ryan griffis
Since 2002
Works in United States of America

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 ...


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 ...


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.


[-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.


state of the planet infographics

a small collection of beautiful information graphics documenting the current state of the planet.
see also gapminder & 3d data globe.


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

Re: from a b-grade (indy?) net artist

On Aug 11, 2006, at 8:56 AM, Jason Nelson wrote:
> BUT....that is the trick isnt it. We arent complaining about Mark's
> choices, we are complaining about the hierarchy, the ordering of
> things, the choice of which works are deserving and which arent.
> And we complain because of why most of us started in this net/new
> media art world in the first place. We hated the ordering, every
> webpage was as close as the next, and we felt free to create
> however and whatever the hell we wanted. Sadly.....unless one
> divorces themselves
> from the arena, the process, the institution of new media art, that
> ordering, that hierarchy, that power structure will continue.

Somewhat agree Jason... but i think the point Rob makes (quite well,
IMHO) in relation to this is that we should consider every instance
of reproduction of that hierarchy. A book does represent certain
choices that are polemic in their positioning of ideas and histories.
Sure, those choices may make sense within the larger political
economy in which they function, but they are choices that could be
different, nonetheless.
That's why any of this stuff has what meaning it does. The exclusions/
inclusions place the info into a narrative. And the meanings/
implications of that narrative are something to contest.


Fwd: SUNDOWN SCHOOLHOUSE (please forward to interested parties)

> Announcing Sundown Schoolhouse
> Since 2001 Sundown Salon has been staging a diverse series of communal
> events, happenings, gatherings, meetings, pageants, performances,
> shows,
> stunts & spectacles. They have been based at the Sundown house and
> gardens
> in the Glassell Park area of Los Angeles. As the first series of
> Sundown
> Salon events concludes in the fall, its experimental energy, social
> engagement, diverse community, counter cultural tendencies, playfully
> serious nature, cross disciplinary and collective spirit will be
> the seeds
> of the new Sundown Schoolhouse.
> Sundown Schoolhouse opens Autumn 2006 and is now accepting
> applications. It
> will be a geodesic home based educational environment with an activist
> mission. In the classic model of the schoolhouse, students of many
> ages {18
> to 80+} come together to study a diversity of disciplines. It is a
> school
> for gently radical design, literary, performing & visual arts. We will
> foster models for active {and activist} creative practices that
> engage with
> the messy realities of the world around us, from our relationships
> with the
> diverse peoples in our city to the eroding natural and urban
> environments we
> inhabit.
> Convening 8am-8pm Every Tuesday from Sept. 19th - Dec. 5th, 2006
> Start with yoga and dance in the a.m. and end with an open happy hour.
> Base fee: $2400 {or if accepted, tell us what you can afford}
> Applications: on a rolling basis until the maximum of 15 is accepted.
> MARK ALLEN {Machine Project} ~ {Pomona College faculty}
> LISA ANNE AUERBACH {American Homebody ~ Steal This Sweater}
> AMY FRANCESCINI {Futurefarmers ~ Free Soil}
> AARON GACH {Center for Tactical Magic}
> MALIK GAINES {My Barbarian}
> FRITZ HAEG {Sundown Salon ~ Gardenlab}
> MARC HERBST {Journal For Aesthetics and Protest}
> ROBBY HERBST {Journal For Aesthetics and Protest}
> MARIA LEPOWSKY {anthropologist}
> CAROL MCDOWELL {movement artist}
> EILEEN MYLES {writer}
> NILS NORMAN {The Exploding School ~ Dismal Garden}
> YOSHUA OKON {La Panaderia}
> EMILY ROYSDON {LTTR - Lesbians To The Rescue}
> EMILY SCOTT {Los Angeles Urban Rangers}
> HANA VAN DER KOLK {choreographer/movement teacher}
> MARGARET WERTHEIM {The Institute for Figuring}
> FLORA WIEGMANN {dancer ~ Champion Fine Art}
> CAUDE WILLEY {Moisture}
> ANDREA ZITTEL {A to Z ~ High Desert Test Site
> http://www.myspace.com/sundownsalon



Re: dot.com implosion killed net art?

> IMHO, mail art is more-or-less irrelevant. I don't want that to happen
> to net art.

i guess such a concept depends on the understanding of both "mail
art" and "irrelevant" though... personally, i always had a hard time
thinking about "mail art" as defined by the medium, and the same is
true for me when thinking about "net art."
Thinking about both within a larger process that could be called
"networked" (ala Saper) makes more sense to me. Interesting "mail
art" IMHO is not reducible to the medium, although it's not separable
from it either.
in my amateur opinion, the expansion of net art reflects a
recognition of "net" as short for "network" not "Internet." Don't get
me wrong, there's lots of formal and conceptual specificity to the
Internet (and down into its widely used components of the web, email,
IRC, etc) that HAS to be considered and can't be overlooked, at least
not in a formal, political and historical context. But i would also
propose that the Internet occurs within an even larger context, so
does the art happening because of it - as twhid's account of the dot
com boom/bust anecdotally assumes.
Of course, there is a lot to be critical of here, especially as it
relates to the conditions/demands of the "market" and notions of
The most interesting/relevant net art work for me, is that which
situates the specificity of network technology within the systems
that give it value (whether that's idiosyncratic, Political,
tactical, sexual, whatever).
So i can't see claiming that "mail art" is irrelevant... in some ways
that project by Mandiberg that won a RHZ commission brings together
"mail art"
and "net art" by engaging the ecological politics of the virtual
economy. In an updated anthology of mail art, i would include that
project, even though it doesn't USE mail, it is dependent on it.
no one asked what i thought, but there it is anyway :)