Greg J. Smith
Since 2003
Works in Toronto Canada

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.


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 " 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)

announcing the launch of vague terrain 07: sample culture

announcing the launch of vague terrain 07: sample culture

The latest edition of the Toronto based digital arts quarterly is now live. The issue, vague terrain 07: sample
culture is a provocative exploration of contemporary sampling of sound,
image and information. This body of work examines the remix as a
critical practice while addressing broader issues of ownership and
intellectual property.

Vague terrain 07: sample culture contains work from: brad collard,
christian marc schmidt, defasten, des cailloux et du carbone, [dNASAb],
eduardo navas, eskaei, freida abtan, jakob thiesen, jennifer a.
machiorlatti, jeremy rotsztain, noah pred, ortiz, rebekah farrugia, and
an interview with ezekiel honig conducted by evan saskin.

For more information please see


announcing vague terrain 06: locative the Toronto-based digital arts quarterly, has just
launched its sixth issue, vague terrain 06: locative. This issue is an
exploration of locative technology and creative practice.

The issue was guest curated by David McCallum and features work by:
evamaria trischak, jeremy hight, knifeandfork, marc tuters, patricia
rodriguez, sawako, ssim-el, an interview with michael lenczner, and an
overview of the context photography project.

To view the journal please visit


greg j. smith
416.877.4281 / skype: serial_consign


serialconsign relaunched

I've relaunched my personal site, it is a bit of a work in progress but
I'm now writing pretty regularly on technology, culture, politics, and
media. My site may be of interest to anyone on this list that doesn't
spend half their day sifting through RSS feeds.

Please stop by and take a look -

greg j. smith

greg j. smith
416.877.4281 / skype: serial_consign


announcing vague terrain 05: minimalism the Toronto-based digital arts quarterly, has just
launched its fifth issue: vague terrain 05: minimalism. This issue is
dedicated to an exploration of minimalism and technology through various
texts and multimedia projects which document and explore reductionism.

This diverse body of work contains contributions spanning multiple
mediums from: aidan baker, bleupulp, clinker, granny'ark, greg j. smith,
gregory shakar, i8u, jan jelinek (interview by greg j. smith), martin
john callanan, michaela schwentner, monolake (interview by corina
macdonald), patrick lichty, steven read and tobias c. van veen.

To view the journal please visit


greg j. smith


call for work / vague terrain 06: locative

vague terrain 06: locative
guest curated by David McCallum

Not only are our lives being interwoven with technology, but technology
that has an understanding of where it is. Locative technology can be
described as the connection of information to geography. It is evident
in microphones, cameras, RFID, GPS, wireless communications protocols,
and a host of other sensors and technologies that are allowing devices
to understand their places among people, within space, and among other
devices. This technology, as proxy, allows us to better understand our
place within, and our relationships to the spaces which we inhabit. This
issue of vague terrain will allow us to better understand these

call for work
We are seeking:

Artworks that employ location-aware technology, or documentation of such
an artwork, consisting of statements and supporting images. Please do
not provide research papers as documentation of the artwork.

Text, interviews, or academic papers on the theme of location-aware
technology and locative media, of any length. We will accept pitches for
as-yet unwritten interviews or texts