also a very beautiful 90 seat theater, which is unusual for a museum.

They are undergoing a lot of renovations right now. They're upgrading the entire area. New equipment is coming in over the preceding months. They're also painting all the walls black, so that eventually it will be like a black box theater when you go in there. So we're very happy and pleased and delighted to have Mariniana showing here in the Alessandro Auditorium at the Museum. It's free, with admission to the museum, so people can come in. They can watch the whole 25 min, or they can do it in parts and pieces as they go off to other places in the Museum.

I want to start by showing my end of my artwork in the project, and then the second talk I'll give is on the different ways. We put the show together A little bit about my process, for those who might not know. I go 1st with a pencil drawing on vellum, that drawing is scanned into the computer. It goes into Photoshop from Photoshop. I separate all the elements in the drawing so that I have control over every dot and every squiggle. They're colored, and then they're brought into apple motion. And this is the application that I use for the majority of my assembling, of the animating moving images.

From there those clips go into final cut pro, and then those clips are again arranged and worked with transitions to achieve the final master copy. If I cannot get effects that I want on those that 4 steps that you see at the top, I will use after effects. Cinema 4 d. For building 3D. Models, and also blender to bring those special effects that those softwares can do back into motion in final cut. And that is basically my process. For all my work, as Renata explained beautifully the structure of the exhibit. I did 3 moving images.

And I worked with Lucas Tanzer, a scientist at Woods Hole, Oceanographic Institution, and I worked with Nancy Tucker, who is a brilliant composer on all my moving image work, Mariniana and others. The 1st moving image that I did was based on a water column, and a water column is just a section of water going from the very bottom of the ocean to the surface, because there's an entire migration pattern and different zones feed different zones underneath. And so it's this huge interconnected water column.

The piece that I did starts down in like microbial area down in the deep, maybe 30 plus 1,000 feet deep. I studied all the creatures in all these different zones. And then I took elements from those creatures, and made imaginary creatures that actually emulate what would be living in the particular zones as you come up the water column the life gets more and more sophisticated until you get up, maybe around 6,000 feet. These are tube worms that gather around ocean vents. Which are these coming from? Basically the molten core of the inner earth, comes up all the elements and basically like chimneys in the bottom of the ocean, but they heat up the water incredibly. And then these tube worms live around these ocean fence. Cynthia DiDonato can tell you more about that because her project was on events and the tube worms and the life cycles that live there. The water column eventually gets up into levels, you know 3, 6,000 feet where we've got whales coming up where we start to recognize these creatures until we get to like a coral reef where we obviously recognize fish swimming in the water.

That's the basic principle for the water column was to get people to realize that there's a whole chain of life. In fact, I believe Krill go down so many feet during the day, and they come up at night. It's the largest mass migration on the planet. And every day they come up, and when they come up they cause currents that bring up nutrients to the upper layers. So I wanted people to understand. It isn't just the surface water they're looking at when they are on a boat in the ocean.

The second moving image that I did was Arqua turbulentum. And that was based on Lucas Tanzer's studies of eddies along water body boundaries. So basically, we're kind of looking across now from coastal water to open ocean water. Aqua Turbulentum was also part of a project from the Art League of Rhode Island. They have a program every year. It's called the Synergy Project, and they match scientists and artists together. And then you work with that scientist for a year to come up with an art project based on their science. And there's a lot of give and take back and forth. And it's a wonderful program. I worked with Lucas at the Woods Hole Oceanographic Institution.

But they also work with the University of Rhode Island Graduate School of Oceanography, and at the Graduate school right now they're showing the exhibit from last year's program through, I believe, the beginning of January might be the 1st or 6th or somewhere in that range. So do check it out. If you're in the area. It's a wonderful program. So that's how I met Lucas and worked on this central, the number 2 moving image. And I also want to point out Nancy Tucker.

Renata talked about some of her music. And it really music in these things sometimes really isn't appreciated, because you're so, you know, into the visuals that come across the screen. But really the music is the partner in a duet. Absolutely no question. So I'd like to give her a shout out for her music, and I am going to play this clip. I wasn't sure I was going to it. It's a minute long, but I think you'd appreciate. And I want you to watch how her music works with the visuals.

So if you get a chance to see the Mariniana exhibit, do enjoy the music, and we're not really happy because people have been commenting on the music. So that's been really Good to hear. I also worked with Lucas Tanzer, Lucas Tanzer studies ocean and climate physics. While pursuing his Phd. At Massachusetts Institute of Technology and Woods Hole Oceanographic Institution, Massachusetts. Here in the U.S.A. He is fascinated by how waters of coastal and open ocean origin, intermingle and mix with one another. He follows temperature, salinity, and ocean current signals in the water to identify cases, for when open ocean water mixed with coastal ocean water and change coastal ecosystem conditions.

If you want to know more about this project and the science that I used in Mariniana, do check out Michael Pierre Price Roundtable 3 on Science and Art. He highlights the entire program along with Cynthia DiDonato and Cynthia Beth Rubin, who are both Techspressionist artists and are also in this year's program. So do check it out. Everyone did a great job on that. This is a still that opens the animation. The Cape Cod is there. It's that little hook of land that you see coming off of Massachusetts. If you're not in this geographic location, the gold.is approximately where Lucas collects his data. The yellow is the coastal shallower water.

And the ocean is the blue water, the deep ocean, and the white line separating the 2 represents the canyon, because off the Atlantic seaboard there is a giant canyon out there bigger than the Grand Canyon. So that's where they're collecting their data, and they call that drop off right at the canyon a shelf break. So this is the shelf break Lower left with creatures. And these eddies that they study. They study the eddies because basically, these bodies of water do not mix. They kind of stay in their own yard, but along their edges. They create whirlpools, and they're trying to understand how the nutrients are feeding each other, etc, etc. This is one of the robots that they actually use. On the left.

In the middle is my 3D model for our imaginary one, and then on the right is a detail, and right here you'll see the profiler in action. Another one of the profilers, a different kind of robot they use comes into the scene, and the eyeball that starts to look around represents us humans down there in an invisible world, understanding it via the data. And I'm going to end on the 3rd moving image that I created, and I broke probably about 3 or 4 seconds of moving images down and gave you some sample stills, just so that people can recognize the fact that as you're watching this moving image go by on the screen, hundreds and hundreds of individual paintings are flying by in order to make that happen. The 3rd one I did was on global water body systems. As Renata explained earlier, this one, there was a lot of data in the 1st 2 that you know for the audience and for myself, because I had to learn all of Lucas's science, which, by the way, he did a great job of teaching me. We did that for about 3 months before I could start to do the artwork. So I could understand what he was doing.

But I wanted a meditation on the global planet water system because it's the engine of life. It's the engine of all energy on this planet. It's not just the beach that you see, when you go down for a swim, it's actually driving everything from our weather to like. I said, life, etc. And so I wanted people to sort of meditate on this currents on the globe, and then sort of bring those meditative currents into our own planet, our own blue planet, and also to think, well, gee, there's a billion stars out there. Maybe there's another water planet, too. The second part of my talk. So this is like talk 2 is about the exhibit plan and what we went through over those 2 years to develop this exhibition.

So when we 1st started, we had this beautiful title that Renata came up with Mariniana. We loved it. We had a concept of what we wanted to do. We may not have had this particular sentence, but basically, it was illuminating ocean mysteries through myth and science. We knew that. But then, when we started to break the exhibit down, of course we've got the ocean. We've got myth, or tales or legends that Renata looked at Science, music, and then we have the audience. But when we came to moving images and Techspressionism. We realized that there was a separation between the 1st 4. I had to move my images around to make it work on zoom at the last minute.

But basically moving images and Techspressionism is in between the audience in the actual exhibit, and the audience is not familiar with moving images. The audience in the land-based venues aren't familiar with Techspressionism, but they're very eager, and they're very willing to understand. And we realized we needed to help them access the concepts and vocabulary, and once they get that they're thrilled. But we began to realize we're building an exhibit. But we're also building an Outreach campaign that can get to land-based audiences that don't really know what's going on in our online world. So we ended up with our general concept of ocean. We had our specific things. We wanted to do myth and science.

But we wanted a secondary title to Mariniana, and we batted this around. Oh, gosh! For what? Granada? 6 months, I think. We had disrupted borders, we had imaginary unknowns, and then we ended up. Renata wrote the interrupted wave. And we both loved it. It was great. Well, the trouble is, is nothing interrupts in the ocean. It's 1 fluid mechanism that keeps currenting around the planet. So we looked at different definitions of the word interrupt. I knew that there was a term interrupt in computer signaling, and when I looked up the definition with a little humanized tweaking on it. It really kind of fit a subtitle for us, because it gave everybody.

You know, from myth to music to science. One thing that we could all sort of be under the umbrella of and agree on. And that was the word interrupt from the computer signaling, which is a signal interrupt, is a signal that requires the operating system in a computer to pause and figure out what to do next. This takes the definition everyday definition of interrupt from start and start again to interrupt, as pausing to decide what to do next. So we started to look at different ways that would apply to the exhibit, and we figured well. Science pauses to figure out what the data suggests, myths pause to figure out an unknown encounter, or artists pause to figure out how to push their medium to do what they envision.

Techspressionism pauses to figure out how to evolve. And of course, an interrupt is an instruction signal in the very computers for the technology we use to create our art, Nancy's music and Lucas's data. So each element of the exhibit links together, pausing to figure out what to do next, while from the audience's point of view the interrupted wave gives us an identifiable human experience. We can tap into everyone in their lifetime has paused to figure out what to do next. So even if the technical definition of interrupt as a computer signal is missed by most, the human association with pausing to decide is familiar, and we'll get through to the majority. So now we had an ocean in pausing to figure out what next for our title that, as I said, took 6 months.

We needed to nail that to have the 1st page to open up our catalog. So that's how long it took to put this concept of this show together. Renato went through the catalog beautifully, so I'll skip through these slides quickly. I used adobe indesign in order to lay out the catalog, and then I took Pdfs of each page, and I put them into Flipsnack, which is a professional flipbook software that I've used for my exhibitions for years. And, as Renata pointed out, this is The Techspressionism Page and I just, she explained it beautifully. I just want to say this is one of those gateway moments where, if you think of telecommunications, a gateway is to connect to different networks. We've got expressionism online and the land-based venues, this here has been so helpful. This has gone to the museum staff to understand what's going on. It's gone to press. It's gone to the editorial staffs and keeps going out. And what happens is that it's such a big subject.

This gives them like a doorway to get to our website with everything that we do. But it's in a small package, so they can kind of have like a preview before they get there, which makes people more comfortable. The spec page that Renata showed you was the general public spec. Page. This is the spec page we put together for the curators and directors when we're trying to get another venue because we would like to travel. To show this is a very easy show to do, because it's a thumb drive. So the specs are just the thumb drive the file, and then the trailers and catalog that we did, and then the press section. Yes, if there are big Press, you know options that we end up with. We will list them there. But it's also to show the venue what we're going to do for them. It's more importantly to show what you can do for them.

So we're going to go out and we're going to get articles. We're going to go do this. That's what that section is, the rest is self-evident from events to venues and catalog contact. Info. As Renata spoke about earlier. If this was a land-based exhibit like Hello Brooklyn, this spec page could be 5 and 6 pages long. It would include floor plans, security levels. Everything would be included in a land-based show. But because it's just a thumb drive. We can just do the page spread.

Renata mentioned that we did 3 trailers. One on the left is the general trailer. That's something we just put up on YouTube for the show itself. The middle one we did is basically the general trailer, but it also includes all the venue dates, opening receptions, etc, etc. So that's the one that venues get in hand, all ready for them to go, which they love to receive, and they put that up for their general publicity. The one on the right is the curator longer. It's about 2 and a half minutes, and the reason that it's longer is when they go into committee. If your trailer is only 20 or 30 seconds, and somebody looks down to write a note by the time they look up. Your trailer is over, so you need something a little longer for them to be able to digest what the show is about, and discuss it within a committee, because it's not just the curator giving you the go ahead.

And then it also has a double function, because once the venue has said, yes, this is the trailer that they put up on their website for their audience. So we made those 3, and they are delighted to get this package all set and ready with the show. I'm going to briefly end up with a little bit of paperwork that we did to support the show. Renata did this beautiful announcement poster, and that's been used quite a bit over the last 2 years, because this was done earlier in the in the process, I believe, Renata.

And then she also did this wonderful poster for the theater itself now playing. So the audience gets drawn right in. That's the 1st thing they see coming in through the double doors. And then she did these wonderful postcards, and we put those down at the museum. We thought this would be really great for the audience to have. And lo and behold, they're going out the door. We're on a second printing, and I think the audience just really loves the idea that they go into a technical show. And then they have this postcard. They can technically scan with their cell phone and then run home and show everybody else. So it's worked out really well.

A little bit about the press. Renata approached the digital arts blog about an article on Mariniana. They did a beautiful job on an article. So do check that out. It's online at the digital arts blog. It was done in September, so you might have to scroll down a little bit, you know, to get to that date, to find the article again, the catalog and these sort of like small pages we put together on Techspressionism and everything. What's happening is when the museum sends out their publicity packages. These small flyer newspapers are picking it up very quickly, and they are putting it in these, you know, giveaway flyers at the market, and everything because everything's set and ready for them to go. They're verbatim taking our catalog text and putting it into these small articles that they're giving us.

And then Joyce Gromer, from the marketing manager at the Cape Museum of Art, graciously let us post the header part of her two-page press release that she sent out. And I've yellow highlighted. How many places Techspressionism has been mentioned up front and take a look at the second yellow line especially. This is the Museum in Cape Cod's 1st Techspressionism Exhibition. They are thrilled to have this on the Cape and islands. And to introduce it to their audience.

This we have to congratulate and thank Colin Goldberg for doing such a wonderful job, not only with expressionism, but also making this beautiful micro site. It is working. They are taking the catalog editors. Writers are selling the show off the catalog, and then everybody's going through our links directly to the Techspressionism website. So we're generating contact that way. This is the website. The museum put up itself. They have used the trailers they have linked to Techspressionism. Nancy, me Renata, every link that we give them they are using.

Also, I want to just quickly mention that when you do a show like this in your own region. Don't discount art foundations because a lot of them have artist websites that you can connect with. This is the Arts Foundation of Cape Cod. They work with the State Government for the Cape Art community, which is known for on the Cape, going back historically to the early 18 hundreds here. So when you click on there I can do a whole artist site, and then I can post on the calendar. The calendar has the small picture and the blurb about the exhibit. But when you click on that, this is what the audience sees, I can post videos, I can post images. So it's not just a mention. So do check those out in your areas. And I'm going to end here with the words and beyond. It's also a sort of Tipping my hat and giving credit to Colin Goldberg, for you know, producing our 1st land venue exhibit at the Southampton Art Center with expressionism and beyond. So I say, this is for Mariniana. It's Mariniana and Techspressionism beyond. With this show, because the Museum has reached out. They have contacted the Provincetown independent newspaper. They're doing a full article on Renata and I and Techspressionism in Provincetown. It will come out on December 12, th and it's going to come out online and also in a paper version. And this historically, art, historically, is wonderful to have for Techspressionism, because Techspressionism started at the Pollock-Krasner Study Center and Jackson, Pollock and Lee, Krasner, and many, many of the abstract expressionists, and also going back generations prior to all, had studios in Provincetown. Hans Hofmann had a school there. I believe everything was in Provincetown, so Techspressionism has gone from the Pollock Center to their summer home studios. So I love that link, and I'm going to end there. I'm sure you guys will have tons of questions. But Renata and I thank Colin and everybody here for giving us a chance to show you the show.

Oh, stop!

## Colin Goldberg [58:28](https://www.youtube.com/watch?v=gesSwVo36wo&t=3508s)

Well, that's amazing thanks, you guys. Karen and Renata for presenting this show. It's extremely inspiring, you know. And when you showed me what you guys were up to in the catalog. Specifically, it really it kind of moved me to propose the creation of a microsite for the exhibition on the Techspressionism site, not just because of the, you know sort of the beauty and depth of the exhibition itself, but by the initiative of you guys teaming up and incorporating Techspressionism into the pitch and the and the exhibition just the way you executed and put together the proposal.

I think you know, serves as a really great model for other artists in the community to look at in terms of formulating their own exhibitions, you know, and I know we've had a couple, you know. We've had the show in Southampton and the show in Brooklyn which were sort of comprehensive. You know. Large scale group shows, but I think the idea of a couple artists, you know, getting together and putting together something based on their own ideas is very powerful, you know, and Renata and myself and Karen and Jan Swinburne have another thing. Coming up in the works in Chicago, which more to be revealed on that one but it's very exciting, you know. And the idea of the nodes, too, is something which started up a while ago. There's been yet to be.

You know, a land based physical show abroad. Yet. But I think you know the Node model. There's already been a few nodes. Where, you know, there's artists Gathered together in various countries that I think. You know, that would be the next phase, I think, in the development of the movement would be for people to sort of spearhead things abroad. Which would be really exciting, too. And you know, like I feel like, there's some apprehension in terms of people thinking, well, if I organize something, it has to be this massive undertaking with like 80 artists involved, and that's really not the case, you know, it could be literally 2 artists, 3 artists, whatever, whoever's there. And I think the idea of organizing things locally especially with one, or, you know, at least one of the artists like, you know, Karen, I know you're like, basically there in the area. So museums and cultural institutions. I think they like to showcase local artists who are involved in something that also brings in people from outside of the community in terms of co-creators and audience and everything like that. So really awesome. And you know, one thing that really impressed me about the catalog was how you incorporated these gif animations, you know, into the catalog itself, which I think is something that I've never seen before in a flip book.

And it's a way that video can be incorporated in such a way that it doesn't involve. You know, the user having to hit a play button. You're just flipping the book and the animation is there, you know. And to me, that's almost like. You know, sort of an online version of augmented reality. In a sense that you know it's sort of this metaphor of Hey, it's a book, but it's also, you know, imagery. And you know, motion happening on the pages. So that's really cool and just lastly, you know, before I open it up for questions, or you guys can pick the questions. I just wanted to let you know that you know. 1st of all, I messaged Renata over this chat that you know. I'm sure Helen Harrison would be extremely excited to see that her quote was used. You know she's a long time Director of the Pollock-Krasner House and Study Center in East Hampton, which is the former home and studio of Lee, Krasner and Jackson Pollock, but also is the former curator of the Parish Art Museum in Southampton, which is recently relodicated to Watermill. That's actually the when she was there in Southampton. That's the place that we had our exhibition. Southampton Art Center was actually formerly the Parish Art Museum.

And also Guildhall Museum in East Hampton, and those are the 2 main cultural institutions in Hamptons, and she was curator of both of them. And she let me know recently actually, that she, after having retired from her directorship at the Pollock-Krasner House, wrote a memoir about her time there, and some of the highlights, and she included text in it. So that's pretty cool and exciting. And yeah, I just want to say kudos again to you 2, Karen and Renata for putting this together. And you know I'll let you guys pick the questions. I guess if people are going to use the raise hand tool.

If you have any questions for the artists go for it.

## Karen LaFleur [01:03:26](https://www.youtube.com/watch?v=gesSwVo36wo&t=3806s)

Thank you, Colin, you know, while hands are being raised here, you know, I think you know Renata and I really worked hard to incorporate many different mediums. Of course, music, science, etc. But what we really found out was that the audience is really eager. Local institutions are eager. They just don't have the gateway to understand how to approach this kind of artwork. And us as Techspressionist artists, we really have to sort of, you know. Give them the tools. And you know, if there's 2 or 3 artists that group, together with a local person that again gives the local community a feeling of comfort going into this. But interest. Yeah, it's really there on both the audience and the institutions.

And a lot of them, too, will be like, we can't do that. We don't have a 50 foot screen. I'm like, well, you have a monitor, right? And they go. Yeah. Oh, we didn't think to do that. Yeah, put it, make a little section over here, so it's up to us to get that out to there to give them the comfort to do it.

So.

No questions.

## Colin Goldberg [01:04:42](https://www.youtube.com/watch?v=gesSwVo36wo&t=3882s)

Just to add to that.

## Roz Dimon [01:04:44](https://www.youtube.com/watch?v=gesSwVo36wo&t=3884s)

Question. But I'm just gonna say, sometimes when you don't get questions, it's because people are pondering and they're filled and.

## Karen LaFleur [01:04:51](https://www.youtube.com/watch?v=gesSwVo36wo&t=3891s)

Ugh.

## Roz Dimon [01:04:51](https://www.youtube.com/watch?v=gesSwVo36wo&t=3891s)

Bad thing always not to get questions. We're all just kind of wow. It's a lot. And Bravo to both of you mean it's you, you know. People sometimes say to me, Oh, how did you get this? And why did blah blah? And you know you have to make it happen a lot. And it's just the way it is in today's culture. It's, you know. To. You've just done a wonderful job in packaging the whole thing I mean. The art, of course, is the 1st part, but getting it out there is so important.

And I remember going to a show one time and seeing that these writings of people around Picasso's period, and someone had written, oh, well, he's always like promoting himself so much. And so, you know. Just get out there and do it. Your work is worth it, you know, and you got to do it, and you can't wait for the other people to get out there and do it, so I applaud you.

## Karen LaFleur [01:05:45](https://www.youtube.com/watch?v=gesSwVo36wo&t=3945s)

Thank you. Roz. Yeah, I think it isn't. You know so much that we're trying to market is we're trying to open up the opportunities to these institutions. So when the package comes in, it's like you can almost see them in a meeting when they're going through it. Oh, I get it. Now you know what I mean. But if they just jump online they don't even know where to begin. Do you know what I mean? So it's kind of the theory behind packaging the show the way. It is because.

## Roz Dimon [01:06:17](https://www.youtube.com/watch?v=gesSwVo36wo&t=3977s)

Right. I didn't mean to over commercialize that.

## Karen LaFleur [01:06:19](https://www.youtube.com/watch?v=gesSwVo36wo&t=3979s)

No, that was, that was Picasso saying.

## Roz Dimon [01:06:22](https://www.youtube.com/watch?v=gesSwVo36wo&t=3982s)

You're offering. It's a gift you're offering.

## Karen LaFleur [01:06:25](https://www.youtube.com/watch?v=gesSwVo36wo&t=3985s)

Exactly.

## Roz Dimon [01:06:25](https://www.youtube.com/watch?v=gesSwVo36wo&t=3985s)

You know it's we're between 2 worlds right now. I also agreed with Colin that the watching the flip book this, all the softwares I mean, you both are like technically brilliant women. But the flip book I love looking at that flip book going by, and then the animation coming off the flip book. I don't know. Is that inherent to that technology? Or did you do some hocus pocus, something else.

## Karen LaFleur [01:06:51](https://www.youtube.com/watch?v=gesSwVo36wo&t=4011s)

No, no, there's a couple of these are professional flip book softwares, you know. They're not cheap. Let's put it that way, but they are. They're, you know. Disney uses them, you know. Some big corporation will use it, whatever airlines whatever. And so they can offer this technology within their within their pages. I mean, I can also link right out of there to other places. If you've seen in the catalog, I can do all kinds of very powerful.

## Roz Dimon [01:07:24](https://www.youtube.com/watch?v=gesSwVo36wo&t=4044s)

Did you get? Did you get any funding? That's the squirrelly question we all know about that. But yeah, so it's yeah.

## Karen LaFleur [01:07:32](https://www.youtube.com/watch?v=gesSwVo36wo&t=4052s)

Yeah.

## Renata Janiszewska [01:07:33](https://www.youtube.com/watch?v=gesSwVo36wo&t=4053s)

I think I think we were fortunate because Karen had used Flip snack in the past, and she has. I don't think you explained it, but it's a it's a yearly account. You pay a subscription fee to keep using it. Is that right, Karen? Yes, but I use it so much for the business. It's cost effective for me.

## Karen LaFleur [01:07:53](https://www.youtube.com/watch?v=gesSwVo36wo&t=4073s)

But

## Renata Janiszewska [01:07:54](https://www.youtube.com/watch?v=gesSwVo36wo&t=4074s)

Yeah, we. We printed our postcards at our own cost. We made our posters at our own cost. But really for the amount of time that we spent working on it. It was worth it to spend a few $100 on print.

## Roz Dimon [01:08:06](https://www.youtube.com/watch?v=gesSwVo36wo&t=4086s)

Yes, your work, of course.

## Renata Janiszewska [01:08:09](https://www.youtube.com/watch?v=gesSwVo36wo&t=4089s)

Absolutely.

## Roz Dimon [01:08:09](https://www.youtube.com/watch?v=gesSwVo36wo&t=4089s)

Ugly.

## Renata Janiszewska [01:08:10](https://www.youtube.com/watch?v=gesSwVo36wo&t=4090s)

And Michael. I see Michael. Pierre Price has a question.

## Michael Pierre Price [01:08:14](https://www.youtube.com/watch?v=gesSwVo36wo&t=4094s)

Yeah. So yeah. Blown away by the not only the artistry, but just all the presentation. But I do have a question about the use of. Moving images versus animation. And I'm just kind of curious. How you landed on that term.

## Karen LaFleur [01:08:42](https://www.youtube.com/watch?v=gesSwVo36wo&t=4122s)

Renata.

## Renata Janiszewska [01:08:43](https://www.youtube.com/watch?v=gesSwVo36wo&t=4123s)

Yeah, I wanted to distinguish our fine art. Work based on digitally based fine art work from animation, which is Disney Pixar. You know, bugs, Bunny, it has those connotations. And because we're working with a museum. We wanted to be as art historically accurate as possible, and use the terminology that the curators would understand and use themselves, and put this. Keep this going forward as fine art done digitally. But fine art, and not, as Colin has mentioned a few times. He doesn't really even like to use the term digital art, because it can be conflated with the commercial studios that do it.

Pixar being a big one.

## Karen LaFleur [01:09:33](https://www.youtube.com/watch?v=gesSwVo36wo&t=4173s)

Yeah.

## Michael Pierre Price [01:09:33](https://www.youtube.com/watch?v=gesSwVo36wo&t=4173s)

Yeah. And I think that kind of relates back to what Karen was talking about with educating those who may not be very well versed and kind of what we're trying to do, and just The whole Techspressionism community and the kinds of art that we're accumulating over time. So, thank, yeah, thanks for that. Because I really I really feel that language and terminology that we develop and sort of evolve over time is, is really important to this whole notion of what Techspressionism is, and the artwork that we are accumulating globally over time as expressionists and artists. So thanks.

## Karen LaFleur [01:10:26](https://www.youtube.com/watch?v=gesSwVo36wo&t=4226s)

No, I agree.

## Renata Janiszewska [01:10:27](https://www.youtube.com/watch?v=gesSwVo36wo&t=4227s)

If I could.

## Karen LaFleur [01:10:28](https://www.youtube.com/watch?v=gesSwVo36wo&t=4228s)

Go ahead!

## Renata Janiszewska [01:10:28](https://www.youtube.com/watch?v=gesSwVo36wo&t=4228s)

If I could just make a quick comment also about language. I do the Instagram invitations to artists who want to be on the index, and Colin had written a stock phrase for it. It was when you put them on, you write them and say congratulations and welcome to the movement. But since the days of that we've turned, I believe, to the term community, which is more accurate somehow. Art historians and curators, and I won't mention any names Dislike the term movement being added to something that's a living, evolving.

Current thing. So I use community more and more when I talk to new artists who are just joining.

## Karen LaFleur [01:11:13](https://www.youtube.com/watch?v=gesSwVo36wo&t=4273s)

I do, too. I use both. And what I'm finding is because it's been interesting to go out into these land-based venues that don't have any experience with this. They will call us a movement. You know. So they can, as far you know. Let them, because what goes back to what Michael was saying, is that the language? We're not only giving them artwork, we're giving them an entirely new concept in a new vocabulary. Yes, you know, completely. And so that isn't just expressionism. It's what Renata and I do, or somebody else does that has a coin phrase for what they do.

And these regional museums and everything are the people who are going to preserve this text in their archives, and they're going to spread it sideways if they spread it sideways as a movement, then that's how movements come about. So we should just let it naturally, organically land where it lands historically 3 or 4 years from now in terms of calling us. It's not our job to call us who we are. It's theirs.

## Roz Dimon [01:12:23](https://www.youtube.com/watch?v=gesSwVo36wo&t=4343s)

I also want to add, we've talked about it before. But one thing I thought that was brilliant, that Helen did. Working with Colin was the whole using the word approach. Because and I like that thing that Renata said about us being a community because we are. I mean, we're a community, and there's a sharing going on here that you know. You don't see very often that's really powerful. And I know I've learned a lot of things. I know Diana de Avila shared that she's now labeling her still images digital whatever fabricated to. And I think that's a very important distinction for people who are doing any kind of visual stills. I've been saying that with all of my digital work now, like digital drawing fabricated to ink on paper. I mean, the sky's the limit of where you know, we've got so much power now, and there's a real Monetary value to that I don't think the galleries get that like, you know, you can. Just you can build something to. I just did 2 Lincolns that are 60 inches high. And I said, Oh, let me see how big these can go. And they were designed to go that big.

And they don't lose a thing nothing. And it's very different than taking a painting and making a digital clay. And there's a lot of confusion still about that. So I agree, the more we can educate, and you did a beautiful job of that with your beautiful work. That puts a good stamp on your work. And for this community.

## Colin Goldberg [01:13:48](https://www.youtube.com/watch?v=gesSwVo36wo&t=4428s)

And I think also, Techspressionism is a great way to have an entree to like. I know, when I approached the folks at Southampton Arts Center with. You know the story about this group and how it's formulated, how it's geographically diverse. That was what got me the ear, you know, and I think that you know I know that I wouldn't have been granted an audience if I came as Colin, the individual artist. So it's like you. You're bringing in a story and bringing in, you know. A whole you know, kind of Framing of the work. That's novel, I think, when going to a museum director, or, you know, even a commercial gallery, you know, like I've recently started working with a gallery up here in Vermont. And it's very exciting to be in the context of people who are working with driftwood sculptures and glass sculptures and traditional figurative painting, for instance, landscapes. Portraiture, because the people walking in those doors.

They don't know what an nft is, or they're not entrenched in this whole digital culture that we're all you know. Familiar with more familiar than than your lay person. So I feel like contextualizing what we're doing within. You know, the traditional arts is powerful, you know, and that's kind of the way that we're breaking out of kind of like you know, an echo chamber which I think the digital art world can be is that it's very self-referential. And the people that we're reaching, you know much like all of Media today. But you know, like, I think it's really interesting. So Yeah, again, you know, you guys have really put something amazing together. And I just wanted to say, also, as you know, basically admin of the site which you know, I try to differentiate Techspressionism.com is not Techspressionism. You know, it's a website. And also, like, you know, the community which I think is the core part of it. There's another component, and, as Renato knows well is that The hashtag has, you know, been something that's replicated itself through primarily Instagram. But you know, many of the people who are using the hashtag probably don't even know that these salons are going on. They don't know anything other than they've seen the hashtag on someone else's post, and they like it. So that's another facet of what's happening here that I think it's not necessarily a community.

It's something else where it's, you know, a meme essentially to. That's the way I like to look at it, not in the cat meme type sense, but something where it's a you know unit of Cultural significance, as the that's where memes came from is Richard Dawkins and memetics back before cat memes. Anyway.

## Cynthia Beth Rubin [01:16:57](https://www.youtube.com/watch?v=gesSwVo36wo&t=4617s)

Yeah, I just wanted to make a quick comment. It won't let me raise my hand because I'm a co-host. So I found the sharing of the science really important. I am also working with scientists, and I'm part of the Synergy project. And it's interesting because I've learned so much from what Karen has talked about with the scientists that she's worked with, what Cynthia did in Otto just talked about with the scientists she works with, and there's a real peer to peer like. The scientists try to explain to us what they're doing.

But if it gets filtered through another artist and out again, it's wonderful! It's a it's a wonderful peer-to-peer sharing, which for me is more accessible.

## Karen LaFleur [01:17:43](https://www.youtube.com/watch?v=gesSwVo36wo&t=4663s)

Yes, it is, and I'm on the planning committee for the future Synergy project. So if anyone is interested in the next, go around, you know. Do contact me, and I'll give them your name in the list. So.

## Renata Janiszewska [01:18:00](https://www.youtube.com/watch?v=gesSwVo36wo&t=4680s)

I wanted to also make a remark about touring the show, and we have a very specific hierarchy of institutions that we've approached. So in June of this year I wrote to every museum. Sorry I wrote to every Canadian provincial museum. Nothing below that, and Karen stuck with museums in the U.S.A. And once that whole round has gone through, then we'll go down to the Art Center level in the U.S.A. And to the regional museums in Canada, and then to the artist run centers in Canada which, by the way, artists get paid. If you show your work in an artist run center, we have a table with the right kind of amounts of money. So I just wanted to stress that to spread something. It's we had this very specific goal system of goals.

## Karen LaFleur [01:18:52](https://www.youtube.com/watch?v=gesSwVo36wo&t=4732s)

Right because we were targeting places. That archive 1st Art centers don't archive, you know. Museums do. So. That's our 1st choice, and it's taken quite a while, because the Return sometime can be 6 months or 8 months later. But I do want to say Renata and I have gotten responses back from a couple of very well known us museums they can't take us in because of. And this is the other thing. You have to look at missions. Each museum has its own mission. You have to kind of make sure you sort of line up with that. And then they also have their own scheduling, going forward 2 to 3 years.

And they can't fit us in. But they're all holding our information. They're not sending it back. They are asking us, can we keep this? Yes, you can. And some museums have written some wonderful notes back to us, thrilled. I mean, really telling us they loved the show. So that's really nice to hear that expressionism is going forward, even if the venue can't take us at that time. So.

## Colin Goldberg [01:20:11](https://www.youtube.com/watch?v=gesSwVo36wo&t=4811s)

And this is, you know. Well, I mean, I guess our 1st museum show is Brooklyn, which is a summer, and then, you know a 2 person show. I just feel like this is Illogical progression. And the reason I brought up the website just before was that, you know. I'm happy to do what I can personally to, you know, support these initiatives as far as putting it out there on the platform for the community. Like with Mariniana, you know, and it's really not such a big deal for me to do that. And I think it's also a way of individual artists sort of leveraging their participation in the community. And you know I'm very appreciative of what you guys are doing, what Tommy has done, you know, with Brooklyn. He actually wrote me that today's his last day of classes. He wanted to be here. But he's teaching today. So.

## Renata Janiszewska [01:21:09](https://www.youtube.com/watch?v=gesSwVo36wo&t=4869s)

Have a Tommy Mintz on the wall behind me. An original print.

## Karen LaFleur [01:21:15](https://www.youtube.com/watch?v=gesSwVo36wo&t=4875s)

And I also have the nft. Stephen, you had a question or a comment.

## Stephen Carpenter [01:21:21](https://www.youtube.com/watch?v=gesSwVo36wo&t=4881s)

You know. Yes, my question is, and I came late. So I'm gonna have to watch the replay, and I'm sorry I missed all of this because it's exactly what I need. Okay, so to the way in which you're, you're discovering places to show where does the institutional galleries on the collegiate level fit into your plan, if at all.

## Karen LaFleur [01:21:52](https://www.youtube.com/watch?v=gesSwVo36wo&t=4912s)

First, st we're doing museums regular standalone museums. Okay? They would come down in sort of the.

## Stephen Carpenter [01:22:03](https://www.youtube.com/watch?v=gesSwVo36wo&t=4923s)

Second or 3rd tier.

## Karen LaFleur [01:22:04](https://www.youtube.com/watch?v=gesSwVo36wo&t=4924s)

Second or 3.rd Yes, because some of them do archive, which is great. And you're also speaking to a wide audience because they have captured audiences. I mean, some of these schools have 20 to 40,000 students. So it's a good thing to do. But first, st you know, things don't trickle up, they trickle down. See if you have a show, you know, at a local venue, you know a museum isn't going to look at you, so you sort of start up here and go down and see, and it doesn't matter where the show lands. It's going to find its natural landing place, you know, and it's still going to disseminate to expressionism in our work.

## Stephen Carpenter [01:22:45](https://www.youtube.com/watch?v=gesSwVo36wo&t=4965s)

Well, I'm at the point where I have to seek out the institutional galleries. And I just wanted to know where that where that fits so that whatever I do is within a context of what you're doing. Because I love this. I've just come to this, maybe 6 months or so, but I've been at it for years, but I've just come to the group. And I think you're all amazing, and I have to pick your brains on a whole bunch of stuff. So that's I'll shut up now get on the way. But it was. It's really great just to be present in this conversation. That's all I'm gonna say.

## Karen LaFleur [01:23:31](https://www.youtube.com/watch?v=gesSwVo36wo&t=5011s)

Sherry.

## Sherry Karver [01:23:33](https://www.youtube.com/watch?v=gesSwVo36wo&t=5013s)

1st off. Thank you, both of you. I think this was a wonderful presentation and beautiful work. I'm really, really impressed. Blown away, actually, renet. I think you read a quote and used the word emotion that it needs. The work needs to have an emotional reaction, and I think both of you really hit on that beautifully, because sometimes artwork is so intellectual that it loses the emotion. But I think both of you captured that really wonderfully. And, like. I, personally don't know much about oceanography, but I didn't need to know that much about it. You know I could appreciate and love the work just by the way you both approached it. So thank you for the emotional and the intellectual together. Thank you.

## Karen LaFleur [01:24:24](https://www.youtube.com/watch?v=gesSwVo36wo&t=5064s)

Thank you, Sherry. You bring up a point, and it kind of goes to that subtitle that we was talking about the interrupted wave we were looking for a terminology that could straddle both, and once we came up with oh, it's pause and decide as soon as we say that to people. They're just glom onto the whole concept. Because again, it gave them a gateway into the show. If we came in all technical, they would just be kind of sitting there, not knowing where to start. But I do have to say, Renata knows this, that we made a what is it? High Middle School, Low High School class cheer, which was great. So it's getting all different kinds of responses. But again, I think, goes to the emotion in trying to give people way into our work. It doesn't have to be a motion, but it can. You just have to look for those ways to get in to your public, Nina, did you have your hand up, or think she? I think she left.

## Renata Janiszewska [01:25:35](https://www.youtube.com/watch?v=gesSwVo36wo&t=5135s)

Oh, we haven't got a topic for next salon yet, have we?

## Colin Goldberg [01:25:40](https://www.youtube.com/watch?v=gesSwVo36wo&t=5140s)

I thought it was kicked around that it might be the artists that have been involved in virtual co-working. I don't know, Cynthia, did you Volunteer to moderate that? Or.

## Cynthia Beth Rubin [01:25:56](https://www.youtube.com/watch?v=gesSwVo36wo&t=5156s)

We didn't, really. That was kicked around. And it is possible to talk about the virtual co-working. I'm not sure. I don't know those people who've been active in virtual co-working who are here right now. Maybe this is an after party discussion.

## Colin Goldberg [01:26:14](https://www.youtube.com/watch?v=gesSwVo36wo&t=5174s)

Yeah, I think that we could. We could hang out and definitely discuss this in the after party for sure. So yeah, I mean, we're getting getting to be about at time right now. I did want to mention that. I was introduced to somebody. By Tommy Mintz by the name of Neil Bloomstein, who, him and a partner run a gallery in New York called the Lamina project, and they deal specifically with art and science. Art relating to science. And you know, he actually he and I have been having some conversations about The model of Techspressionism. And he's interested in maybe capitulating this art and science connection into.

You know, some sort of a community idea based around the model that we've, you know, developed here. So you know that in particular, if your work involves I actually did point him to watch the 2 round tables. You know about art and science as well. And one thing that I did discover recently is, I had I work with a guy on you know a client job who he does all the paper click advertising for this particular client, and he recently had an accident where he was sort of incapacitated, and he's been using ChatGPT to do some of the consulting copywriting and stuff, and he said, You know, I've used the advanced voice feature.

And I was like, no, I haven't done that. And he said. Well, it's in the paid version which I have the paid version because I also use it for client work. And it I tried it out this past week, and it's just mind boggling like you are having a conversation with an AI, and it's completely natural language. And I asked it about Techspressionism, and it went on to expound about what it is. I asked about its relationship to the expressionist movements of the past.

It capitulated it very intelligently. It's just pretty staggering. Honestly, if you guys use ChatGPT at all. I think the voice to voice thing is part of the paid version of it. But you could get the same results through you know the text to text Interaction. But I thought that was that was pretty wild. And Yeah, you know, I really it. This whole situation is. It's very encouraging. What you 2 have done is pretty awesome. And again, I definitely would encourage. You know, individual artists to think about it, you know, and if you have someone in particular that you've collaborated with on the past, or whatever. I just think it's a good.

It's a good pitch to get in the door to a an exhibition space. So.

## Karen LaFleur [01:29:17](https://www.youtube.com/watch?v=gesSwVo36wo&t=5357s)

I just oh, sorry, Cynthia. I was just gonna say, my, I popped my email on the chat because there has been interest in the Synergy project. So you know, asking for more info. So it's there in the chat, just email me.

## Cynthia Beth Rubin [01:29:31](https://www.youtube.com/watch?v=gesSwVo36wo&t=5371s)

And I just put into the chat the call for the Siggraph Art Gallery, which suddenly had a change, I think, anyway, it's on art and science and technology. I think they're mostly looking for interactive works and immersive works. But anyway, the link is in the chat, and the deadline is soon, I mean January 28, th but that's soon, because it's a hard deadline.

## Colin Goldberg [01:29:58](https://www.youtube.com/watch?v=gesSwVo36wo&t=5398s)

I popped a link to the lamina project in the chat as well. Carter Hodgkin, one of the expressionist artists that's been in some of the exhibitions she's involved in that project as well. So you guys, if your art relates to science, you might want to check it out. So yeah, we're coming up on time. If anyone wants to stick around for the after party, Aka, the Advisory Board. That is, anyone who's got the endurance to stick around after this entire long zoom session generally gets to be involved in the decision making process for the community. And that's about it so hopefully, we'll come up with a next topic for the upcoming salon in January. And. Yeah, so we'll close it up and we will stop recording in 3, 2, 1. And.

Where is the stop recording? I see, request host to record to the cloud that, Cynthia, are you the host.

## Cynthia Beth Rubin [01:31:15](https://www.youtube.com/watch?v=gesSwVo36wo&t=5475s)

It may have made me the host. And I'm looking for record. Remove or suspend. Where would it be?

## Colin Goldberg [01:31:28](https://www.youtube.com/watch?v=gesSwVo36wo&t=5488s)

Well, I definitely see that it's recording, and I see a recording. On the bottom. I see a record button, but I don't see a stop button. It says, request to Co. Record to the computer, request host to record to the cloud, and then.

## Cynthia Beth Rubin [01:31:44](https://www.youtube.com/watch?v=gesSwVo36wo&t=5504s)

See all those I have, all those, too.

## Colin Goldberg [01:31:47](https://www.youtube.com/watch?v=gesSwVo36wo&t=5507s)

It says, unable to send the request because the host is recording the cloud recording.

## Cynthia Beth Rubin [01:31:55](https://www.youtube.com/watch?v=gesSwVo36wo&t=5515s)

You know what? Maybe.

## Colin Goldberg [01:31:58](https://www.youtube.com/watch?v=gesSwVo36wo&t=5518s)

Can you make me.

## Michael Pierre Price [01:32:00](https://www.youtube.com/watch?v=gesSwVo36wo&t=5520s)

Alan. I see it screen as well.

## Cynthia Beth Rubin [01:32:02](https://www.youtube.com/watch?v=gesSwVo36wo&t=5522s)

Here it is. Wait up at the top recording. I see the recording button.

## Michael Pierre Price [01:32:09](https://www.youtube.com/watch?v=gesSwVo36wo&t=5529s)

I can call. I can call.