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 ...

READ ON »


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 ...

READ ON »


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.

READ ON »


[-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.

READ ON »


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]

READ ON »



Discussions (909) Opportunities (7) Events (16) Jobs (0)
DISCUSSION

Fwd: Panel Discussion at G727 Thursday June 21st for LA Botanical project by Joyce Campbell


Begin forwarded message:

> Joyce Campbell's LA Botanical project will be on exhibition until
> July 14th.
>
> Please join us for a panel discussion with
>
>
> James Rojas, Moderator for the evening
> Joyce Campbell, Artist
> Mia Lehrer, Landscape Architect working on the Los Angeles River
> Project
> Rufina Juarez, South Central Farmers Representative
> Jay Babcock, Editor of Arthur Magazine
> Daisy Tonantzin, Project Coordinator Projecto Jardin
>
> On Thursday, June 21st at 7.00 pm.
>
>
>
>
> G727 would like to share with you this Los Angeles Times review
> from June 1,
> written by Leah Ollman.
>
>
> Unlikely Survivors in the Mean City
>
> By Leah Ollman, Special to The Times
>
> The ambrotype, a photographic process invented in the 1850s, took
> its name
> from the Greek for "immortal" or "imperishable." An underdeveloped
> positive
> on coated glass, the ambrotype image assumed full visibility when
> backed by
> a dark surface. Cheaper to produce and easier to view than the
> daguerreotype, it supplanted the earlier method in popularity,
> especially
> for making portraits. Ambrotypes were widely made in the camps of
> Civil War
> soldiers and sent home as mementos.
>
> "LA Botanical," Joyce Campbell's elegant, deeply thoughtful project
> at G727,
> shares something fundamental with those Civil War portraits, which
> long
> outlasted their subjects. Campbell's images are also made using the
> ambrotype process, and they directly engage with concepts of
> survival and
> living memory.
>
> The 39 pictures in the artist's ongoing project represent plant
> species that
> grow in the city today, in spite of the myriad forces (development,
> climatic
> change, general disregard) that threaten their endurance.
>
> Each species that Campbell shoots has a documented use: as food,
> poison or
> pleasure inducer, for medicinal or cosmetic purposes. The names of the
> plants and their functions are detailed in a small, graceful catalog
> accompanying the show; but in the gallery installation the images
> appear
> without any identification or verbal support. Humble icons, they
> stand for
> themselves with great dignity, a row of thin, clear glass plates
> propped,
> viewing room style, on a shelf that runs chest-high along the
> gallery walls.
> The shelf and the space directly behind it are painted black to
> maximize the
> pictures' legibility.
>
> Campbell, originally from New Zealand and now living in L.A.,
> shoots each
> specimen close-up, in isolation: sprigs of sage (anti-fungal and a
> stimulant
> to hair growth), sprays of pine (solvent and treatment for lice and
> tapeworm), stalks of barley (nutritious, cholesterol-lowering
> grain), stems
> of devil's weed (hallucinogenic, an antidote to nerve gas and cure for
> bed-wetting). Milky, silvery tones give way to shadowed areas that
> recede
> into darkness and lend the plants a sculptural presence.
>
> The ambrotype process yields a high level of clarity, but Campbell
> invites
> blur in places, sacrificing detail for a stronger sense of the
> animate. This
> is taxonomy practiced with soul

DISCUSSION

Fwd: CLUI exhibit - Pavement Paradise: American Parking Space


Begin forwarded message:
Now on display -

Pavement Paradise:
American Parking Space

An exhibit about the liminal, substanceless, and static space of
automotive transience.

In the Los Angeles exhibit space beginning June 1, 2007
http://clui.org/clui_4_1/ondisplay/parking/

----
This exhibit is made possible in part by The Department of Cultural
Affairs, City of Los Angeles

and the CLUI Transportation Program.

----

The CLUI Los Angeles Exhibit Hall is open noon to five PM,
Fridays, Saturdays, and Sundays, or by appointment.
Admission is free.

Directions: http://www.clui.org/clui_4_1/contact/contact.html

----

The Center for Land Use Interpretation
9331 Venice Blvd.
Culver City, CA 90232
310.839.5722 office
310.839.6678 fax
support (at) clui (dot) org
www.clui.org

DISCUSSION

Fwd:\_Info:\_New\_installation\_'Fly\_Democracy


Begin forwarded message:
>
> (for German please scroll down)
>
>
>
> FLY DEMOCRACY
>
> An installation by Oliver Ressler
>
> Although the real stakes behind the attacks on Iraq and Afghanistan
> had
> to do primarily with geo-strategic interests and control of the oil
> deposits, the preferred official line to legitimize the wars in the
> eyes
> of the public spoke of their being waged to bring 'democracy

DISCUSSION

Fwd: The Journal of Aesthetics and Protest at Southern Exposure, 5/18-5/19


Begin forwarded message:

MOVE! ACTIVATE! REMEMBER!
A Weekend of Projects, Publications and Performances by the Journal
of Aesthetics and Protest
Friday, May 18 - Saturday May 19, 2007
Locations: Southern Exposure and locations throughout the neighborhood
Join the Los Angeles based Journal of Aesthetics and Protest for a
weekend of activity, dialogue and production at Southern Exposure.
The Journal's aim is to activate culture with smart, anti-
authoritarian discussions, publications, and events to help build
good things and stop bad things in the world. Founded in 2001, the
Journal is co-edited by Cara Baldwin, Marc Herbst, Robby Herbst, and
Christina Ulke.www.journalofaestheticsandprotest.org <http://
www.journalofaestheticsandprotest.org/>
To participate or sign up for any of these activities call
415-863-2141 or emailprograms@soex.org <mailto:programs@soex.org> .
All activities and events take place at Southern Exposure unless
otherwise noted.
FRIDAY, May 18, 2007
*7:00 pm -
Readings
Presenting the Journal of Aesthetics and Protest, Issue #5 and
Failure! Experiments in Aesthetic and Social Practices. Readings from
the Journal's new book of essays, interviews and artwork that
together offer a minor history of failure and the newest Journal, an
issue dedicated to the speech, conversation and discourse that
creates meaning and facilitates movements.

SATURDAY, May 19, 2007
*11:00 am - 1:00 pm
Instant Publication Workshop
Move! People Activate Positions: A magazine writing workshop,
interactive dance and body movement seminar. Working interactively as
a group to create situations within the workshop that highlight
conflict and othering with a possible outcome of publishing a
magazine. The magazine may be a xerox, may be a poster, and may be a
street event.
To participate call 415-863-2141, email programs@soex.org
<mailto:programs@soex.org> , or come to SoEx.

*2:00 - 4:00 pm
Fragments from a strike: Reconstituting the SFSU Walkout a
Participatory Re-Speaking Workshop
In November 1968, SFSU's Black Student Union and Third World
Liberation Front led students and faculty in a walkout that closed
down classes for five months and resulted in the establishment of the
School of Ethnic Studies.

Artist-activist collective BLW invites you to re-constitute with us
recorded moments from the strike. Working with rescued archives of
newsreel footage, we will re-speak recorded student, faculty, and
community member statements, considering the relationship between
politics and education that this history brings to bear on today.
To participate call 415-863-2141, email programs@soex.org
<mailto:programs@soex.org> , or come to SoEx.

*3:30 - 4:30 pm
Anna Halprin Automobile Event and Blank Placard Dance Reenactments
LOCATION: Meet at SoEx, performed outdoors in Mission District
We invite you to join us in performing these simple powerful pieces
in the streets of San Francisco. These collective movements derive
from San Francisco's own avant-garde history. The San Francisco
Dancer's Workshop and Anna Halprin originally performed versions of
these two choreographies in 1968 and 1970.
About the choreography:
-AUTOMOBILE EVENT involves moving purposefully over a row of cars
parked on the street.
-BLANK PLACARD DANCE is a simple choreography where the dancers move
in a line carrying blank white protest placards.
Dancers are encouraged to wear a monochromatic outfit (originally
this peice was performed in all white).
To participate call 415-863-2141, email programs@soex.org
<mailto:programs@soex.org> , or come to SoEx.

*4:00 pm
Video Screening
Mark Tribe- Port Huron Project 1: Until the Last Gun is Silent-
The Port Huron Project is a series of reenactments of protest
speeches from the 1960s and '70s. Each event takes place at the site
of the original speech, and is delivered by an actor to an audience
of invited guests and passers-by. The first event in the series, Port
Huron Project 1: Until the Last Gun is Silent, took place in Central
Park, New York City on Saturday, September 16, 2006. This event
reenacted a speech given by Coretta Scott King at a peace march in
Central Park on April 27, 1968. The speech, which was based on notes
found in the late Dr. Martin Luther King Jr.'s pockets, addresses the
war in Vietnam, poverty, and the power of women. We will be screening
this video in the SoEx space on Mission.

*4:45 - 5:05 pm
Performative Readings
Art Workers' Coalition (revisited)
In response to the spirit of Move! Activate! Remember! & inspired by
artist and Issue 5 contributor Kirsten Forkert's open call for
participation in historic speech and conversation about it's meaning
over time, Christina Ulke and Cara Baldwin of the Journal of
Aesthetics & Protest invite visitors to SOEX to actively participate
in a public speech re-enactment in front of Southern Exposure at 2901
Mission Street ( at 25th Street). Participants in this performance
are invited to select and read aloud in public space texts from the
Art Workers' Coalition, reflecting on the ways in which our voices
lose or retain meaning and agency in different social and temporal
locations over time.

The Art Workers Coalition (revisited) is a project by Kirsten Forkert
in which artists, writers and activists have been asked to select and
read a text that they thought had an interesting relationship to the
present; perhaps because it struck them as relevant today. The
performative act of reading aloud allowed for a reconsideration of
the ways in which the role of the artist or function of the art world
might be the same or different now. Moreover, it calls on readers and
listeners to reconsider how the language we use to talk about social
change might be the same or different now.Texts by: Architects
Resistance, Frank Hewitt, Iain Whitecross, Seth Sieglaub, Carl Andre,
Hans Haacke, John Perrault, Lee Lozano, Faith Ringgold, John Denmark,
Selma Brody, Lucy Lippard, Gene Swensen, Naomi Levine, David Lee,
Jean Toche, Dan Graham, Iris Crump, and Frederick Castle.
To participate call 415-863-2141, email programs@soex.org
<mailto:programs@soex.org> , or come to SoEx.

*5:15 pm
Coffee Shop Organizing Project
LOCATION: Meet at SoEx, walk to a local coffee shop
When a group of strangers get together in a coffee shop and figure
out what they can immediately do to stop the war in Vietnam. We will
have 30 minutes to acquaint each other with our comfort levels and
knowledge of tactics/activism and then up to an hour for any created
action.
To participate call 415-863-2141, email programs@soex.org
<mailto:programs@soex.org> , or come to SoEx.

*7:00 pm
Panel Discussion
Remembering Forward; Bumping Into Yesterday's Mistakes Tomorrow. A
roundtable discussion dealing with radical legacies
Confirmed participants include: Sam Green (filmmaker), Patrick
Reinsborough (activist/smartmeme), and BLW (artist's collective:
Rozalinda Borcila, Sarah Lewison, Julie Wyman). A roundtable
discussion on how do we remember and how do we move ahead. Part of
the discussion uses performance and activated public space as a focal
point.

S O U T H E R N
E X P O S U R E

Dynamic, cutting edge art, education, and community programs since 1974.
2901 Mission Street @ 25th Street
San Francisco, CA 94110
t: 415.863.2141
f: 415.863.1841
e: soex@soex.org <mailto:soex@soex.org>
w: www.soex.org <http://www.soex.org>

DISCUSSION

US postal rate increases and small publications


remember our roots.

http://www.thenation.com/doc/20070507/stack
Disseminate Information, Protect Democracy

by TERESA STACK

[from the May 7, 2007 issue]

The following is a shortened version of a letter drafted by Nation
president Teresa Stack and signed by her and her counterparts at more
than a dozen independent journals, including National Review, The
American Spectator and Mother Jones. To learn what you can do to
help, go to
http://www.stoppostalratehikes.com.

James C. Miller III
Chairman, Postal Board of Governors

We write to you today on a matter of great urgency. The recent
decision of the Postal Service Board of Governors (BOG) to accept the
startling periodical rate recommendations of the Postal Regulatory
Commission (PRC) undermines the historic foundation of our national
mail system. These new rates will have grave consequences for
disseminating the very type of information our Founding Fathers
strove to protect and foster when they established the public postal
service.

As the publishers of small national magazines that focus primarily on
politics and culture, we share a common mission of providing the
information essential to a flourishing democracy. We struggle to
inform the national dialogue in a way the Founders believed essential
to the health of this country. As journals of opinion and ideas, we
do not do it for the money; we do it because, like the Founders, we
believe it to be a public good.

As you know, in May 2006 the United States Postal Service proposed a
rate increase for periodicals of about 11.7 percent, an increase that
would have affected all periodicals more or less equally. Instead, in
February the PRC recommended a version of the rate proposal put
forward by Time Warner, which had previously been rejected by the PRC
and strongly opposed by the USPS. This proposal would have a
disproportionately adverse effect on small national publications
while easing the burden on the largest magazines.

The decision was followed by an industry "comment period" of only
eight working days, an impossibly short time for small publications
to digest changes so complex that to this day there is no definitive
computer model to fully assess them. Nonetheless, the new rates are
scheduled to take effect July 15.

We now know that small titles will be devastated. According to an
analysis by McGraw-Hill (but not, inexplicably, done by the PRC or
BOG), about 5,700 small-circulation publications will incur rate
increases exceeding 20 percent; another 1,260 publications will see
increases above 25 percent; and hundreds more, increases above 30
percent. Some small magazines will no doubt go out of business.
Meanwhile, the largest magazines will enjoy the benefit of much
smaller increases and in some cases, decreases. To make matters even
worse, editorial content charges will now be based on distance. The
system of charging one price however far editorial content travels,
which has existed since our country's founding, seems to have been
summarily dismissed by the PRC, and then by the governors, with
little thought of its future impact.

These increased postal rates will also raise barriers for prospective
new publishers, thus destroying competition in the periodicals market
and locking in the privileged positions of the largest firms. While
it is understandable that Time Warner would relish the idea of making
it more difficult for new competitors, there is no reason to think
that it is in the interest of the American people or the market economy.

Since its inception, the US Postal Service has recognized small
magazines like ours as serving a vital function in the American
political system. And while the realities of the marketplace no doubt
require some adjustments to postal costs, the PRC's new rates turn
the ideals of Jefferson and Madison on their head. These ideals have
been eloquently defended in all previous rate cases. Instead, we will
now have an entirely cost-based system.

Even if the argument can be made that such a system trumps all other
interests, the USPS remains in effect a government monopoly. We are
small businesses, and to raise costs so dramatically without our
input and with no recourse is devastating. Comments were heard only
from companies that could afford to provide them, via expert
testimony and top-notch legal advice. No one considered how a small
business would accommodate a 30 percent increase in one of the most
expensive items in its budget.

The PRC has managed to take a historically preferred class of mail
and turn it into the most complex, cost-based and bureaucratically
burdened of all mail classes in the span of a single rate case.
Periodical rates ought to be the least cost-based, because that class
exists for content.

In accepting the Time Warner rate plan, the PRC and the governors
have allowed the cost-based proposal of one of the country's largest
mailers to prevail over public and small business concerns. Small
magazines that have historically contributed to the diversity of
voices and opinions and have an outsized effect on our public
discourse are now potentially silenced so that the likes of Time
Warner can mail People more cheaply.

We appreciate that costs increase and mail technologies change.
However, the mail system is a public system, and the dissemination of
small magazines remains a public good. Accordingly, any changes
should be implemented gradually and on a cost-averaged basis so as
not to threaten the very existence of small magazines. We ask that:

1. the Board of Governors move quickly to delay the implementation of
these new rates, allowing an additional period of public comment;

2. a full assessment and justification of the new rates and their
impact on the public good be completed, and if the new rates cannot
be adequately assessed and justified, that the decision of the BOG be
revised and the new rates revoked;

3. whether the Postal Service exercises its right to file for another
rate increase under the old postal reform law or moves directly to
the new law's provisions, during the next rate case the Postal
Service will shift some of the added burden away from the small-
circulation publications that have survived until then.