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: Commission Voting: Finalist Ranking


Me three. Thanks RHZ folks.
ryan

On May 6, 2006, at 11:56 AM, Rob Myers wrote:

> On 6 May 2006, at 14:15, Jim Andrews wrote:
>
>> Well, I didn't make the finalists list, but I gotta say I think the
>> rhizome.org project of getting funding to commission work and then
>> building
>> good software to support a member voting process on proposals is
>> really
>> great.
>
> Ditto, and I agree. Thank you to everyone at Rhizome who has worked
> on this.
>
> Good luck to the finalists.
>
> - Rob.

DISCUSSION

Fwd: LA Urban Rangers launch U.S. Interstate Tour this Saturday


Begin forwarded message:
>
> LA Urban Rangers launch U.S. Interstate Tour at High Desert Test Sites

DISCUSSION

Re: online game performance art


the obvious ones that come to mind are VelvetStrike
http://www.opensorcery.net/velvet-strike/
and the other examples of DeLappe's game works
http://www.unr.edu/art/DELAPPE/DeLappe%20Main%20Page/
Delappe%20PORT%20content.html
...

On May 1, 2006, at 2:43 PM, Sal Randolph wrote:

>
> Here's a nice example of political protest/art action within the us
> army recruiting game:
> http://www.turbulence.org/blog/archives/002377.html
>
> (via networked performance and we-make-money-not-art)
>
> I'm interested in this category of work in general: art actions or
> performances that take place within game space -- does anyone else
> know of good or interesting examples of what people are doing? Marisa
> once mentioned some people performing hamlet within a game - anyone
> have the specifics?
>
> S

DISCUSSION

Fwd: Video of Mayday for Migrant Rights


Begin forwarded message:

> Video of Mayday for Migrant Rights
>
> The following is a list of links and instructions for people who plan
> to
> shoot video during the May 1st mobilizations, boycott, and general
> strike for migrant rights, and want to share their footage widely with
> others.
>
> Step 1. Upload your May 1st videos, to a site that will host them for
> free, forever. For example:
>
> - - Indymedia Video: https://video.indymedia.org/
> - - Archive.org: http://www.archive.org/create/
> - - Our Media: http://ourmedia.org/
> - - Your local Independent Media Center
>
>
> Step 2. Make it easy for others to find your video by tagging it
> 'noborders.' For example:
>
> - - Videobomb: http://www.videobomb.com/tags/show/noborders
> To add your video to the videobomb noborders channel, go to
> http://videobomb.com. Create an account, then click 'Submit a Video,'
> and be sure to tag it with the term 'noborders'
>
> - - Mediarights.org
> Post info about your video to the Media Rights open channel on
> immigrant
> rights: http://www.mediarights.org/may1 - or the link directly to the
> publishing form is here: http://www2.mediarights.org/bm/publish.php
>
> - - del.icio.us
> After you upload your video, use http://del.icio.us to tag it
> 'noborders.' If you don't have a del.icio.us account and you don't want
> to make one, just login as 'noborders' with password 'sinfronteras.'

DISCUSSION

Re: Commissions


>> i'm not saying that a description should replace the work, but for
>> God's sake, it's not that complicated. and a lot of the ab ex
>> painters did talk about their work in ways that obviously resonated
>> with the critical canon of the time. hell, they became the canon for
>> 30+ years. but they didn't need grant funding, they had Castelli,
>
> And the CIA.

no doubt... they didn't have any bad feelings for pop art either.
>
>> etc. if you want to make work that functions in the "market" (i.e.
>> "attention economy") well, you shouldn't need grants for that. Your
>> work is either "successful" or it's not, based on its sheer ability
>> to grab people, or not.
>
> The art "market", like the main "market", is curiously reliant on
> breaks from
> government. If you look at a commercial gallery like the Lisson you'll
> see how
> much the state has spent over the years on promoting its artists.

good point... but funding is also being used to keep many artists (and
businesses i'm sure) "quiet." i just read a short article by Guillermo
Gomez Pena in "In These Times" and the Drama Review, and he talks about
the stark decrease in funding and the increase in problems getting
visas for artists from other countries and "lost" luggage containing
performance props. not to mention the not so subtle "interrogations" of
arts administrators worried about their funding...
ryan