ryan griffis
Since 2002
Works in United States of America

PORTFOLIO (4)
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 (7) Events (16) Jobs (0)
DISCUSSION

contextin' art, um, business


When we say that the arts mean business, that's not
just a slogan; it's the truth."

New Report Finds Arts Industry Generates $134 Billion
in Economic Activity Annually

According to a report released by Americans for the
Arts, a nonprofit arts research organization
headquartered in Washington, D.C., the nation's
nonprofit arts industry produces $134 billion in
economic activity annually.

The report, Arts & Economic Prosperity: The Economic
Impact of Nonprofit Arts Organizations and Their
Audiences (16 pages, PDF), found that arts groups
generate 4.85 million full-time jobs and $80.8 billion
in event-related spending, along with tax revenues
totaling $6.6 billion for local governments, $7.3
billion for state governments, and $10.5 billion for
the federal government. In addition, the report, which
was based on surveys of 3,000 nonprofit arts
organizations and 40,000 attendees at arts events in
91 cities and 33 states and the District of Columbia,
shows a 45 percent increase in spending by arts groups
since 1992, when Americans for the Arts conducted its
last survey on the subject.

"When communities invest in the arts, there is a
tendency to think that they are opting for cultural
benefits at the expense of economic benefits," said
Robert Lynch, president and CEO of Americans for the
Arts. "This study demonstrates that the arts are an
industry that generates extraordinary economic
activity, jobs, and tax revenues. When we say that the
arts mean business, that's not just a slogan; it's the
truth."

Ross, Katherine. 'Nonprofit Arts Groups Make Money.

DISCUSSION

"Now that I'm Here" immigration survey


Survey by Public Agenda
http://www.publicagenda.org/specials/immigration/immigration.htm

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DISCUSSION

Winter03 Ford Foundation Report/ New Media


In much of the world, computers and video cameras are
becoming as ubiquitous as television sets; meanwhile,
broadcasters are exploring the considerable potential
for digital transmission of audio and video
programming via satellites and fiber optic cable. Stir
these trends together, and the implications are
powerful for democracy and freedom. Articles in the
winter 2003 issue of FFR examine the
possibilities--and perils--of a future dominated by
advancing information technology.
http://www.fordfound.org/publications/ff_report/index.cfm?report_year 03&issue=Winter

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DISCUSSION

(contextual) reviw of xurban's Knit++


A short collection of thoughts collected with the help
of xurban collective's \_Knit++\_
http://turbulence.org/Works/Knit\%2B\%2B/index.htm

The textile industry is where capitalism began; it was
the industry the brought the industrial revolution
from England to America - and it is the means by which
capitalism is gradually conquering such places as
Pakistan, to the eternal regrets of Luddites like Bin
Laden.
Lewis, Mark, \_From Lowell to Islamabad, Via
Greensboro\_ forbes.com

Equipped with networks and arguments, backed up by
decades of research, a hybrid movement - wrongly
labeled by the mainstream media as
\_anti-globalisation\_ - gained momentum. One of the
particular features of this movement lies in its
apparent inability and unwillingness to answer the
question that is typical of any kind of movement on
the rise or any generation on the move: what's to be
done?
Lovink and Schneider, \_A Virtual World is Possible\_
(posted to n5m4.org)

After recently connecting to the xurban collective's
online portion of \_Knit++\_ a few relationships between
\_global\_ social/protest movements and the rise of
networked art and culture presented themselves as
interesting for discussion. Or at least i imagined
these connections within the context of other projects
and discussions on \_New Media\_ , tactical media, US
aggression, and cyberfeminist practice. Not that any
of this would be new, or form a consolidated theory,
but - maybe suffering from the inability to answer
\_the question\_ as Lovink and Schneider argue of new
social movements - the asking of questions can be as
serious a project as answering them, even if those
questions may seem redundant.

\_Knit++\_ presents an interface that allows visitors to
navigate through narrative, pictorial, and animated
information that, when seen in the context of the
project, makes connections between textiles, computer
and social networks, and institutional power. While
the composition of the interface is fairly familiar,
with a screen-like field for changing information
above a control panel of sorts, the conceptual links
created are not. The control panel symbolically
replicates the groups proposition of \_entanglement as
opposed to intertwining\_ (artists' statement), which
is what occurs conceptually when one moves through the
project's space. Various projects incorporating
sewing, issues of women's work, and global locality
can be moved through by selecting from the tangled map
of virtual locations in the control panel.

Drawing connections between textile production and the
WWW, especially in terms of work, has been explored in
other projects, most recently Helen Whitehead's \_Web,
Warp, and Weft\_ (
http://trace.ntu.ac.uk/www/webwarpweft/ ). As has the
Neo/Luddite connection, though perhaps, not always
adequately. The original textile worker Luddites of
19th Century England fought to destroy the machines
that were replacing them, not just out of fear of the
machines, but because they knew (at this early stage
of industrialism) that the machinery was the evolving
capital class's method for dealing with the problem of
labor. Looking at the questions and attempts at
solutions raised by \_Knit++\_ through the historical
and contemporary rhetoric that forms the narratives of
the Neo/Luddite movement can be useful and interesting
for those interested/involved in continuing social
movements and networked communication.
(see also Slacker Luddites from Electronic Civil
Disobedience by Critical Art Ensemble
http://www.critical-art.net for another reading of the
significance of Luddism)

The work of the xurban collective takes, what many
would call an oppositional position toward the global
expansion of capital and state sponsored culture:
\_Civil society should be constructed outside the
State and the Capitalist sponsors network. Non-profit
organizations are traps.\_

Statements like this would place xurbanites into a new
catagory of Luddite for many technocrats and
economists that represent libertarian interests like
Forbes or other, authoritarian yearnings (
http://www.pantos.org/atw/perspectives/0301.html ).
Many such technocratic pundits find it ironic that
groups of people (like the Carbon Defense League
http://www.hactivist.com ) are using high tech to
fight so-called \_progress\_. But there is also irony in
the rhetorical use of \_Luddite\_ to describe someone
like Bin Laden, someone who has profited from
modernization and construction and whose terrorist
organization isn't exactly an international labor
movement. Of course, I feel ridiculous even having Al
Queda and arts/activist groups like the CDL and xurban
in the same paragraph, for obvious reasons, but, after
looking at US Congressional hearings on \_cyber
protests\_ and DDoS attacks, I'm not sure the
authorities would feel the same (
http://www.usdoj.gov/criminal/cybercrime/dag0229.htm
). Terrorism and attempts to form networks that
operate in opposition to undemocratic institutions are
apparently the same, and it doesn't matter if the
virus is of the biological or computer variety. The
line between email from Electronic Disturbance Theater
participants and envelope bombs from the Unabomber is
a fine one according to the US Congress and its
business leaders, who seem to want to draft another
Frame Breaking Act-like law governing digital
information (where the DMCA doesn't).

But all this throwing around of loaded historical
terms like \_Luddite\_ seems to fit nicely into the, by
now well-worn, discourse of \_the Other\_, allowing us
to easily create shells of identity based on
irrational fear and aggressive desire. While most
discussion of \_the Other\_ (academic or not) has
focused on gender, ethnicity, and race, the model is
equally useful when looking at contemporary incidents
that have a history in the ongoing treatment of labor
in the West in general.

But this nice fit is not so comfortable. As modern
Western/Northern capital is more globally expansive
than ever, the models for personal and labor relations
seem to be homogenizing, so \_the Other\_ is adapting to
the needs of capital. Race and ethnicity become
problematic as locations of fear and anxiety in a
global economy ruled by capital, but class - and many
argue gender

DISCUSSION

Re: Valery Grancher Jerusalem please forward


Hi Robert, thanks for writing,

> Q: why does there seem to be such a lack of
networked art that continues the strategy of
institutional critique when there's so much overtly
political work being done?

> A: because you can only raise consciousness about
the facticity of consciousness so much (as in 'it