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

Re: snoop


that is pretty funny...
but i wish it would read mo' complex styles 'n shit.

On Jun 3, 2005, at 9:34 AM, jeremy wrote:

> http://www.asksnoop.com/
>
>
> funny funny.......
>
> give me lost of ideas!

DISCUSSION

Fwd: Latest CRCA newsletter


http://crca.ucsd.edu/news/index.html

Contents:
Winter/Spring 2005 CRCA Newsletter is now available.

cover story: A Global Perspective, an interview with Miller Puckette
What is Up: North-South mapping of Mental Health and Learning
Disability", an international research project with Argentina by
communications faculty, Brian Goldfarb
The MetaMap of the Californias, the recent project by CRCA's director,
Sheldon Brown
CRCA joins the MARCEL project
Visual arts professor, Lev Manovich, will participate in the 2nd
Beijing International New Media Exhibition and Symposium this summer.

DISCUSSION

Re: the Amazon forest


thanks for the
and much of those soy fields will be planted with Monsanto Round-Up
Ready

DISCUSSION

Re: the Amazon forest


someone just alerted me to this:

http://www.snopes.com/inboxer/petition/brazil.htm
Claim: The Brazilian Congress is about to vote on a bill that would
reduce the size of the Amazon rain forest by 50%.
Status: False.

I usually don't forward emails but there is only one Brazilian
rainforest.
Brazilian congress is now voting on a project that will reduce the
amazon forest to 50% of its size. The area to be deforested is 4 times
the size of Portugal and would be mainly used for agriculture and
pastures for live stock... All the wood is to be sold to international
markets in the form of wood chips, by multinational companies... The
truth is that the soil in the amazon forest is useless without the
forest itself. Its quality is very acidic and the region is prone to
constant floods. At this time more than 160.000 square kilometers
deforested with the same purpose, are abandoned and in the process of
becoming deserts.

We cannot let this happen. Copy the text into a new email, put your
complete name in the list below, and send to everyone you know. (Don't
just forward it cause then it will end up with rows of >>>'s )

If you are the 100th person to sign please send a copy to
fsaviolo@openlink.com.br

Thank you.

Origins: There is indeed "only one Brazilian rainforest"

DISCUSSION

Re: Critical condition (LA Times)


Jim and Marisa both make very thoughtful statements on the issues
brought up in this article in my eyes...
my questions about it, other than those raised by both of them, are why
a discourse around the "death of criticism" (or art, or net.art or
whatever) makes any sense to anyone. i mean, if Greenberg represented
the epitome of high criticism, that was only 50 years ago. how can that
even be given the status of a tradition that could expire?
i think it could be useful to look at all of this in terms of the
political and psychological economy in which it operates... not that i
have such an analysis. but it seems kind of convenient, and, as both
Jim and Marisa allude to, highly complicit in commodity fetishism. if
we look at the "rise" of blogs and the "decline" of print, it's easy to
miss the continuities that create stability, as well as the small
developments that create instability.
i know it's more dramatic to look at deaths and ends and beginnings and
such, but i think saying that critical discourse is dead because of
technological change seems absurd. was it ever "alive" in that sense?
i think Hickey's ego says it all:

For Hickey, art criticism lost its luster and excitement the same
timeart did. "There was a sense that things had a forward tilt," he
saysof American art after World War II, when it seemed to be moving
towarda consummation. "Jackson Pollock changed the way the world
looked,Andy Warhol changed the way the world looked."
But the high couldn't last forever, and the power went to the curators.
"I'm like Wolfman Jack," Hickey groans. "The times have passed me by."

how did JP or AW "change the way the world looked" exactly? how
convenient to label oneself a visionary of the past (aligned with
heroic notions of the male genius/rebel of course), that helped get us
where we are, while simultaneously shirking any responsibility for it.
Poor Dave.
as the Minutemen (the band, not the xenophobes on the border) sang:
"Maybe partying will help.