 Hi everyone, welcome, welcome to the training. This is Aman from 350Org. Today we are here for global artist training, power up with creative tactics. As you all know, we will be taking actions on 3rd and 4th of November all around the globe. So far we have 136 actions registered to our action map. This training will be done today by the artist network. Our trainers are Melike, Amine and Deni. So I just leave the floor to them and thank you very much in advance for their wonderful work and inspiring actions they will talk about. Awesome. Thank you, ML. Welcome everybody to today's session. Just a quick thing, we are the artist network. The artist network, we are a collective of arts activists, facilitators who support organizers, movements, campaigns to more strategically engage arts, artists and culture in creating systemic change through the innovation exchange and dissemination of new forms of political intervention. We focus on empowering activists and artists with new skills, networks, tactics and forms of political intervention. And we mainly focus specifically on the climate justice movement and organizing and different grassroots groups around climate justice for its potential to provoke deep structural and intersectional change. We have a historical background mainly coming to the climate change conferences or climate change summits, setting up art spaces and setting up places for people to converge and to do pushing on arts for their actions. But over the past few years since 2018, the artist network, we have been doing more wider range of projects, not just focus at these climate summits. Today, there are the three of us from the artist network myself. Let me introduce myself. My name is Amalin. I am from Malaysia and based in Malaysia. I am an arts activist, an all round artist in a sense, but I have a background mainly in political activism. I mean political side of activism like lobbying and things like this, but I also have been learning a lot of different tips and tricks from my fellow colleagues and fellow artists over the years. And now I help apply these things to different actions and tactics that we do across the world. And I will pass it on to my colleague, Milike. Do you want to introduce yourself? Sorry, your voice was cut. That's why I couldn't hear my name. Hi everyone. It's Milike. She, her pronoun, I grown up in Turkey, currently based in Budapest, Hungary. And my background is journalism. And within the artist network, I do creative communications, campaigning and social media management. But as an artist, my main focus is political theater, particularly specific theater mentored called the theater of the oppressed. So today, I will me share performance based actions with you. I pass it. Hi everyone. Nice to see all of you. My name is Danny and I'm, I'm based in Budapest and Hungary. Yeah, I'm kind of an all round artist as well, mainly coming with the background of mural painting and street arts and doing different kinds of creative work in like public spaces. And I work as a cultural organizer and as one of the trainers and coordinators for the artist network. Yeah, I think that's enough of me. Thank you very much. And I'd like to pass it back to Adnan. Thank you, Danny. So while Danny starts preparing for sharing the screen, I'll just go over the rough agenda for today. So today, we're going to be discussing a bunch of different tactics with everybody. We will be talking about art organizing, collective mural painting, performative actions, projections, and in between each of these tactics that we'll be discussing, we will also show you a reference to a toolkit that we have made together with PowerUp for all of these different tips and tricks located within them. And we'll also open up for a short Q&A after each tactic is discussed. So without further ado, I will start today's session by talking to you all a little bit about art organizing, which mainly revolves around art spaces, setting up art spaces for mobilization. So an art space is a wonderful and beautiful place that when it comes to art organizing or thinking about how to set up your visuals for your actions, your marches, your protests, having a central day or space for people to come together and make and produce different things for your action, whether it be for their own personal use or for the collective project or for the collective action, art spaces are an amazing place to come together for people to share their ideas, share their skills and at the same time create amazing visuals that can be used for your protests and marches. So we'll be talking a little bit as well about the things that you can do in an art space and amongst them is making big banners or making banners in general. When making banners, you don't always have to paint them yourselves or things like this. There are, of course, places you can do prints of them. There's also an application that we will show you later called Raster Beta, where you are able to take pictures and blow them up into bigger sizes so you could also do things in that way. But for example, this banner here, if you notice, is straight forward, very direct. This was painted and it's a very direct message of kick big polluters out. When we always think about flags or banners or things like this, we tend to always think about the messaging last. And this is one of the things where we have focused on the message being direct and simple. This was at the Climate Change Conference at COP 27, I want to say last year. And this was a very direct message because there were so many fossil fuel companies, et cetera, involved at the COP. And the message and coloring and everything is very direct, very bold. And it's definitely something very eye-catching to the media. And if you go on to the next slide, there's also, besides just using banners, there's also different visuals and unified visuals that you can use. For example, in this, this is by a collective group which did an action called the Sound Swarm. And this was done basically in unison within a march. A group of people performed this performative action by having their different messaging all unified. Behind all of these, there were different pictures as well. And when the music changed, the images also changed. And the reason I bring this up and mention this here is because when you have a unified visual identity, it helps to amplify and bring attention specifically towards your action or your message that you're trying to put out or to mention forward to the next slide. Also, art spaces are a really amazing way for people to come together and do things together as well. It's also an amazing place to source help from other people. Like if you see here in these pictures, you can see people doing different things at the art space. For example, on the right, we have someone painting a large banner. We have someone working with a stencil, a screen print to mass produce and print things. And on the left, someone painting a placard. These are some of the many things that you can do in an art space. And at the same time, I want to mention this, that you don't necessarily have to be an amazing artist to set up an art space or to go and do things in an art space that way because these are amazing places for people to converge, to share skills, to learn skills as well. Like myself, like I mentioned earlier, I do not come from an artistic background, but through being at spaces like this, organizing spaces like this, working with artists and other activists as well, you tend to learn and pick up a lot of tricks along the way. If you move on to the next slide. Yeah, this is some of the things that I just mentioned, these tips and tricks that you can do, for example, making stencils, making different cutouts, cutting the paint rollers so that you can make parallel lines together. These are just some of the tips and tricks. And later in this toolkit that we will show, you can see some of these different things in there as well, and how to make and do these things. Because, like I mentioned earlier, and I will re-mention again, because on our earlier call, a lot of people also would and are, but didn't realize a lot of this can be made by just anybody with proper instruction. And if we go on to the next slide, this is one other thing that is really cool, making stencils. Nowadays, you can even cut out stencils. You can take a stencil to a shop and ask them to cut it out, or you can do it yourself, like this image on the left. And this was a really, making stencils is a really cool way to get your message onto multiple different things or create a large amount or large volume of the same thing and push this out to many people. Like for example, this was made into different cloth tags that was used at a couple of few years ago. And then this was mass produced and sent along to multiple different people in the March, like just distributed at the start of the March to different people. And this helped create and unify our visual identity. It helped unify the messaging around, because multiple people within this March were carrying and wearing similar messaging or similar items, which carried that similar message. And it was all done quite easy and quite simply, just by making a stencil or two. And if we jump to the last picture, the last picture, this was something that we wanted to mention as well is really light banners like this attract a lot of attention very easily. This was something also within this toolkit that we have mentioned, it has a quick guide on how to make these light banners. And I want to also focus a little bit on this picture here, if you notice, with the lights and the message that they have, it's very straightforward and it's linked towards like a key building, which is also lit up here. It's this is like in the US. And so like these kind of things help to focus attention as well as just wanting to say light banners are really, really beautiful, especially if you're doing an action in the night, it is something that stands out and people love pretty lights. And it's not that difficult to make. And yeah, I want to just quickly go into the toolkit, just to show you all these different points that I talked about. This toolkit will be shared with everybody. I think a link should be in the chat shortly. But this is the toolkit that was made for the Power Up campaign. But I just wanted to highlight some of the different things that I talked about. For example, setting up an art space. If you click on the table of contents, everything here by the way is hyperlinked. So you can just click on these different things and it will take you there. You can check out more information on how to is here. There is everything that you need to know from materials, logistic needs, things that you could maybe do to talk to your communities. And down at the bottom here, you can even see a little video that we have previously made for you to have how to run your own art space. Yeah, as you can see, there's all the different tools, materials and everything that you could possibly need. And here is that video. You can have a look. Everything, like I mentioned, is hyperlinked. And actually, Danny, if you scroll down, so the following section right after the art space is literally what I talked about in the slides, which is like how to paint a banner, how to make placards. And if you are unsure of some of these things, like for example, Danny is going to go to the placard section, you can see everything here in this toolkit. So some of these images and everything are related to the power up campaign. But if you check out some of these different placards or things like this, there's already created a resource kit or resource library for you to check on click. And everything is here that you can print yourselves, you can take it to a shop to print. And you can also use this application raster beta that I mentioned earlier. I think my colleagues will talk about that a little later as well. But raster beta basically blows up your small images into big images. And from there, you are able to basically print everything out in A4 sized papers that you can stick together and then make it into a giant image up to your size to the size that you want. You can use these for weed pasting, you can use these for placards, whatever you want. Yeah, this is the website that application, as you can see, it's quite simple and straightforward. And yeah, there is a whole bunch of resources here for placards. The ones you saw earlier was just the tip of the iceberg. There's a lot of things in here. And as well as how to make your own stencils, how to cut your own stencils, the proper color charts that you would need, whether you're making your stencils using paints, spray paint, whether you're using paint rollers, we have similar to the placards, we have put everything on here for you to check out with guided instructions here. As you can see on the left here, it's everything that you need to know. For example, up to printing, for the colorings, everything that you need. So I would highly recommend y'all to check this out. And also for the light banners, if you go back to the table of content, it's all there. Everything is very straightforward. There's a video which shows you step by step how to make these light banners with fairy lights and cardboard. A very simple process. So that's all I have to say at the moment. Would anyone, we'll take a little break, I mean, a little stop now from the presentations. You don't have any questions at the moment about the art spaces or this art organizing with these different tactics. We'll take five minutes for some questions. If not, we can move forward. Anybody with any questions at the moment? Okay, I assume I was very clear with what I was mentioning. So there's no questions at the moment. I will pass it on to Danny. Go over. Thank you very much. Hi again, everybody. Yeah, so I would also like to share my screen again. And I would like to share a little bit on some of the projects we've been doing for a long time, which is training communities and working together with different groups on how to paint murals. Basically, we view public art and street art as a really useful tool for communities to come together and to organize for different events. So this can mean also that, for example, you have a mass mobilization and you would like to have some sort of activity together with your group. You're able to organize and get together and you find the wall to paint. We basically view this as something which is not only community building, but is something which stays there as a message once you've already finished your action. Yeah, through these trainings, what we're trying to support is that everybody who's not an artist can also create beautiful paintings. And as you can see, for example, here on this image, we're using stencils and posters and paint rollers. So nothing is really painted by free hand. The main point of the workshop is that people who don't consider themselves as artists can also create. This is just an example of how not every mural has to be on a wall. For example, this is a mobile mural we painted on pressed wood slates and just took it to the protest. And this was something which we painted together with activists from Fridays for Future Europe. This is at their Central Eastern European gathering. And yeah, all of the kind of tools which you use are similar to things which we introduced to you in the toolkit as well, as well as these like tips and tricks around, as you can see on the right picture, this paint roller is literally just a sponge roller where we cut out a few lines. And with this, you're able to make with the same space between lines, something really precise looking and something which looks really neat. And yeah, and this is one which we painted together with different activists who have never painted a mural in their life yet. And we teach people how to blend colors together and which steps to use when considering to paint a mural. And yeah, as you can see, the poster itself, as we've already mentioned, is done with this program called the Rasturbator. The reason we really recommend it as a tool to use for different kinds of public art projects is because it's a really accessible tool where this program can help you to break down a good quality image into A4 papers, which you can then glue together and paste on the wall. And the reason this is a very useful tool is because it's really cheap to make. Usually when you're thinking of posters like this, these two portraits are roughly the size of a human person. And it would be really expensive to print this in a proper print studio. But with the program which we've suggested, it can cost you really a few euros or a few dollars or like a very, very small amount of money. And yeah, we're basically trying to empower people who are less artists. And I would like to talk about the different part of public art. And this is brandalism, which the examples I'm showing you are done by a collective who are based in the UK. And a lot of the projects which they do is connected to a program called Ad Free Cities. And at the start, what they started to do is make open calls for artists to submit their artwork. And after that, this group would go out and change the bus stop advertisements overnight. And even though this is like a little bit like a little bit disobedient and a little bit naughty, it's a really effective and really interesting innovative way of communicating with the public, because you're able to access the same kind of spots which you are able to, which you would be able to if you were a huge company. And this is kind of like, it's a similar joke on why can public space be used by companies who have money and why can't artists and why can't people with their own voices be heard in public space. As another version of this, which is a really, really funny way of doing it is subvertising. This means that you basically just change the message of someone's campaign or advertisement. And you can see that this Volkswagen campaign, it was all over the city. And this one person who wanted to send their message just basically wrote on a piece of paper and changed the whole narrative of this campaign. So you can see that if we close up, this person literally just duct taped their piece of paper to the poster campaign and managed to change the full story. And even if it was removed the next day, still this image travels on through lots of people's examples for creative disobedience. And yes, this is another example, which I just wanted to show is a funny thing, that this is using the whole campaign, which was going against Facebook of them basically selling off personal data. And that people made this whole kind of joke campaign and like data misuse is not our friend, it's our business model. Because there's been a really long court case going on about this. And if any of you have seen it, it's like super ridiculous. So this whole joke around this is something very, very funny. And yeah, and I would like to jump to the toolkit, which for this, I kind of need to maybe go back to the top. Sorry, I should have. And it's right here. So here we have a section which is on how to paint the street mural. And this basically walks you through all sorts of different aspects you should consider when you're going to paint a mural together with someone or a group. And also, if you have a look here, then we have made a tutorial video, which we also have for the art space and for projections. So we would recommend that you have a look at the video because it is something which helps you to realize the steps which you maybe wouldn't consider when you're going to do the painting like this. And yes, if we just go a bit more than here, there's different points of it on creating sketches, measuring space and buying different kinds of paints, coloring, like color concepts, how to protect the floor and what sort of things can be useful for you. And this part is more focusing on what happens when you're doing this, for example, not on a wall, but on the pavement or on the road with chalk paints. For this, we put together a list of who you would need for this. So like a process facilitator who could be an artist and is going to be experienced in helping different people join into the process and still kind of have a different kind of leads on what part of the painting they should work on. And there's one person that keeps it together. And then there is like a police and public liaison, which if you're painting on the pavement with chalk, it's usually something which is really easily removable. But regardless of that, people don't certainly know that. And it's important that when there is like bypassers and people are interested in what you're doing that there is someone who is there and is able to maybe even hand out flyers and talk to them about the message you're trying to send and why you're doing this. And this is also the same for if the police come, you can also explain to them that you're not really vandalizing, that you're actually able to remove this and you're probably able to just get away with them worst case asking you to wash off the paint from the surface. Yeah, so just if you carry it down this way then here is the step by step on how to paint this. Yeah, and thank you very much. If you have any questions, I would be really happy to answer any of them. Yeah, you can also type your questions into the chat. What a shy group. Okay, well, in this case, I would like to pass to Malika to continue. Thanks, Tani. Hi, everyone. So I will continue with performance based actions and with some tips. Can everyone see my screen if someone can give me a thumbs up, that will be great. Perfect. So, hi, everyone. So I'm going to talk about performative actions or performance based actions specifically in the toolkit. If you already had a look in it, you can see this tactic called as human banners. Maybe some of you are already familiar with this tactic and have already experienced how to make human banners. And this is one of the simplest way of creating performative actions because it really doesn't require any professional artistic skills in itself. And mainly it is important in terms of creating great logistics and coordination. So this example is an example from one of the cultural institutions in Netherlands. And there is a group called Fossil Free Culture Netherlands. And they did this big human banner inside of the institution, asking the institution to cut their ties with BP, one of the biggest fossil fuel companies. And as you can see that this is a kind of inside action. So the documentation of the action was done on the top of the ladder and also from top of the stairs. So this is like easier to document. However, if you do this kind of action in a public space, let's say in a square or in a big public park, the story is changing. For example, this example is taken from one of the big squares and which means that this requires more coordination and logistics in itself. So the documentation for this action was done by a drone. And also they had to rent a flat to be able to document and have a top angle shot because human banners are aiming to get a big media coverage without having that great photographs. Your action will not be on the biggest media websites, basically. So other thing about human banners, there are two ways of doing this. If you will have a look in the toolkit, you will see all the steps, but I just want to differentiate these two ways. One of them is that still human banners. That means that when people create this human banner, they are not moving. They are frozen. So this doesn't require any choreography. And if the coordination team and people who is creating this human banner is understanding about math, geography, and also visual arts, this human banner will be more successful because this is not requiring so much performative skills. But there are human banners maybe that you have already seen in some actions that these human banners are moving, which includes some choreography. And there you will have to really get support from an artist who is really experienced in performance arts, dance, and choreography, or from the activists from your group who is already experienced and has done action by using the human banners as a creative tactic. And yeah, in the toolkit, you can see all the details and all the steps that you need to follow. And also there is another session in the toolkit, which is called as how to photograph your actions. If you want to have some tips about how to photograph action with human banner, you can visit that session as well. And yeah, the second example actually is from a same group that I wanted to show. The name of the group is the Fossil Free Culture Netherlands. They organized this amazing performative action inside of the Wangok Museum in Amsterdam. And Wangok Museum is sponsored by Shell, which is a British Dutch fossil fuel company, as you may know. And all of their actions is actually focusing on all the museums and cultural institutions should be cutting their ties with the fossil fuel companies. And all of their actions are really performative, poetic, and artistic. But most of the images actually that they are creating are very still and minimalistic. So what they do, imagine that they do scenes. And these scenes are really focusing on also the media coverage in itself. So in this action, they use these shells as representation of the logo of this fossil fuel company. And they were trying to drink the black substances, which is kind of representing the oil and the petrol and everything that you can imagine. But in the process when they were performing, these black substance was falling from their lips to their toes. So they were almost intoxicated. And at the end of the action, they drop the shell on the floor, which represents their main messaging of the performance that Wangok Museum should cut their ties with Shell. And after that, of course, there was a security call police on them, and etc. But yeah, I will share this link so you can check other examples from this amazing group. The other example I wanted to show is the coldest blood, the COP 27, which was organized in COP 27 last year in Egypt. Maybe some of you were already there, and some of you already heard about this action. This action was actually quite different than most of the actions that we have coordinated until actually this year, because this was like one of the biggest choreography-based actions inside of the blue zone in COP. So the preparation for this action actually started two, three months ago, with creating the messaging and creative communications, already preparing the costumes and everything. And during the COP, us and most of the climate justice groups and some civil organizations came together and coordinated this action, but me and as I did this network, we took on the choreography, creative communications, messaging, and also social media in itself. So here you can see the image of the rehearsals. Actually, this was happening within the COP. And we had seven female performers from the global South countries and frontline communities as the main performers. And apart from that, except their performance, we choose the giant blue fabrics to be able to create this floating effect within the COP venue. So there were rehearsals by including other people's involvement rather than the mayor's performance. And one day before the action, we had a kind of like kind of pop-up performance within the COP venue. And all of the female performers were walking around the COP venue with the messaging written behind them. The flood is coming to COP 27 in different languages. So this was a great way of attracting attention, and people were keep asking questions, what is this about? There was already curiosity created. At the same time, we also prepared a social media kit and started to launch this action from social media one and two days before the action. So in the action days, on the top of the female performers, we had also flags prepared, and the big fabrics were around to be able to give that floating effect. So it was overall very, very successful actions, specifically focusing on loss and damage and climate reparations. And it's got so much media coverage. So it is sometimes complex to prepare performance and choreography based actions, but the result is always very, very good when it comes to the success. And the last example that I want to show, I will share the video with you within the chat after the presentation. So this is a picture from a coal extraction area in Konya, which is based in central Anatolia in Turkey. Konya was used to be a very fertile land with like forest, green land, but thanks to the coal extraction, as you can imagine, the livelihoods of all the beings living there is highly affected. And before COP26 in Glasgow, we had also online training and brainstorming sessions with 350 Turkey. And there we ended up with this idea of creating this amazing video about a female performer who is doing this specific cultural dance called as a Sufi turning in the video. And this grilling dance is really connected to the city and the region of central Anatolia itself, because this is coming from a Sufi culture and then Sufism for the ones who doesn't know can be simply defined as the Islamic mysticism and purification. And this dance is like one person turning around and reaching the gut as close as possible. So in the video, the female performer was located in the coal extraction area in Konya and doing this dance with a gas mask, as you can see and can't breathe. And but at the end, she manages to get rid of the mask and the video because of that is called as the story of from the front lines of the climate crisis. So why I wanted to share this example is that when you do not have a chance to take any action, you can still document your performative action and try to create impact through social media and push your campaign and messaging towards the social media because there are situations sometimes in the life that you're not able to create an action. So I would like to share this example with you as well within the chat. Thank you so much. And if you have any questions, feel free to ask now. No questions, I guess. Okay, I'm going to pass it to Daniden. Thank you very much. Yes, Amel, were you going to say something? Yeah, I had a question, but I can ask it at the end. I am curious about something. If you want to ask it at the end, I think we will have plenty of time since we are, we have a shy team today on this call, even though in numbers we are, we are pretty good. Can I continue or would you like to ask a question? No, because it's more like a general question other than directly to Melike. All right. Okay, thank you. Then I will continue sharing my screen again. And yeah, as a final topic, I would like to talk about the projections. So this has been a medium of art and creative disobedience we've been working on for the past one year in a campaign called Pre-From-Gas. And basically what it meant is that we work together with a lot of different projection artists and we set up trainings for groups from different European countries to come and learn how to use these programs and also understand the actual logic of a gorilla projection. So yeah, basically after that, the gear which we were using, which was a battery and a good projector was basically traveling all over Europe and different countries were doing different kinds of actions focusing on gas. And I would like to open with this image which was done together with the collective called Gastivists. This image was taken at COP26 in Glasgow and even though it looks like a way to good quality projection, it is actually a form picture taken from the side of the river and is on the main building where the COP was hosted. So the funny story about this is that basically there is many directions projection action can go. So one of them would be is that you are in a really high traffic area where there is a lot of police presence, for example, and you start projecting, they realize that what you're doing and they ask you to pack up and leave, which is kind of, you did this very quickly for a photo opportunity. The other version is that you can stay there for a very long time and just kind of experiment, use your content, try to take the best pictures and the best video which you possibly can. And then there is a reactionary version of this, which is an example I would like to bring as the first one is that when this projection happened, the rainbow colors were projected onto the building by another projection technician who was employed by the UNFCCC. So when this happened, then basically this war started, which next day made the headline news. And if you read the main title is Activist declare his victory in light battle on venue. This is basically next morning after this action happened and this on all of the free magazines you can get on the public transport. And as you can see, the projection artist suddenly realized what's happening and didn't know what to do. So they took away the rainbow colors and started to just basically try to disrupt the projection happening by trying to mess up the message, but they just typed go away, go away, go away, go away as many times as they could possibly and tried to cover the building. But the reaction this triggered was not only from the projectionist, it was also by a summit spokesman who had to come out and say that this is not the response which was authorized by COP26. So it is already starting a conversation as basically you can see that they had to give a response. And it's one of really beautiful examples of projection actions which we have collaborated and supported. And it has been traveling through a lot of our presentations as one of our favorite examples. Another version of this is, for example, this was in Italy during the GasTech conference and it was a collaboration between Scientist Rebellion and the Art of this Network and we were preparing for this action and we managed to take actually a lot of pictures with different texts. I just thought that this is something which is a powerful image. But the scientists, they redid the conference dressed in proper scientist clothes and started to talk about the truth behind gas extraction and they got banned from the conference and were told to leave the city. But somehow in the end, this projection still happened during the night and this is the image which traveled through the internet once the security guards threw out the activists who were doing something a bit more disruptive. So this is, as an example, one of the image based projection actions. And this is a reactionary action. Sorry, it's two times production. So basically it's a projection based on reaction. And this is in Budapest in Hungary done by a group called Secret Illumination. And it's the next evening after the war broke out between Ukraine and Russia. And as you might know, Hungary is the neighbor with country from Russia. So it was very closely affecting us and basically is affecting us. And yeah, I just wanted to show that how on the left side, they use this like really iconic typography of this make art not war, which you've seen different versions of like drop seeds, not bombs, or make love not war. And using this kind of iconic pop art style, they managed to gain huge media attention. While on the other one, on the other image on the right, I would like to show that it is usually especially in a building like this, which contains like thousands and thousands of windows, it would be really difficult to project an image of like a portrait of someone. And as you can see, they managed to still bring out the massive characteristics of the shape of Putin's head. And they even if the word Putin was not there, you would still recognize this main features of his head. And it is a really great example of reactionary projection art. And this is the one, this is an example of when it's an engaging action. So this is in Poland in Danes, where they're going to build an LNG, LNG terminal, and the group Gastavis, we are in Polish region, they're bombacky. They went there and they didn't only do a projection on the center, which is the Copernicus Center of Science, where basically there's a lot of people visiting. This is like kind of a museum, it's a conference space. And they were standing there and meanwhile, while they were doing projection, they were handing out flyers and talking to people about why they are there and what sort of impact an LNG terminal would have on their life and on our future. So I wanted to share these as like examples, which I think are strategic and successful. And here's a picture of beautiful people making a projection. And I would also not like to tire you for long with showing more of the toolkit, but we would just really like you to be able to use this in a strategic way. So if you go to the, this is the final section. So if you go to the, how to do a general projection, then you can understand a lot about action logic, which kind of venues are good to project on, which kind of buildings it's good to project on, and what you need to pay attention to. So if you have a look here, this is just like the what do you need. And as you can see, it's like, besides many other factors, this is a very, very simple way to use, to make an action if you have access to projection gear. And in the projection resources, we have a tutorial video, we have an action checklist, a guide for how to use MadMapper as a program, which is a program which helps you to adjust your projection, even if you're not able to project from a comfortable angle. So you're not always going to be able to project from in front of the building. Sometimes there's going to be another building there. Sometimes you need to project out of a window or from a roof or there is so many different factors where it can be difficult to have a nice image on the wall. And this program helps you to fit your image and crop it onto the building, even if you're not in the right position for this. And if you would like to go more into depth about the logic and basic strategy of greater projections, you can have a look at the workshop which was given to us by the illuminator, who is a New York based collective who's been working with projection actions for the past decades and are really, really, really interesting and exciting on the way they work. So yeah, thank you very much. And I think we now have some extra time for you to share your questions or give us some feedback. And even if you have any tips, if you've seen what you've seen from what we've talked about, if you would like to share anything which you've had as an experience, we're really happy to hear that and is welcome. Okay, maybe I can ask my questions. Yeah, if you know one so far. Okay, I have two questions actually. The first one is more related to the Garela projection. I love it. I love all kind of like artist stuff, but the Garela projection and dancers are the ones that the ones my favorite. And if you're doing the Garela projection over a skyscraper covered with glass, and sometimes especially at night, I mean, we are doing this at night, obviously, some lights are open, but some switched on some lights are like switched off. The building is some lighted, some not. Is there like, what can we do in that case? Because it changes every day, you can't scout for it. So it's a bit turkey. And my second question would be like, I know there are tons of tactics to use, but is there like three things that we have to do, like for each of them, like, I don't know, three things that you need to do with all the tactics that you listed? So if I can answer first about the projection question, it's really difficult with glass buildings as it is. So this is kind of a situation anyway, where you need to have kind of a bit more time because you're going to project onto the building. And you are going to need to, for example, already use a camera with how do you call this, when you're basically, you know, it's a long expo image, because the contrast is going to be quite low as the glass eats up most of the lumens. So this means that basically you need like one like camera stand and that one person taking a lot of pictures or like long expo pictures. With the windows, this is something really difficult, like, especially if you can't even scout it, then if you're not really strict, strict for time, I recommend national holidays. That is my only really tip which I can give. And also, it is important that, for example, with this program I mentioned Mudbapper, you are able to blank out certain parts, which is important, because the projectors you are using for this volume of actions, you are actually able to cause damage to the eye if somebody looks out the window and looks in it for a longer time, because it is a laser projector. So for example, this program I said can help you to mask out where there is more light. So this would mean that the people who are in the building would not even realize that there is actually something happening, because there is no projection going on to that window. Yeah, and I think this is kind of what I can give as an answer. And as like my, I can give my three tactics for the, how do you call it, the projections, I would say number one is really scouting. And when I say scouting the location, I mean twice and having a look at anything which can surprise you. Two is make sure your battery is charged or that you have enough fuel in your generator. Three, have a good photographer, because this action is usually working best with images and travels through the web with good images. So make sure that you have some really good documentation thing. And then for murals, I would recommend, depending on what your context is, but for something which you're doing locally, I would recommend supporting a space which needs renovating a little bit. So choose a neighborhood which needs color, support something which where people don't get so much support. Yes, I'm the number two would be don't worry if someone, if something is messed up, some of the time people like the act of creation and the memory of creation in a local neighborhood is more important than the actual income of outcome of arts. And my third one, again, is going to be documentation because you need good documentation. And I think that this is something where a lot of people kind of slack off a little bit that they think that their phone pictures are going to be enough for this. But for our messages to be heard globally, we need really, really good images. So you have a good photographer for everything you do. And maybe I can answer Amalyn's one as well, because I think Amalyn's internet is really bad at the moment. Amalyn? Yeah, so sorry. So and for the art space, I would recommend take care of trash and and tell people to take care of trash. Make sure everybody feels safe. For example, if you have a look what we linked in there with the safety guidelines, practicing a safe space in creative spaces is really important, because if this gets normalized, then this is when people will realize that other places where they're working in need to be changed also. And my third tip is going to be to prepare things in advance, because once you're already there, you're going to be tired only by setting up the space. So if you can already cut the banners, already cut the flags, cut the wood and everything, this means that the people who turn up are already able to help you with what you need, and they don't need to wait for you. Malika? And Dian has her hand raised. Yeah, I can answer for my part, and then I will pass it to Dian for the question. So when it comes to the performance, the first step, I would say that like preparation part is very important. So always make sure that you have a great brainstorming session with the team, and prepare your messaging and story very well, because without having story, your performance will not deliver the message, will not deliver your demands, so your action actually is not going to be successful. The second thing I would say be realistic. What I mean by being realistic is just be aware of the skills within your action group, because sometimes you might think that it will be great to create choreography, but then you realize that actually the group doesn't have that skills. So it might be more important to create more like still images, more easily going actions, and give more priority to have a great documentation team. So your action looks great in itself. So I think it is very important to know the skills and capacity within the action group. And the third thing I would say that if you have the financial resources and time, always hire an artist. It can be a dancer, it can be a performance artist, it can be a theater team. But hiring an artist will change all the impact of the action that you are going to have. And I think the fourth thing that I'm going to say is that it's very important for all the tactics. Always have a great photographer or videographer. And if you can have both photographer and videographer, that is more than amazing, because if you would like to get visibility with your action without having a great documentation team, it's not possible. So I can pass it to Dian for the question. Hi, thank you, Melika. Hi everyone, I'm Dian from Indonesia. I have two questions. First, we're planning to have distributed action in a lot of cities in Indonesia. Distributed means that it's not only mass action with a lot of people, but it can also be individually. So do you have any experience or maybe any example of creating a theme of art, and then that individually create that art with their vision or their ideas? And then in the end, it can be a mass artificialism, if you understand what I mean. Do you have any example of that so that we can do that in our power up soon? And second question, I'm not sure if I asked this to Danny or I'm on it, I'm on it before, but we're planning also to have a showpiece, and showpiece like a parachute, but it will be, the pictures will be taken from above, right, from from drones. But maybe some of the other mobilization will do that while they're also walking on the street, which means that people beside them wouldn't see what they're holding on or the sign above them, the parasite. Do you have any idea what should they do to get them both above and beside so that all people can see? Or is it a bad idea to have both both sides? Thank you. May, can I answer Malika? Is that okay? I'll take your. Yes, go ahead. So yeah, basically for the distributed actions, I would really recommend having a look at Rasturbator, because I'm just going to show you here that, so if you come for, I'm going to see, let's view more examples from Rasturbator. As you can see, like, let's take, for example, Jimi Hendrix. So if you have a look at the image of Jimi Hendrix, which is, oh my God, I'm going really deep into many links. Okay, cool. So if you have a look at Jimi Hendrix, let's say that you have 15, 20 people wanting to take part in this action and how to create one full image, you could basically the easiest thing you could ask from people is for them to print one piece of this picture and take a picture together or take a picture and just hold it in front of them. And then once you paste these images together, they're still going to be a bit of a space between the images, but your iconic figure is going to still come out. And I would just say, I'm not sharing my screen. So how could I be talking about, sorry, oh my God, I'm a bit, a bit banded. Sorry, sharing screen. And you will understand what I'm talking about. So back to Jimi Hendrix. Sorry, this is a bit of a bloop. So if you have a look at the picture of Jimi Hendrix and you can see that basically the image is broken down into the A4 papers. And you can print it in A3 or so, or custom size. We can still see your screen though, if you are sharing it. Oh my God, this is so annoying. Why can't I, I'm sharing my screen, start broadcast. You can see it now, right? Yeah, that's looking good. Oh my God, sorry, this is like it's worse and worse. So again, you can see the picture and I've explained it many times, but imagining that how many people you are, you're able to ask people to print out certain certain parts of the picture. And then you can, for example, paste it together into one image which you can share on the internet. This is one of the ideas I have. And yeah, sorry for the central really stupid. And for the parachute, I'm guessing that this is like a white colored, like thin material parachute. And I would imagine that I would not paint both sides of it, but maybe, maybe like one like make sure that this is for a photo opportunity. And maybe tell the people who are taking the parachute to have a different visual, even like, for example, from the from like the patch, which you can just like stencil and put onto your t-shirt, which we showed the image of with the indigenous, with the indigenous group we work together with. This kind of still makes like, you know, at least that team has like a coherent visual identity. I think that when you're talking about drone footage, I think that you need to focus on the drone footage. And I don't think you're able to please all sides. So I think it's kind of difficult for you to be able to do both at the same time. I hope I answered your question. And I'm so sorry for the technical stupidity. Thanks. I think we still have nine minutes. So if there are more questions, please feel free to ask. You can also type in the chat. I'm not even people trying to imagine. There's one question in the chat. Yeah, the question is mainly related to the time management. This is really hard because it really depends on the context and the group that you are working together. But when it comes to the performative actions, I would say that like it is very important, as I mentioned before, to have the preparation in advance because without having that, it is not impossible. It's really impossible to coordinate a big group of people doing a performance in itself. But I would say that this is valid for all the tactics when it comes to the last minute, when you have like few hours left or one day left. Most of the great ideas are comes up and things happens very fast. But yeah, the most important thing that I would say that the preparation time is very important and you really need to know how to manage your time in the preparation. But when it comes to the actual action itself, if you are managing those preparation time, everything happens without a problem. Dani? Yeah, I mean, I think that you kind of need to know what you're leaving time for. So I often kind of see this issue when working together with people who are not kind of used to making things is that people underestimate the time which goes into making something creative. So I think that when I talk about time management, I think that I think art builds, for example, like an art space is something which even if for a main organizer and for a team it takes one day, it's something which basically creates a lot of visuals in considerably short amount of time if one team was doing it and then trying to distribute it. I'm trying to think that how I can answer more the question about the time management. It's difficult because it's kind of, I think that if you're painting a mural or if you're making something where you need, where you don't have a lot of time, then using stencils and using posters is a quick way of making a mural, for example. That is something you are able to do in two hours in a massive scale and for projection, I think that that is the most least time consuming action you can do because you can be done with it in five minutes if you do it right. So I think this is the way I can answer and I hope it was a clear way of saying it. Yeah, I also want to add one more thing about this time management. It really depends on the art and tactic type that you are following but sometimes if you have the possibility to have someone who is not involved in the creation process but that person is kind of coordinating and facilitating the whole process. So having like check-ins with the creators and then making sure that you are on the track so you have time for the allocated tasks that is very useful because when you are creating you are really like inspired and lost in the creation process to have that outsider person as a timekeeper or coordinator or facilitator however you want to call that person is very very useful. Thank you. We have another question in the chat which is in Bahasa. I think Miki will have with translation. So I'm sorry are we waiting for translation on the question I'm just Bani you need to tune into the English channel and maybe Miki can quickly question yeah thank you. Okay so once I how do I do that interpretation do I go to the Indonesian channel Miki okay I've done I've done enough tech stuff for today I think really yeah sorry if I answer is it good for me to answer here or do I need to go into another channel okay great I really think that this is based on on what you're it depends on what your goal is for your action I think that governmental buildings can be a great target if you're calling out governments but this is something which doesn't create a very spectacular image if you're going to if for example you're not making some really incredible art which represents for example the coal mining area then I think that the image itself will not become very caught up by the media but this is only which I think and I think that a really well documented powerful action as a coal mine can possibly maybe gain more media attention and you're already showing what's happening because a lot of the time people can't people really can't understand what size these mines are and like what sort of impact it has so I think the kind of whenever humans are doing something in these areas I think is just really powerful but so I think it's a great idea to do an action there but this really also depends on how you're exactly trying to achieve your your goal and how you're sending your message and also I think it really depends on your target because you mentioned that this is for campaigning but is it specifically for power up or another campaign I do not know that but if your target is the government and government officers and politicians yeah you can choose the governmental building but if your target is a specific uh like let's say first you feel company of course it makes more sense to choose uh uh doing action in the power plant so I think it's also related to the target of your campaign thank you very much so should I go back to the main channel okay great so Arami you have a question I guess oh yeah yes thank you um actually uh I live in a city where art is very common and we really want this power up action that we plan can be uh get more attention in November um do you have a suggestion for how how we make this action can be sent out in a city where art is common so that's it that's all thank you well what sort of art is common like exhibition and morale and even performance in in the street on the street it's really covered so we we like um we actually sounds very cool can we all go there oh yeah of course come to Jogjakarta um Malika do you have any suggestions I didn't know there are so many cities which have so much art and performance yeah I think that the answer is that we all move there and just create um create our community but yeah I think the first thing comes to my mind maybe guerrilla projections can be interesting because as I understood like more traditional type of art is common maybe I am wrong but maybe guerrilla projection is not something uh very common in the city and uh not really present in the culture so maybe it can stand out Arami please correct me if I am not uh correct like heavy like ever seen this type of projections within the city is this something common oh yeah maybe we can try the projection oh yeah thank you sorry if we couldn't give a much better answer I think we were shocked by a is there any other is there a last question because now I think that we are at time okay then in this case maybe we could um end this session for today um thank you very much everybody and we will see everyone in Jakarta where we are moving as I understood to the yes it was uh thank you very much for joining and have a nice rest of your day whichever time zone you came from thank you very much for your time in your attention and feel free to get in touch with us through our email which you can find on our website um artivistnetwork.org um yeah have a nice rest of your day thank you very much everyone for the trainers that are emailing Kiamelen and also our interpreters Candice, Miki thank you very much and see you like wherever you are on 3rd, 4th November thank you very much