Greg J. Smith
Since 2003
smith@serialconsign.com
Works in Toronto Canada

BIO
Greg J. Smith is a Toronto-based designer and researcher with interests in media theory and digital culture. Extending from a background in architecture, his research considers how contemporary information paradigms affect representational and spatial systems. Greg is a designer at Mission Specialist and is a managing editor of the digital arts publication Vague Terrain. His writing has appeared in a variety of publications including: Creative Applications, Current Intelligence, Rhizome, Vectors and the Handbook of Research on Computational Arts and Creative Informatics.

Greg has presented work at venues and institutions including EYEO Festival (Minneapolis), the Western Front (Vancouver), DIY Citizenship (Toronto), Medialab-Prado (Madrid) and Postopolis! LA. He is an adjunct instructor in the CCIT program (University of Toronto/Sheridan College) and has taught courses for CSMM (McMaster University) and OCAD University.

The Search for a Center: Vito Campanelli's Web Aesthetics



"Why look at Gustave Courbet when you can download free porn?" is a question posed by one of the animated characters in Parker Ito's sardonic Artist Statement (2009), a piece that both mocks and celebrates a selection of trite, blanket statements regarding media art. Ito's humorous animation is one of the many projects enmeshed within the dense weave of Vito Campanelli's new book Web Aesthetics: How Digital Media Affect Culture and Society (NAi Publishers), a sprawling examination of post-web visual culture and the cultural implications of various forms of digital media. While the last decade has yielded a considerable amount of scholarship judging and qualifying online interactions, tracking the transformation of identity and contemplating the changing nature of attention, Campanelli's writing project extends beyond these stock investigations and sets out to identify how the web has altered our means of experiencing and evaluating contemporary art and media. The browser, internet mailing lists, peer-to-peer networks, spam, MP3 files, vernacular video and numerous other everyday platforms and protocols are put under the microscope in the interest of cultivating a broad aesthetics of digital media. While these topical, episodic investigations are generally quite successful, Web Aesthetics is not lacking in fundamental structural and stylistic idiosyncrasies.

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Interview with Jeremy Bailey


Jeremy Bailey is a Toronto-based new media artist whose work explores custom software in a performative context. Powered by humor and computer vision, his work wryly critiques the uneasy relationship between technology and the body while playfully engaging the protocols of digital media. Over the last decade Bailey has exhibited and performed at a range of international festivals and venues including the 2010 01SJ Biennial, HTTP Gallery, Subtle Technologies and in 2001 he co-founded the (now defunct) 640 480 Video Collective. I conducted the following interview with Bailey over email and we used our conversation to delve into a number of his projects from the last five years.


Code Crossings: A Review of Form+Code: In Design, Art, and Architecture


Form+Code: In Design, Art, and Architecture is an ambitious new text that investigates the creative exploration of software across numerous disciplines. A collaborative venture between artists Casey Reas, Chandler McWilliams and the graphic design studio LUST, the book presents both a succinct history of computational design and an indexed guidebook of strategies and approaches. Form+Code fundamentally differs from more traditional, tutorial-based books on creative coding by delving into precise contextualizations of the origins of various tangents within software art. The scope of these nuanced discussions is both sweeping and extensive. For example, within the space of six pages, the authors examine the computer as a drawing instrument starting with Ivan Sutherland’s Sketchpad proto-CAD workflow (1963), then turn to advances within various proprietary applications, which opens up into a discussion about digital representation and fabrication. Form+Code is full of these compact histories, and each is tastefully illustrated with related contemporary projects and (sometimes surprising) precedents and predecessors. Op-artist Bridget Riley’s Polarity (1964) sits in a spread beside Martin Wattenberg’s music visualization The Shape of Song (2001), highlighting the similarities in the graphic language of luminaries from two distinct generations.


Knowledge Work(s): In Search of a Spreadsheet Aesthetics


I sympathize with the protagonist of a cartoon claiming to have transferred x amount of megabytes, physically exhausted after a day of downloading. The simple act of moving information from one place to another today constitutes a significant cultural act in and of itself. I think it's fair to say that most of us spend hours each day shifting content into different containers. Some of us call this writing.

- Kenneth Goldsmith, 2004

While Kenneth Goldsmith's wry statement about knowledge jockeying is directly discussing the plight of the contemporary author, his comments are useful for thinking about other disciplines. In editing this quote, the word "writing" could easily be replaced by any number of verbs (programming, composing, painting, storyboarding, etc.) as we undoubtedly inhabit an era where creative transposition rather than raw creativity can be enough to drive a project. The ctrl-c clipboard, the layer palette in photo editing software and the flash memory of a microcontroller are all examples of spaces that serve as staging grounds for storytelling and crafting aesthetic experiences — these are interstitial zones where art gestates. Goldsmith clearly doesn't approach the creative process with reverence, and his blasé attitude is an excellent springboard into reading contemporary artistic production in relation to knowledge work. An important question: How might we appropriate this daily activity of "shifting content between containers" as a site (rather than a means) of artistic production? This article will consider the aesthetics of the spreadsheet, and act as the first installment of a series that will engage projects that explore the documents, software, interior architecture and politics of the contemporary workplace.


Imperfect Sound Forever


Many scholars within the field of media archaeology opt to focus on the backstory behind an influential medium or technology and map out how its inception and organizational logic (re)shaped the world. An alternative approach is the excavation and arrangement of fringe/forgotten prototypes into an array to problematize dominant historical narratives regarding technological progress. Caleb Kelly's recent text Cracked Media: The Sound of Malfunction uses two consumer technologies, the phonograph and the compact disc, to survey 20th century musical and artistic production. The book catalogs a broad range of experimentation with these playback technologies to create detailed timelines of misuse and critical engagement. In bracketing this realm of sound-producing practice, Kelly proposes "cracked media," a subversion of technological devices whereby "...tools of media playback are expanded beyond their original function as a simple playback device for prerecorded sound or image." Given the prominence of the glitch and lo-fi malformed digital artifacts everywhere from media art to pop music to web video, it is easy to take the aesthetics of failure for granted. The investigation executed within Cracked Media prefigures many of the discussions that underpin generative and glitch aesthetics by focusing on work that foregrounds and interrogates the materiality of two specific mediums. Kelly methodically tracks projects that subvert the CD and phonograph over the entire 20th century and in doing so he builds a fascinating discourse about musical performance and reproduction that is equally comfortable referencing Friedrich Kittler as DJ Qbert.



Discussions (37) Opportunities (5) Events (15) Jobs (0)
DISCUSSION

Variable Frame Rate: Multimedia Performance at MUTEK 2009


Oops. CMS ate my response.

To pick up that unfinished sentence: ...what happens if that system is tweaked, perhaps it effects a filter or effect being applied back in the audio output. There is the possibility between graphical and sonic possibilities, kind of a collaborative workspace. Artificiel's POWEr kind of operated like this and I hope to write about this piece elsewhere soon.

I think deploying these kind of systems and workflows within the context of a music festival is interesting because there is a built in tension and set of expectations that comes with the audience. I hope MUTEK continues down this path and other festivals embrace this grey zone between interactive/new media curation and musical programming.

DISCUSSION

Variable Frame Rate: Multimedia Performance at MUTEK 2009


A pseudo-review? I never fancied myself a pseudo-reviewer. :)

Lots of VJs have done work with cameras trained on the audience, in a simple way that is what you are talking about about re: "our reaction to music". You could use motion sensors assuming you weren't in a concert hall, the resolution would probably be pretty crude though. Personally, I'm really interested in music-visual interfaces where the graphical systems can talk with musical output. So say you have a geometric system responding to/generated by a specific frequency range, what happens if that system is tweak

EVENT

Vague Terrain 13: citySCENE


Dates:
Tue Mar 10, 2009 00:00 - Thu Mar 12, 2009

We are excited to announce the launch of Vague Terrain 13: citySCENE, the latest edition of our online digital arts publication. Curated by Greg J. Smith, the issue indexes a wide range of strategies for representing and visualizing urban space. Drawing on the collective talent of an international pool of new media artists and scholars, citySCENE catalogs how cartography, infrastructure and locative media shape perception in the contemporary city. Many submissions also explore more subjective urban experiences and consider notions of vision, acoustic ecology, movement and agency through experiments and interventions staged in a number of global cities.

Contributors: Abinadi Meza, Andrea Rojas, Mattia Casalegno & Michael Langeder, Michael Chen & Jason J. Lee, Conor McGarrigle, David Drury, Franke Dresme, Greg Giannis, Hector Centeno, Katharine S. Willis, Michael Surtees, Mitchell Whitelaw, Olga Mink, Ivan Safrin & Christian Marc Schmidt, Thomas Dreher, Tori Foster and Yukiko Bowman.

To view the issue please visit http://vagueterrain.net/journal13
Subscribe to the Vague Terrain RSS feed at: http://feeds2.feedburner.com/vagueterrain


DISCUSSION

Means of Production: Fabbing and Digital Art


I was getting heckled on twitter for not mentioning the Fablab Network! I do think it is a brilliant project.. somewhere I read it described as a middle ground between Commercial applications and RepRap. I like RepRap as an endgame for artists as it means, a cheap printer or mini-mill on the desktop. My understanding (and please correct me if I'm wrong) is that the FabLab project is kind of a distributed research initiative with goals to function as kind of a fabbing OLPC in certain countries. What exactly are you producing in Amsterdam?

DISCUSSION

Means of Production: Fabbing and Digital Art


Hi Paddy,

I just used the comment as a springboard into discussing general skepticism towards the field. I understand the "Gee Whiz" kind of Photoshop filter work you were referring to, and that sentiment might not necessarily lead to interesting artifacts in fabrication. What excites me so much is seeing people working with code suddenly thinking about tectonics, joinery and assembly. I'd love to see an Art Fag City post at some point highlighting some of the good fabbed work you've seen. :)