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

PREDICTIONS OF FIRE


Begin forwarded message:

> PREDICTIONS OF FIRE
> A Film About Art, Politics, and War
> ***with director Michael Benson in person!***
>
> when: 6 pm, Friday, November 9th
> where: room 3226, 400 So. Peoria Street (Art & Design Hall, UIC)
> mass transit: take the blue line to the UIC-Halsted stop, get off
> at front
> of train, turn left onto Peoria street.
> screening is Free and open to the public.
>
> SYNOPSIS:
> Until 1991 the Western republic of Socialist Yugoslavia, Slovenia's
> violent secession struck the first spark in the Balkan war which
> defined
> the first chapter of the post-cold war era. Using an inventive
> combination
> of reportage, dramatization, archival footage, animation and
> miniatures,
> Predictions of Fire is a revealing study of the controversial and
> internationally acclaimed Slovenian arts collective NSK, as seen
> through
> the lens of 20th century Central European history. Shot in Ljubljana,
> Moscow, New York, Belgrade, and Athens, this visually arresting film
> offers a portrait of a culture suspended between East and West. By
> documenting NSK, Predictions of Fire holds a mirror up to Europe
> and the
> world, analyzing the way nations are brought into conformity with
> ideology.
> The film won the Canadian Film Board's Best Documentary award at
> the 1996
> Vancouver International Film Festival. The jury issued a statement:
> "Predictions of Fire is intellectual dynamite. It explodes the
> icons and
> myths of communism and capitalism. Out of the shattered history of
> Slovenia, this film constructs a new way of looking at art,
> politics, and
> religion."
>
> In the early 80's, an industrial rock band named Laibach emerged
> out of
> the tiny Yugoslav republic of Slovenia. Incorporating what many
> took to be
> fascist imagery in their performances, they shocked this tiny Balkan
> republic and, after signing a recording contract with London's
> prestigious
> Mute Records label, went on to shock the rest of the world as well.
> Laibach was soon joined by a painting group, Irwin, and theater
> group, Red
> Pilot, at the helm of one of the most ambitious and cutting-edge arts
> collectives in the world. Modeled after a socialist state
> bureaucracy, and
> calling themselves Neue Slowenische Kunst (New Slovenian Arts, or
> NSK),
> these three groups became the titular heads of a micro-state within
> the
> independent republic of Slovenia. NSK recently began issuing its own
> passports and opened embassies and consulates in Moscow, Berlin,
> Ghent,
> Florence, and in the US.
>
> Although Predictions of Fire documents the NSK collective, positioning
> their work within the history of ex-Yugoslavia, the film emerges as
> much
> more than an arts documentary. Predictions of Fire offers surprising
> insight into the Yugoslav conflict and the ongoing trauma
> experienced by
> generations of Eastern Europeans raised in totalitarian regimes.
> Variety
> wrote that the film "uses a postmodern, quasi-Godardian sensibility to
> show how politics invades every facet of artistic creation and how
> integral ideology is to the understanding of the structure and
> signification of images... An extremely rich tapestry of historical
> events
> and their mythic implications in both art and politics unfolds
> onscreen."
>
> Review blurbs:
>
> "Riveting... fascinating... intriguing... An extremely rich
> tapestry of
> historical events and their mythic implications unfolds onscreen...
> With
> it's rich visual imagery,

DISCUSSION

CAE Fundraiser Tickets Now on Sale


Begin forwarded message:
>
> PLEASE DISTRIBUTE WIDELY
>
> Tickets for the Critical Art Ensemble fundraiser are now on sale!
> Please visit
> http://www.aspacegallery.org/events.html
> for more information and to purchase tickets.
>
> On November 23, 2007, A Space Gallery hosts a gala art auction for
> Steven Kurtz, founder of internationally acclaimed art group Critical
> Art Ensemble. Award-winning author Naomi Klein will speak from her
> bestselling new book "The Shock Doctrine: The Rise Of Disaster
> Capitalism." An auction of artwork follows, including works by:
>
> John Abrams
> Ed Burtynsky
> John Greyson
> Freda
> Guttman
> Johanna Householder
> Istvan Kantor
> Janet Jones
> Micah Lexier
> Rafael Lorenzo-Hemmer
> Ken Lum
> Kent Monkman
> Nancy Nicol
> Ed Pien
> Jin-me Yoon
> ... and many more.
>
> We look forward to seeing you there!
>
>
> Warmly,
>
> Toronto CAE fundraising committee.

DISCUSSION

Events Nov 9-11 - Just Space(s), Los Angeles


Begin forwarded message:
>
> Friday, November 9, 12:00-1:30pm @ LACE
>
> Parking Public: A Walking Tour of Utopianism and Parking in Hollywood
> with Ryan Griffis and Claude Willey
>
> ============
>
> Saturday, November 10, 2:00-4:00pm @ LACE
>
> Symposia Session #3: Economic Justice and the Right to the City
>
> Participants: Ben Beach, Steve Rasmussen Cancian, Robert Garcia, Gilda
> Haas, John Malpede, Mark Purcell
>
> ============
>
> Sunday, November 11, 2:00-4:00pm @ Echo Park
>
> In the Spirit of Dedication and the Right to Roam: A Sunday picnic and
> public meditation on Access to Land
>
> Sarah Lewison and Erin McGonigle invite you to join us at Echo Park
> Lake near the statue of the Lady-of-the-Lake on Sunday, November 11
> for a picnic and reading on land that is dedicated to the public.
>
> +++++++++++++
> ++DETAILS++
> +++++++++++++
>
> Friday, November 9, 12:00-1:30pm @ LACE
>
> Parking Public: A Walking Tour of Utopianism and Parking in Hollywood
>
> Parking Public is an investigation into the realities of utopian
> thought as materialized in the seemingly mundane and pragmatic spaces
> of parking lots. Parking lots, one of the most visible, yet
> overlooked, artifacts of American mobility reveal the concrete space
> required to store the utopian ideals of automobility. Parking Public
> is a mapping of these literally concrete spaces in an attempt to
> locate the interests they serve.
>
> This tour of parking and utopias in and around historic Hollywood will
> be guided by Ryan Griffis of the Temporary Travel Office and Southern
> California artist/scholar Claude Willey. Parking lots will serve as
> the backdrop for discussions about the past, present and future of
> mobility, urban planning and spatial politics.
>
> All are welcome to join us on this free 1.5 hour tour that begins at
> LACE at 12 noon.
>
> ++++++++++++
> ++++++++++++
>
> Saturday, November 10, 2:00-4:00pm
>
> Symposia Session #3: Economic Justice and the Right to the City
>
> Participants: Ben Beach (Legal Aid Foundation LA), Steve Rasmussen
> Cancian (Living Room Project), Robert Garcia (The City Project), Gilda
> Haas (Strategic Actions for A Just Economy), John Malpede (LA Poverty
> Department), Mark Purcell (University of Washington)
>
> These sessions bring together artists, activists, and scholars whose
> work addresses overlapping issues. Each of the panelists brings a
> unique set of experiences and ways of working to bare on the broader
> goals of these sessions: to explore how spatial (in)justices is
> produced (and reproduced), how these injustices are made visible to
> diverse publics, and how (and where) the production and reproduction
> just spaces and societies begins.
>
> http://info.equaljusticeworks.org/fellowships/profiles/
> fellowprofile.asp?fguid=7220079677
> http://www.designerbuildermagazine.com/designerbuilder_sidewalk.html
> http://www.cityprojectca.org/about/bio-rgarcia.html
> http://www.spa.ucla.edu/dept.cfm?d=up&s=faculty&f=faculty1.cfm&id=342
> http://lapovertydept.org/index.php?
> option=com_content&task=view&id=12&Itemid=26
> http://faculty.washington.edu/mpurcell/
>
> ++++++++++++
> ++++++++++++
>
> Sunday, November 11, 2:00

DISCUSSION

Re-launch of Rhizome.org


So far, so good!

On Oct 26, 2007, at 5:10 AM, nathaniel stern wrote:

> The new site looks great - congratulations.

DISCUSSION

Fwd: [artivistic07] [ UN.OCCUPIED SPACES ] 25 to 27 October


Begin forwarded message:

> ARTIVISTIC 2007
> [ UN.OCCUPIED SPACES ]
> 25 to 27 October 2007 :: Montreal
> http://www.artivistic.org
>
>
> Artivistic is an international transdisciplinary three-day
> gathering on the interPlay between art, information and activism.
> Artivistic emerges out of the proposition that not only artists
> talk about art, academics about theory, and activists about
> activism. Founded in 2004, the event aims to promote
> transdisciplinary and intercultural dialogue on activist art beyond
> critique, to create and facilitate a human network of diverse
> peoples, and to inspire, proliferate, activate.
>
> For the third edition of Artivistic, the expression [ un.occupied
> spaces ] was chosen to stimulate new ideas in response to the
> hidden confusions caused by the infinite networks of 21C
> globalization and neo-liberalism. [ un.occupied spaces ] dares to
> link the charged issues of environmentalism, indigenous and migrant
> struggles, and urban practices together through the angle of
> occupation. In an interconnected world, critical thought and action
> cannot but become flexible and uncompromising at once. To think
> with occupation consequently becomes a strategy for approaching
> these issues in a way that will reveal their interdependence, and
> fuel creative and tactical collaborative actions between "co-
> artists" (artists and non-artists). Built around three interrelated
> questions, the event consists of roundtables, workshops,
> interventions, exhibitions, performances, and screenings at our
> temporary headquarters at 5455 av. de Gaspe, #701, and in different
> venues and spaces of Montreal.
>
>
> < what is indigenous? >
> The very use of the term "indigenous" presupposes a claim to the
> existence of certain rights. The right to traditional uses of
> territory. The right to live on the land from which one has been
> displaced. The right to status. The right to self-determination.
> The right to a life with dignity. In what context does indigenous
> mean something and how is it represented today? What is the
> relationship between identity based on place, the land and/or
> territories and the right to resources? What is indigenous in the
> context of globalisation, migrations and mobility?
>
> < what is natural (space) ? >
> The environment is in a pretty bad shape. Yet, does not typical
> environmentalism often propose "solutions" which alienate the very
> people that could make a difference by using a false dichotomy
> (natural/artificial, nature/culture) and by perpetuating the myth
> of a pristine nature? Current strategies often make use of fear and
> guilt to provoke action, yet will we not be helping our environment
> in a more efficient way once we let go of our arrogance as humans
> and start living with and in the world rather than of, and
> alienated from, the world?
>
> < what is (there) to occupy? >
> The term "occupation" often inspires images of invasion, enclosure
> and rape. How are spaces and bodies ruled over? What is public
> space, ultimately? Why do reserves exist? To ask what is occupation
> is in fact to ask what is left to occupy for occupation is more
> pervasive than it first appears. At the same time, occupation
> echoes resistance when it comes to certain forms of appropriation.
> How does one occupy appropriation or how can one appropriate
> occupation?
>
>
> The Autonomous Conference >> Artivistic also includes an open-
> source component. Participants will be able to sign up on the day-
> of to hold an ad-hoc session that is not in the official program
> but is fully part of the event. You can prepare in advance, but you
> don't need to submit anything.
>
>
>
> Our events are free admission, with a suggested donation of $10 for
> waged participants.
>
> Please register to secure a place: participation.artivistic@gmail.com
>
> For updates / more information: http://www.artivistic.org /
> info.artivistic@gmail.com