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Paul Ryan                                                                                  924 West End Ave apt 42
NYC, NY 10025
212 316 4809



Paul Ryan is an artist, author and teacher. Mr. Ryan's video art work has been presented in Japan, Turkey, France, Germany, Holland, Spain, Equador, and throughout the United States, including at The Primitivism Show at The Museum of Modern Art and The American Century Show at the Whitney Museum of American Art. His program for a Hall of Risk in lower Manhattan appeared in the Venice Biennale. His design for an Environmental Television Channel has been presented at a United Nations Conference.NASA published his Earthscore Notational System. Mr. Ryan authored Cybernetics of the Sacred and Video Mind, Earth Mind.  His articles have appeared in numerous journals including IS Journal, Millennium, Leonardo, Terra Nova and Semiotica. He studied with both Marshall McLuhan and Gregory Bateson.  Mr. Ryan’s teaching experience includes New York University, SUNY New Paltz, and Parsons School of Design. Currently he is a Member of the Core Faculty in the Graduate Media Studies Program at The New School in New York City.

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Selected Teaching

Deleuze and Video, Graduate Media Studies, New School, 2005.
Sustainability and Communication, Graduate Media Studies, New School, 2003-05.
Semiotics for Digital Producers, Graduate Media Studies, New School, 2001-04.
Understanding Semiotics, Graduate Media Studies, New School, 1997-04.
Deleuze and Cinema, Graduate Media Studies, New School, 1998-02.
Understanding Cybernetics, Graduate Media Studies, New School, 1996-01.
Understanding McLuhan, Graduate Media Studies, (DIAL + Live) New School, 1998-01.
Circuitry for the Sacred, Interactive Telecommunications Program, NYU, 2000.
AVID Editing, Masters in Technology/Design, Parsons School of Design, 1998.
SuccessWorks, Program for Workers Displaced by Defense Industry, ETI, 1995.
Earthscore Video, Savannah College of Art and Design, Ga. 1994.
Lighting, Savannah College of Art and Design, Ga. 1994.
Graduate Writing for Television, Savannah College of Art and Design, Ga. 1993-94.
Introduction to Video, Savannah College of Art and Design, Ga. 1992-94.
Graduate Video and Society, Savannah College of Art and Design, Ga. 1992-94.
Video for the Building Arts, Savannah College of Art and Design, Ga. 1993.
Graduate Video Production, Savannah College of Art and Design, Ga. 1992-93.
Earthscore Method of Video Production, Visual Studies, Rochester, 1993, 91.
Earthscore Method of Video Production, Bogazici University, Istanbul, 1992.
Video Production, The Parks Council Urban Corps, Staten Island, 1991.
Advanced Video Production, Staten Island Community Television, 1990.
Video Production, The Parks Council Urban Corps, NYC, 1989. National Prize, AFI.
Computers and Society, Graduate Media Studies, New School, 1985, 86.
Seminar/Gregory Bateson, NYU, Interactive Telecommunications, 1984.
Media/McLuhan, Ramapo College, 1983.
Experimental Video, SUNY, New Paltz, 1975.
Media/McLuhan, New York University, 1969.
McLuhan Fellow, Fordham University, 1967-69, included teaching responsibilities.

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Selected Publications

"Bateson, Gregory” Dictionary American Philosophers, ed. John Shook, Bristol, UK, 2005.
"McLuhan and Earthscore", The Legacy of McLuhan, ed. Strate/Wachtel, Hampton Inc. 2005.
“Making Peace” in Violence and Culture, editor Myrdene Anderson, Univ. of Indiana, 2005.
 “Bateson, Peirce and the Three-Person Solution” American Semiotic Society Journal, 2005.
“The Relational Circuit Revisited” SEED Journal Vol. 4 # 1, University of Toronto, 2004.
“Gender and Threeing, Ecology and Cyberspace” Semiotica, February 2003.
Website:  Selection of over 50 pieces, on PDF files, launched in 2002.
“Dialogue with Pierre Levy”, Fourth Door Review, 2001.
“Threeing and the Blessed Trinity”, American Semiotic Society, 2000.
“Video Journey Through Utopia” Afterimage, December 1999.
“Raging Beauty” Massage, (Internet Zine) August, 1999.
"Video Chi", Terra Nova, MIT, Volume 2, Number 1, winter, 1997.
"The Millennium, Montage...” Codes and Customs, Ed. R. Kevelson, Lang, NYC, 1994.
"The Earthscore Notational System...” Leonardo, 1991.
"A Sign of itself", On Semiotic Modeling, Eds. Anderson/Merrell, Mouton, NYC, 1991.
"Video, Computers and Memory", Ways of Knowing, ed. John. Brockman, 1991.
"The Mission to Planet Earth, The Earthscore System and Television"
Proceedings Earth Observation and Global Change Decision-Making Conference, NASA 1990
"Al Robbins Was A Warrior Artist", Millennium, 1989.
"A Genealogy of Video", Leonardo, 1988.
"Ecochannel Design", IS  Journal #5, 1987.
"Theoretical Basis For the Ecochannel Design", IS Journal #5, 1987.
"Metalogue with Gregory Bateson" All Area #1, 1980.
"Relationships", Talking Wood, #4. 1980.
"Cable Television: The Raw and the Overcooked", Media and Methods, 1969.
"Videotape: Thinking About a Medium", Media and Methods, 1968.

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The Three-Person Solution, book manuscript near completion.
Creating Curriculum for Sustainability book manuscript near completion.
Video: The Medium is the Message, collected essays, completed.
Fire Water Father,(with Jim Ryan) Earth Group, NYC 1997. 
Video Mind, Earth Mind, Peter Lang Publishers, NYC, 1993.
Cybernetics of the Sacred, Doubleday Anchor, NYC, 1974.


Selected Presentations:

"Can We Create a Cybernetic Religion", Bateson Symposium, Copenhagen, 2005.
“Bateson and Janson: the Relational Circuit and Art History”, Bateson Centennial, 2004.
“Threeing as a Tool for Learning”  Wagner College, Staten Island, NYC. 2002.
“Earthscore” Graduate Urban Planning Program at Columbia University, NYC. 2002.
“Threeing and the Blessed Trinity”, American Semiotic Society, Lafayette, Indiana, 2000.
“Earthscore, Deleuze and Peirce”, American Semiotic Society, Pitts., Pa. 1999.
“John Culkin”, New York State Communications, Catskills, NY. 1999.
"Writing and Video", Video History Conference, Syracuse, 1998.
"Face-to-Face in a Wired World", Bateson Lecture, the New School, 1998.
"McLuhan and Earthscore", McLuhan Conference, Fordham, NYC, 1998.
"Cybernetics and Semiotics", Columbia University, 1998.
"Creativity, Peirce and Earthscore" American Semiotic Society, Louisville, Ky., 1997.
"Earthscore for Educators", Forum on Global Education, Monterey, Ca. 1996.
"Video Art"  The Dalton School, NYC, 1996.
"Remote Sensing and The Earthscore Method", Montage 93, Rochester, NY, 1993.
"Sustaining Community", The Learning Alliance, New York City, 1992.
"TV/Environmental Monitoring" Contemporary Communications, Istanbul, 1992.
"TV and Ecology", New York City PrepCom for Earth Summit in Rio, 1992.
"New Paradigms: Art/Environment", Society for Photographic Education, NYC, 1991.
"Celebrating Raindance", the Kitchen Performance Space, NYC, 1991.
"Community Mobilization and the Media", World Congress of Local Governments
for a Sustainable Future", United Nations, New York City, 1990.
"Law and Ecology", Roundtable on Law and Semiotics, Penn State, 1990.
"Green Cities and Television", Green City Conference, Berkeley, Ca. 1990.
"NEST- an Ecochannel for NYC" Environment '90 Conference, New York City, 1990.
"Architecture and Semiotics", Parsons Graduate Criticism Program, 1989.
"American Video Art/European TV", Romnanistentag, Aachen, Germany, 1989.
"The Role of Art in Redefining the Human", Chicago Art Institute, 1989.
"Earthscore Curriculum" Progressive Education Conference, Chicago, 1989.
"The Making of Meaning", International Translation, Barnard, New York City, 1988.
"Threeing" Contemporary Arts Center, New Orleans, 1988.
"Ecochannel for the Mississippi?", Contemporary Arts, New Orleans, 1988.
"Television and Restoration" Restoring Earth Conference, Berkeley, Ca. 1988.
"A Sign of itself", American Semiotic Society Convention, Pensacola Florida, 1987.
"Video, Tool of Firstness", American Anthropology Society, Montreal, 1987.
"Art and Ecology", Cathedral of St. John the Divine, New York City, 1986.
"Triadics and Trance" Milton Erickson Society, 1986.
"Television/Ecology" Interactive Telecommunications Program, NYU, 1986.
"Triadic Relations", The Reality Club, New York City, 1985.
"Gregory Bateson" Galletin Division, New York University, 1985.
"Is the Computer Revolution Real?" New School for Social Research, 1985.
"Video Perception", Artists on Art Lecture Series, New York City, 1985.
"A Triadic Logic", The Reality Club, New York City, 1982.
"Video and Ecology", Media Studies, University of Buffalo, 1982.
"Video Explorations", Xerox Research Center, Palo Alto, Ca. 1977.
Numerous presentations as McLuhan Fellow and with Raindance. 1967-68.

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Selected Citations of Work

Collectivism After Modernism eds. Sholette, Stimson: Univ. of Minn. Press, 2005.
Closed Circuit Videoinstallationen, Slavko Kacunko, Logos-Verlag, Germany 2004.
“Tale of the Tape: Radical Software”, David Joselit, Artforum, May 2002,
“Think Big”, Herbert Muschamp, New York Times Magazine, Sept 8, 2002.
History of Video Art, Thames, London, Michael Rush, 2002. 
“Design Education...” Greening of the Campus III, Muncie, Ind. J. Gardner, 1999.
Anthology of Video History, Video Data Bank, Chris Hill, Chicago, 1998.
Art as Inquiry, Peter Lang Publishers, Marga Bijvoet, New York City, 1997.
Subject to Change, Oxford Press, Deirdre Boyle, New York City, 1997.
"Two Meanings of the Word "Environment" and Ecological Interdependency", Peter
Harries-Jones, for Karl Polanyi Conference, Concordia Univ., Montreal 1996.
"Paul Ryan's Video Mind" Fourth Door Review, Sussex, Britain, Autumn 1996.
"Earthscore", Metropolis, New York City, September 1996.
"Did the Portapak Cause Video Art?"   Millennium, Jon Burris, summer, 1996.
Shell Game, Mercury Press, Jerry Martien, San Francisco, 1996.
"Recycling Video" AfterImage, John Minkowsky, January 1992.
Electronic Arts Intermix: Video EAI, New York City, Ed. Lori Zippay, 1991.
The Re-Enchantment of the World, Bantam, Morris Berman, 1984.
"Willoughby Sharp Interview". Video 81 2(1) 14-17. 1981.
Review of One-Man Show at Kitchen, Village Voice, Easter Week, 1976.
“Earthscore as Intentional Community”, Ideas, CBC, Producer, Merrily Pascal, 1975.
Interfaces of the Word, Walter Ong. S.J. Cornell University Press Ithaca, NY, 1975. 
"Earthscore as Utopian Community", CBC Radio Series "Ideas" (1 hr., M. Pascal) 1975.
"Sacrament and Television", Jack Burnham Video Art, ICA Univ. of Penn. 1975.

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Conceptual Art Arising Out of Experimental Video

Hall of Risk
Conceptualized operating system for replacing NY Stock Exchange with ‘Hall of Risk”. 
Collaboration with Jean Gardner and David Rockwell, curated by Herbert Muschamp.
Venice Biennial, 2002, NY Times Magazine Sept 8, 2002.

Earthscore for Artists
Program for Artistic Collaboration.
 www.earthscore.og, 2001.

Johnnie AppleCircuit
          Web site linking growers in the Hudson Valley with customers and cosystems.
World Wide Web Site, Earth Group, Public Markets,  NYC, 1997.

Mountain Waters
(Score 1990)
published in Video Mind, Earth Mind, 1993.

Forests Forever:  The New York City Cycle
(Score 1991)
published in Video Mind..., 1993.

The Tricultural Tournament
Performers for three cultures invent collaborative behavior.
Rockefeller Media Arts Fellow Nominee, 1989-90.
published in Video Mind... 1993.

Symphony for the Jersey Shore 
Score, 1988.
published in Video Mind..., 1993.

Earthscore Notational System
Five component notation to generate shared perception.
Leonardo, Vol. 24 No 4: 457-465. 1991.

Monastic Simulation
Enactment of a day in the life of monks with Dalton School Students.
The Cloisters, Metropolitan Museum of Art, 1987 (Dalton Archives)

Waters of Purification and Pollution
Spring Liturgy, 1986.
The Cathedral of St. John the Divine, published VMEM, 1993.

Design for a Television Ecochannel
Full Scale Design for a Television Channel to monitor ecosystems for the people who live there so they can generate sustainable policies and practices.
Museum of Modern Art, NYC, 1985. United Nations Conference, 1986.

Coast of Cape Ann
           Score 1981.
published Video Mind... 1993.

Watershed Watch
Organized public monitoring of Passaic River Watershed in Pompton and Paterson
 Talking Wood  #2, 1979.

Video Variations on Holy Week
          One Man Show with lecture, ritual and performance. 
The Kitchen Performance Space, 1976.

Yoga of relationships for three or more people, Premiered The Kitchen 1976, Videotape Presentation Museum of Modern Art, NYC, Primitivism Show 1985.  Multiple venues for presentations and workshops.

The Horowitz Quartet
Four channel Installation, poet Mikael Horowitz, 
Dancing Theatre New Paltz, N.Y. 1974.

Woodstock Video Festival installation 1973.

Earthscore as Utopian Community 
Initiated experimental video community interpreting ecosystems. 1971-76.
Dancing Theatre, 1975. CBC Radio 1975.

Video Wake for My Father
Spontaneous Wake for Father, 12 hours.
 Shown: 530 Riverside Drive, NYC. 1971. 

Yes and No
Feedback of ambiguousness to Museum Visitor
Installation, Rose Art Museum, Waltham, Mass., 1970.

Guns, Knives or Videotape
Simulation of a fight with video.
published in Radical Software Vol. 1# 2, 1970.
Everyman's Moebius Strip
Private feedback for gallery visitor.
Installation, Howard Wise Gallery, New York City, 1969.

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Selected Video Showings

Center for Contemporary Maine Art, Rockport Me., 2005.
Haystack, Deer Isle, Me., 2004.
V bienal, Quito, Ecuador, 2004.
Experimental Intermedia, NYC, 2004.
Small Planet Auction, NYC, 2003.
WET Film and Video Festival, University of Virginia, 2002.
The Art Car Museum, Houston, Texas, fotofest, 2002.
The Museum of Modern Art, New York City, First Decade Show, 2002.
The Museum of Modern Art, New York City, Video Time Show, 2000.
The Whitney Museum of American Art, The American Century Show, 1999-2000.
The Museum of Natural History, NYC, 1993.
The Cathedral of St. John the Divine, NYC, 1993.
Habersham Gallery, Savannah, Georgia, 1992.
Bogazici University, Istanbul, Turkey, 1992.
Upstate Films, Rhinebeck, N.Y., 1991.
Festival Video Music Vitoria, Madrid, Spain, 1989.
The 3rd Fukui International Video Biennale, Fukui, Japan, 1989.
Charles Peirce Congress, Harvard University, Cambridge, Mass, 1989.
EcoVision, Lille, France, 1989.
Den Haag, Filmhuis, The Hague, Holland, 1987.
LACe Gallery, Los Angeles, Ca, 1987.
Robeson Center Gallery, Newark, 1987.
Museum of the Moving Image, New York City, 1987.
Cathedral of St. John the Divine, New York City, 1987.
Museum of Modern Art, Primitivism Show, 1984.
National Video Festival, American Film Institute, Los Angeles, Ca. 1983.
The Kitchen, New York City, 1976.
Dance Theatre Workshop, New Paltz, New York, 1974.

Collections: Museum of Modern Art, The Kitchen, Electronic Arts Intermix,
New York City. Video Data Bank, Chicago Arts Institute, Private.

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Selected Video Productions

Movements from the Galapagos, (in progress) 2005.
Songs from the Sea, (in progress) 2004.
Water Flows through Water like Water, 11:00 minutes, 2003.
Bow Falls, 26:00 minutes, (Annea Lockwood, sound collaborator) 2003.
Rifle Falls, 5:00 minutes, 2003.
Red Rock Falls, 10 minutes, 2002.
Tapping on Water, #2, #3, #4, (with Brenda Bufalino) 30 minutes. 1999.
Water Fire Water, 10 minutes, 1996.
Crossing Brooklyn Ferry, 17:00 minutes - with C. Potter and Alan Ginsberg, SCTV, 1990.
Nature in New York City, 27:00 minutes 1989.
The Earthscore Method, documentary, The Dalton School 1989.
Human Nature Dance Company, documentary, Petrolia, Ca. 1998.
ICM-Method, The Dalton School, New York City, documentary, 1987-88.
Crux, Art Work, Gary Hill, documentary, 1987.
Tethys, Transatlantic Boat Trip with Robert Schuler, documentary, 1986.
Coast of Cape Ann, 18:00 minutes 1985.
Ecochannel Design, 33:00 minutes 1985.
Ritual of Triadic Relationships, 30:00 minutes 1984.
Where the Water Splits the Rock, 5:00 minutes 1983.
The Triadic Tapes, 12 half-hour tapes, edited from 45 hours, 1971-76.
Earthscore Sketch, 18 hours, 36 continuous handheld half-hours, 1971-76.
Water Chreods, 1-hour catalog of water flow patterns, yearlong study, 1975.
Tapping on Water, 5:00 minutes 1975.
Laser on Ice, 5:00 minutes 1975.
Four More Years, TVTV, concept and camerawork, Washington DC. 1975.
Color TV, 5:00 minutes, 1974.
The Horowitz Quartet, 4 tapes, 30 minutes each, 1974.
Tender is the Tape I, 30:00 minutes, 1970.
Media Primer, 30:00 minutes, 1970.
Raindance Archives, co-produced over 25 tapes, 1969-71.

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Awards and Grants

Invitee: Hand, Mind and the Creative Process, Cooper-Hewitt/Haystack, Me. 2004.
Banff Co-Production Grant, Waterfall Studies, Banff Art Centre, Canada, 2002.
Academic Specialist Grant, USIA, (Fulbright Hays Act), 1992.
Nominee, Rockefeller Fellowship in Intercultural Media Art, 1989-90.
Artist-in-Residence, Earth Environmental Group, NYSCA, 1990.
New York Foundation for the Arts Fellowship, 1989.
New York State Council on the Arts, Computers in Education Grant, 1988-89.
Artist-in-Residence, Staten Island Community Television, NYSCA, 1989.
Artist-in-Residence, Earth Environmental Group, NYSCA, 1988.
New York State Council on the Arts, Video Production Grant, 1984.
New York State Council on the Arts, Writing Grant, 1984.
New Jersey State Council on the Arts, Video Production Grant, 1982.
New York State Council on the Arts, Earthscore Grants, 1971-76.
McLuhan Fellowship, Fordham University, 1967, 69.

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Environmental Initiatives

Co-Founder and Co-Director The Gaia Institute, Cathedral of St. John the Divine, 1985-1991.
The Institute fostered dialogues between science, religion and art about the earth as
a self-correcting system. Workshops, lectures, exhibitions and events.

Founder and Executive Editor, Talking Wood Magazine, Pompton Lakes, N. J., 1979-80.
Ecological magazine dedicated to sustainability in the Passaic River Watershed of North Jersey. 
Total of over 400 pages produced and distributed to an estimated 15,000 readers.
Included a Watershed Watch and investigative journalism that uncovered a toxic waste site and covert uranium mining in the Ramapo Mountains.

Founder and Director, Earthscore Foundation, High Falls, N.Y., 1971-76.  Arts organization in the Hudson Valley researching and developing ways in which video could be used to interpret ecological systems.
Showings in the Hudson Valley and New York City. Research lead to codification of the Earthscore Notation and a Design for an Environmental Television Channel.

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Selected Positions and Affiliations

Member of Core Faculty, Graduate Media Studies, New School University, 1998- Present.
Jeff Kennedy, Exhibition Design, Consultant, 1999.
Black Rock Forest Consortium, Videographer, 1998-99.
New Lab for Teaching and Learning, The Dalton School, Various Media Roles, 1987-98.
American Semiotic Society, 1994 - Present.
(Member Thomas A Sebeok Award Committee 1997-98.)
Media Alliance, New York City, 1988 - 1995.
Reality Club, New York City, Member, 1981- 91 President, 1988-90.
Environment '90, New York City, Member of Steering Committee 1988-90.
CoFounder and CoDirector, Gaia Institute, Cathedral of St. John the Divine, 1985-1991.
New York University Alumni Association. 1982-85.
T'ai Chi Chuan Associations, (various) 1969 - 1996.
Founder and Editor, Talking Wood Magazine, Ringwood, N. J., 1979-80.
Pearl Street Holography Club, New York City - Rhinebeck, 1975-76.
Founder and Director, Earthscore Foundation, High Falls, N.Y., 1971-76.
Center for the Study of Social Change, New York City, 1969-71.
Raindance, Alternate Video Group, New York City, 1969-71.

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Ph.D. Equivalency

My dual career as an artist/scholar grew out of an unusual educational path.  After graduating valedictorian of my high school, I spent four and a half years studying in the monastic seminary system of a Catholic preaching order. Subsequently I earned a BA in Literature from New York University and then worked directly with Marshall McLuhan at Fordham. While working with McLuhan, I began the experimentation with video that has been key to my career as an artist/scholar. In McLuhan’s terms I went from an oral culture (monastery) to a literate culture (literature) to an electronic culture (video). Taken together my writings and my video work constitute a bridge from the nationalist cultures bases on print to sustainable cultures based on circuitry.

Of course, artists are not expected to have a Ph.D. I believe, however, that working directly with McLuhan (1967-68) and my subsequent work with video (1969-1976) are equivalent to a Ph.D.  My experimental work with the video medium in McLuhan’s terms resulted in nine published articles, a book (Cybernetics of the Sacred, Doubleday, 1974) and a one-man show at the Kitchen Performance Space (NYC) in 1976. During that time period I was supported primarily by grants totaling $85,000 from the New York State Arts Council. These grants allowed me to devote full time to video theory and practice. I immersed myself in the study of cybernetics and semiotics as tools of thought for producing video. Besides articles, the book and the one-man show, the work done during this time seeded my later development of a full-scale environmental television channel and a notational system for interpreting ecosystems with video.

One salient feature of my monastic education deserves mention here. As part of my monastic training I took a year of novitiate.  As is the practice in monastic education, the order selected one of its best men to give novices focused training in spirituality.  My master of novices, Augustine Paul Hennessey C.P., was a very sophisticated Aristotelian-Thomist. During my novitiate my classmates and I were cloistered, even from the other monks, and learned to take the teachings of one man very seriously.

I have kept to this pattern of learning from strong teachers since leaving the monastery in 1965. When I could, I combined studying with key teachers with gathering credentials.  When I could not do both, I opted to study with a teacher without benefit of credentials.  My own success as a teacher is based in large part on having been a student of so many excellent teachers since 1965 including:

Robert Pollack, New School, Pragmatism
Claude Ponsot, Painting
Conor Cruise O’Brien, NYU, Literature
George Steiner, NYU, Literature
Walter Ong, S.J.  NYU, Literature
Horst Janson, NYU, Art History
Marshall McLuhan, Fordham, Media
John Culkin, Fordham, Media
Ted Carpenter, Fordham, Media
Al Scheflen, Roosevelt Hospital, Kinesics
Gregory Bateson, Cybernetics

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Public Commentary on the Work of Paul Ryan

This thinking is remarkably consistent...informed by an intelligent creative use of the theories of Charles S. Peirce, Gregory Bateson, Rene Thom, Nelson Goodman...Ryan makes some original contributions himself in the conceptual realm...he is working in an American tradition of theorizing, exemplified in the work of Buckminster Fuller and John of the most innovative explorers... addressing the operations of an electronic civilization on its own terms.
Gregory Ulmer, Professor of Literature, University of Florida


...a fresh synthesis of the artistic and the refutation of science and technology here: rather, a system is defined which embraces the multiple ways humans 'know', in order to address the environmental crisis.
John Giancola, Associate Professor of Communications, Tampa University
Former Director of Video Program at New York State Council on the Arts

Interdisciplinary...intercultural...To see what Ryan does with anthropology is to realize what anthropology has become and what it failed to be...Most interesting  [is] Ryan's persistent and developing critique of duality favor of an assortment of triadic bring a self regulating openness to human conscious and community...when Ryan takes on duality, he takes on human community and consciousness itself, not an academic commentary. 
Thomas De Zengotita, Anthropologist, New York University


Both the ecological possibilities of TV and the problems of fascistic domination of it have been grasped by Paul Ryan—artist and polymath—subtle, complex, relevant…Ryan proposes that we generate feed-back by television from the scientifically informed, thousand eyed demos, the people.  This is something new under the sun…a decentered, democratic system in which we all can contribute in unpredictable, self-correcting ways.        
Bruce Wilshire, Professor of Philosophy, Rutgers University

Many artists in the United States have teaching positions, but for most of them it is just a job, a way of earning a living.  For Ryan, education is part of his artwork, if not the central part.  Again, for him education is not restricted to what we usually think, it includes a new approach to teaching, which one might define as an interdisciplinary systems approach, with the intent to create an ecology of mind.
Marga Bijvoet, author, Art as Inquiry

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    © 2006
    Paul Ryan
    all rights reserved