ryan griffis
Since 2002
Works in United States of America

ARTBASE (3)
PORTFOLIO (1)
BIO
Ryan Griffis currently teaches new media art at the University of Illinois, Urbana-Champaign. He often works under the name Temporary Travel Office and collaborates with many other writers, artists, activists and interesting people in the Midwest Radical Culture Corridor.
The Temporary Travel Office produces a variety of services relating to tourism and technology aimed at exploring the non-rational connections existing between public and private spaces. The Travel Office has operated in a variety of locations, including Missouri, Chicago, Southern California and Norway.

Is MySpace a Place?


Networked Performance pointed me toward an interview (download in PDF)with Networked Publics speaker Henry Jenkins and Networked Publics friend danah boyd about Myspace. The site, popular with teenagers, has become increasingly controversial as parents and the press raise concerns about the openness of information on the site and the vulnerability this supposedly poses to predators (Henry points out that only .1% of abductions are by strangers) and the behavior of teens towards each other (certainly nothing new, only now in persistent form). In another essay on Identity Production in Networked Culture, danah suggests that Myspace is popular not only because the technology makes new forms of interaction possible, but because older hang-outs such as the mall and the convenience store are prohibiting teens from congregating and roller rinks and burger joints are disappearing.

This begs the question, is Myspace media or is it space? Architecture theorists have long had this thorn in their side. "This will kill that," wrote Victor Hugo with respect to the book and the building. In the early 1990s, concern about a dwindling public culture and the character of late twentieth century urban space led us to investigate Jürgen Habermas's idea of the public sphere. But the public sphere, for Habermas is a forum, something that, for the most part, emerges in media and in the institutions of the state:

The bourgeois public sphere may be conceived above all as the sphere of private people come together as a public; they soon claimed the public sphere regulated from above against the public authorities themselves, to engage them in a debate over the general rules governing relations in the basically privatized but publicly relevant sphere of commodity exchange and social labor. The medium of this political confrontation was peculiar and without historical precedent: people's ...

READ ON »


SWITCH: Issue 22



Carlos Castellanos:

HI everyone. Just wanted to announce the new issue of SWITCH:

SWITCH : The online New Media Art Journal of the CADRE Laboratory for
New Media at San Jose State University

http://switch.sjsu.edu switch@cadre.sjsu.edu

SWITCH Journal is proud to announce the launch of Issue 22: A Special
Preview Edition to ISEA 2006/ ZeroOne San Jose.

As San Jose State University and the CADRE Laboratory are serving as
the academic host for the ZeroOne San Jose /ISEA 2006 Symposium,
SWITCH has dedicated itself to serving as an official media
correspondent of the Festival and Symposium. SWITCH has focused the
past three issues of publication prior to ZeroOne San Jose/ISEA2006
on publishing content reflecting on the themes of the symposium. Our
editorial staff has interviewed and reported on artists, theorists,
and practitioners interested in the intersections of Art & Technology
as related to the themes of ZeroOne San Jose/ ISEA 2006. While some
of those featured in SWITCH are part of the festival and symposium,
others provide a complimentary perspective.

Issue 22 focuses on the intersections of CADRE and ZeroOne San Jose/
ISEA 2006. Over the past year, students at the CADRE Laboratory for
New Media have been working intensely with artists on two different
residency projects for the festival – “Social Networking” with Antoni
Muntadas and the City as Interface Residency, “Karaoke Ice” with
Nancy Nowacek, Marina Zurkow & Katie Salen. Carlos Castellanos,
James Morgan, Aaron Siegel, all give us a sneak preview of their
projects which will be featured at the ISEA 2006 exhibition. Alumni
Sheila Malone introduces ex_XX:: post position, an exhibition
celebrating the 20th anniversary of the CADRE Institute that will run
as a parallel exhibition to ZeroOne San Jose/ ISEA 2006. LeE
Montgomery provides a preview of NPR (Neighborhood Public Radio)
presence at ...

READ ON »


Art & Mapping



The North American Cartographic Information Society (NACIS) has released a special issue of their journal, Cartographic Perspectives:
Art and Mapping Issue 53, Winter 2006 Edited by Denis Wood and and John Krygier Price: $25
The issue includes articles by kanarinka, Denis Wood, Dalia Varanka and John Krygier, and an extensive catalogue of map artists compiled by Denis Wood.

READ ON »


[-empyre-] Liquid Narrative for June 2006


Christina McPhee:

hi all, I am not sure we got this message out to Rhizome!

Please join our guests this month, Dene Grigar (US), Jim Barrett
(AU/SE), Lucio Santaella (BR), and Sergio Basbaum (BR) , with
moderator Marcus Bastos (BR), for a spirited discussion of "Liquid
Narratives" ----- digital media story telling with a dash, perhaps,
of 'aura' .

Here's the intro from Marcus:

The topic of June at the - empyre - mailing list will be Liquid Narratives. The concept of 'liquid narrative' is interesting in that it allows to think about the unfoldings of contemporary languages beyond tech achievements, by relating user controlled applications with formats such as the essay (as described by Adorno in "Der Essay als Form", The essay as a form) and procedures related to the figure of the narrator (as described by Benjamin in his writings about Nikolai Leskov). Both authors are accute critics of modern culture, but a lot of his ideas can be expanded towards contemporary culture. As a matter of fact, one of the main concerns in Benjamin's essay is a description of how the rise of modernism happens on account of an increasing nprivilege of information over knowledge, which is even more intense nowadays. To understand this proposal, it is important to remember how Benjamin distinguishes between an oral oriented knowledge, that results from 'an experience that goes from person to person' and is sometimes anonymous, from the information and authoritative oriented print culture. One of the aspects of this discussion is how contemporary networked culture rescues this 'person to person' dimension, given the distributed and non-authoritative procedures that technologies such as the GPS, mobile phones and others stimulate.

READ ON »


state of the planet infographics


stateoftheplanet.jpg
a small collection of beautiful information graphics documenting the current state of the planet.
see also gapminder & 3d data globe.
[seedmagazine.com]

READ ON »



Discussions (909) Opportunities (8) Events (16) Jobs (0)
DISCUSSION

Fwd: CIVIL DISPUTES SHOULD BE FEDERAL CRIMES, PROSECUTOR ARGUES


> May 17, 2005
> FOR IMMEDIATE RELEASE
>
> BREACHES OF CIVIL CONTRACTS SHOULD BE FEDERAL CRIMES, PROSECUTOR ARGUES
> Judge calls proposal "Pandora's Box"; defense calls for dismissal
>
> Today in Buffalo, Judge Kenneth Schroeder heard motions to dismiss a
> federal criminal case against artist Steven Kurtz. Professor Kurtz was
> charged with mail and wire fraud last summer after prosecutors found
> nothing to support their original allegations of bioterrorism. (Please
> see http://www.caedefensefund.org/faq.html for an overview of the
> case.)
>
> In today's hearing, defense attorney Paul Cambria argued that a
> dangerous precedent would be set by "exalting" into a federal criminal
> case of wire and mail fraud what is at best a minor, civil contract
> issue--the purchase of the bacterium Serratia marcescens by scientist
> Robert Ferrell for use by Kurtz in his artwork.
>
> Judge Schroeder seemed to agree, asking Federal Assistant District
> Attorney William Hochul whether an underaged youth who uses the
> internet to purchase alcohol across state lines, for example, should be
> subject to federal wire fraud charges. "Yes," Hochul answered after
> some hedging, and Schroeder chuckled. "Wow, that really opens up a
> Pandora's Box, wouldn't you say?" he asked Hochul.
>
> Schroeder also asked Hochul whether there is any federal regulation at
> all (OSHA, EPA, or other) concerning Serratia. Hochul admitted there
> wasn't. (The alleged danger of Serratia forms the basis of the
> government's argument for making this a criminal case, rather than
> simply allowing the bacterium's provider to pursue civil remedies if it
> feels it was wronged.)
>
> Cambria further argued that the FBI intentionally misled a judge into
> issuing the original search warrant. That judge was never told of
> Kurtz's lengthy, credible and complete explanation of what the seized
> bacterial substances were being used for, nor of the fact that Kurtz
> tasted Serratia in front of an officer to prove it was harmless. Also,
> the judge was told of Kurtz's possession of a photograph of an exploded
> car with Arabic writing beside it, but not of the photograph's context:
> an invitation to an important museum art show. The photograph, by
> artists the Atlas Group, was one of several exhibited pieces pictured
> on the invitation.
>
> Because of the photo, the judge issued a warrant calling for the
> seizure of anything with Arabic writing. "Would that have included the
> Koran?" Judge Schroeder asked Hochul at today's hearing. "Nothing in
> Arabic was in fact seized," Hochul replied. Schroeder repeated the
> question, and Hochul admitted that the Koran would have been seized,
> "if the officers hadn't recognized what it was."
>
> Today's apparent courtroom victory for Cambria does not mean that Judge
> Schroeder will grant any of the defense motions. And if he does, it is
> certain that the prosecution will appeal the decision--"all the way to
> the Supreme Court if they can," according to Cambria.
>
> Whatever the outcome of today's hearing, it will not come quickly:
> rulings in such hearings typically take two or three months. The
> defense has so far cost $60,000 for Kurtz alone; as for the taxpayer
> bill, it is well into the millions.
>
> See also
> http://www.newsday.com/news/local/wire/newyork/ny-bc-ny--
> artvsterror0517may17,0,4577499.story?coll=ny-region-apnewyork
>
> CONTACT: mailto:media@caedefensefund.org
>
> For more information on the case, or to make a donation to the CAE
> Defense Fund, please visit http://www.caedefensefund.org/
>
> ###

DISCUSSION

LAPD shuts down art exhibit


the show apparently just featured satirized corporate logos...
(along with another recent attempt at censoring a public artwork in
Baldwin Park by the xenophobic org Save Our State, LA is going through
an interesting battle in the co-called culture war...
http://www.la.indymedia.org/news/2005/05/126478.php )

http://transportgallery.com/transport/
At 10:40 pm, April 23rd, the LAPD chose to shut down our past event,
Mark of the Beast, due to the "agressive and offensive" nature of the
show's content. Transport Gallery is seeking your help in exposing this
obvious breach of First Amendment rights. If you attended the Mark of
the Beast, and have any information or comments regarding the police's
actions please contact us by email at info@transportgallery.com.
Witness statements will be helpful in this situation. Thank you, TG.

more info from Mark Vallen, an LA based artist's blog

This past April I received an invite to attend an art opening at the
Transport Gallery in downtown Los Angeles. The show, titled Mark of the
Beast, was scheduled for one night only on April 23rd, 2005, at the
small gallery space located in the Factory Place art colony. Graphic
artist Brandy Flower curated the show, which consisted of recognizable
corporate logos that had been reworked to reveal - or unveil - the
truth behind the corporate propaganda. The spoof ads ranged from the
GAP (transformed into GAG), to the red white and blue CHEVRON oil
company emblem (transformed into SHAME ON). The promotional material
advertised the show as running from 7 to 11 in the evening. I wanted to
be present at this one night exhibit, but instead decided to stay at
home to work on a new series of oil paintings. It wasn

DISCUSSION

Fwd: Glowlab news :: may : june 2005


Begin forwarded message:

> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
>
> Glowlab news
> may :: june 2005
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> contents:
>
> 1. ADJACENT issue launch
> 2. Glowlab in the news
> 3. Provflux :: May 27-29
> 4. playground
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 1. ADJACENT issue launch
>
> Hey, we've just launched our second issue, ADJACENT. Come get lost in
> our current features & explore proximity through time zones and sea
> creatures, park benches and the streets of Paris.
>
> Glowlab.02
> ADJACENT
> may :: june 2005
> http://glowlab.com/lab/issue.php?issue_name=2
>
> featuring work by:
> J Gabriel Lloyd :: It's 5 o'clock Somewhere
> Sharilyn Neidhardt :: Silhouette
> Sal Randolph :: Listen Now: Adjacent
> Christina Ray :: Public Postcards
> Jesse Shapins :: Say Goodbye to Hilke
> Swoon :: Happy Together
> Lee Walton :: Sitting
>
> with special guests:
> Alan Bernheimer :: Paris Journal
> John Geraci :: FoundCity
> Sto :: Ignorant Bike Rides
> Pitchaya Sudbanthad :: Take from Us the Houses Long Burned
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 2. Glowlab in the news
>
> Glowlab's been mentioned in a few recent articles:
>
> 2005.05.04 :: New York Times
> "The Web Behind the Scrawl" by Ethan Todras Whitehill
> http://www.nytimes.com/2005/05/04/technology/techspecial/04ethan.html
> [NY Times site requires log-in]
>
> 2005.04.28 :: Boston Globe
> "The art of mobile technology" by Stacey Perlman
> http://www.boston.com/business/globe/articles/2005/04/18/
> the_art_of_mobile_technology
>
> 2005.04.15 :: Boston Globe
> "All over the map: New technology inspires projects that are
> redefining the artistic landscape" by Cate McQuaid
> http://www.boston.com/ae/theater_arts/articles/2005/04/15/
> all_over_the_map/
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 3. Provflux :: May 27-29
>
> At the end of May, Glowlab's taking our show on the road as we head
> north to Providence for Provflux:
> http://www.pipsworks.com/contact/provflux.html
>
> Start collecting your bus money now and join us. Check the lineup of
> events and you'll see that you don't want to miss this:
> http://www.pipsworks.com/contact/schedule.html
>
> Here's what we're doing...
>
> opening reception 05.27:
> Christina Ray + Dave Mandl
> Welcome to Provflux [a.k.a. "Keynote address"]
>
> throughout the weekend [see the schedule for times/locations]:
> Kanarinka
> Corporate Commands performance
>
> J. Gabriel Lloyd + Mark Horowitz
> Virtual Dinner
> participate:
> http://www.glowlab.com/forum/viewtopic.php?t5
>
> Sharilyn Neidhardt
> Human Scale Chess Game
> sign up to play:
> http://humanchess.typepad.com/providence/
>
> Sal Randolph
> Listen Now
>
> Christina Ray
> Public Postcards
> want a postcard?:
> http://www.glowlab.com/lab/issue.php?project_id$&issue_name=2
>
> Jesse Shapins + Brian House
> Yellow Arrow
>
> Sto [Glowlab special guest]
> Ignorant Bike Rides
>
> Lee Walton
> Making Changes
>
> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
> 4. playground
>
> The playground is our new discussion forum. Visit it now and introduce
> your work, request participation & find collaborators, ask questions,
> flaunt your expertise, develop complex theories...and much more!


DISCUSSION

A UC Berkeley geographer maps the secret military bases of the American West


http://www.sfbg.com/39/31/cover_spying_on_the_government.html
Spying on the government
A UC Berkeley geographer maps the secret military bases of the American
West