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 ...

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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 ...

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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.

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[-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.

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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]

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

Al Gore's Television revolution?


Has anyone read Al Gore's speech from the We Media Conference,
reproduced on Alternet?
http://www.alternet.org/mediaculture/26494/
i don't know about his romantic historicism of the great literate age
and the "founding fathers" (that term always makes me queasy), but i
have to say, i liked it much better when postmodernism was the
"radical" cultural gesture. you know you're in trouble when "reason"
and "rational thought" are radical ideas.

DISCUSSION

Fwd: Journal Archive & Slide Library


> (Mailing List Information, including unsubscription instructions,
> is located at the end of this message.)
>
>
> The Journal of Aesthetics and Protest Slide Archive & Library
>
> http://www.journalofaestheticsandprotest.org/projects/library/
> slidearchive.html
>
> -------------
> Contents
>
> 1. CONTRIBUTE to the archive
> 2. VISIT the archive
> 3. FAQ
> 4. Journal notes
>
> -------------
> 1. CONTRIBUTE to the archive
>
> Print out this PDF, fill it out and send it in along with five labeled
> slide or your video or posters (etc) and images.
> http://www.journalofaestheticsandprotest.org/projects/library/
> JOAaP\_SLform.pdf
> Mail to Journal of Aesthetics and Protest 3424 Council Street LA, CA
> 90004.
>
> Become a Dewey decimal in the worlds fastest growing
> schizo-save-the-world slide archive and library by mailing us
> documentation or ephemera relevant to your practice.
>
> All those who submit images to the archive will receive a certificate
> (suitable for framing) attesting to their presence within this sure to
> be cherished archive collection.
>
> The archive will grow to be an invaluable resource for researchers,
> government officials, curators and artists wanting to know about
> critically engaged culture.
>
> -------------
> 2. VISIT the archive
>
>
> VISIT
> The library is open for all to see. The library calls its home Machine
> Project which is located at
> 1200 N. Alvarado Street in the research triangle known as Echo Park,
> Los Angeles. Machine is open Saturdays and Sundays 1:00-5:00, or call
> the archives librarian at 213 386 4641 to schedule an appointment.
>
> -------------
> 3. FAQ
>
> FAQ
> -Who should contribute to the collection?
>
> The Journal of Aesthetics and Protest Slide Archive and Library is
> suitable for almost all people relate to the phrase Aesthetics and
> Protest.
>
> -Can you be more specific?
>
> We welcome images of both art and political activity in the following
> genres; tactical media, street protest, new media, hacks,
> interventions, direct action, radio piracy, relational aesthetics,
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> partying, race baiting, weird ecology, street graphics, provide a
> service, art in the expanded field, nvcd, queer art, inappropriate
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> tweaker fashion, anything hybrid, gardening, scripted revolution,
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>
> -What type of materials does the archive archive?
>
> We are interested in any media that represents your practice. We will
> accept up to 10 35mm slides, cds of images, dvds/vcr tapes (ntsc
> preferably) of produced work or documentation, posters and
> publications produced for projects and any other related ephemera.
>
> -Why is the Journal hosting this archive?
>
> By doing such things as printing a magazine and creating a slide
> library The Journal of Aesthetics and Protest hopes to influence
> pan-national culture. We are a resource for people investigating
> radical-off beat cultural production. Sharing is nice, capitalism
> isn't.
>
> -How do I join the collection?
>
> It's fun and easy. Download and print out this PDF. Fill it out and
> send it in along with five labeled slide images. Mail to Journal of
> Aesthetics and Protest 3424 Council Street LA, CA 90004.
>
> -------------
> 4. Journal notes
>
> Issue #4 is almost ready to be released in print and on-line. Order
> your advanced copy today. Get a sneak preview of all of the contents
> of issue #4 at
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DISCUSSION

Fwd: [BeallCenter] Biotech Art Workshop conducted by SymbioticA: October 10-14


Begin forwarded message:
>
> BIOART AND PUBLIC SPHERE:
> A WORKSHOP AND CONFERENCE SERIES AT THE UNIVERSITY OF CALIFORNIA
> IRVINE
>
> Conference: Monday October 17
> Biotech Art Workshop conducted by SymbioticA: October 10-14
>
> This initiative aims to bring together artists, biologists, and
> science studies scholars, to address a broad range of questions about
> science in the public sphere. The list of possible research domains to
> be investigated includes, but is not limited to, genomics, tissue
> engineering, genetic engineering and stem cell research.
>
>

DISCUSSION

DISCUSSION

Re: postmodernist romanticism


On Sep 20, 2005, at 5:12 PM, miklos@sympatico.ca wrote:
>
> Does this apply in quantum physics? If I hire a physicist, do I get
> the Nobel?

no, the physicists "hire" research assistants (usually students) who
probably get pizza as their consolation prize.
i think "creative" laborers of all kinds should unite in one global
union... "Hell no, we won't code!" But the art mafia will surely break
up any such effort. they're ruthless, and damn powerful. i heard
kostabi and koons have their own knee breaking squad (for light
offenses) - off duty coca cola thugs back from central america. there
are rumors of former artist assistants that have even "disappeared"
after trying to organize.
let's hear it for the repressed art coders, holding up the art world on
their invisible shoulders, saving us from artists who don't know Java
from javascript, only to suffer brutal oppression.