Greg J. Smith of Serial Consign fame has released his latest issue of Vague Terrain. Below is his press release and below that is my text from my entry. I haven’t had a chance to dig deep into the issue yet, but I’m quite honoured to be included within this diverse group of individuals…
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Announcing Vague Terrain 13: citySCENE
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.
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For the past year I took a photograph of the sky from my apartment in Manhattan. The idea of transposing a morning image everyday came after I started noticing that most mornings have a really unique colour to the sky. What would a record of that look like after weeks and months and how would the colour compare to each other? It’s a fairly uncomplicated process with the photos. Typically I’m shooting between 6 am to 11 am depending on if there’s any light out and the time when I wake up. Whether it’s sunny or cloudy doesn’t really matter because each day is unique. I always make sure that the crop of the sky is in a 4:3 aspect ratio with my Leica D-Lux 3. After taking the image I upload it to flickr and place it into the collective set. Because of the modularity of the images, I can create unique sets depending on what’s required. For the above set I decided to order seven weeks starting in February of 2008. By keeping the grid to seven units a viewer can compare the colours of the weeks at one glance horizontally or all the particular days vertically.