Epstein Secrets

pictures. one he often sends shows him with Andy Warhol and Bob Dylan, no less. But he's also one of the

now's "Two Cultures" - the parallel universes of the ars and the sciences. When profilers ask him for pictures. one he often sends shows him with Andy Warhol and Bob Dylan, no less. But he's also one of the few people around who can phone Nobel laureates in science with a good chance that they will tak

on rather understates the reality. More accurate ways of describing Brockman would he to say that he is a "cultural impresario" or, as his friend Stewart Brand puts it, an "intellectual enzyme". The first thing you notice about Brockman, though, is the interesting way he bridges CP Snow's "Two Cultures"

e, 1999) US (Brockman at the Factory with Andy Warhol and Bob Dylan 1967) Photo: Nat Finkelstein. Cop

bios/brocicman.html 3/13/2006 EFTA00261235 Edge: JOHN BROCKMAN Page 3 of 4 (Dolly, Roslyn Institute, 1999) US (Brockman at the Factory with Andy Warhol and Bob Dylan 1967) Photo: Nat Finkelstein. Copyright 0 Nat Finkelstein. US When we eit Were KIDS UK SCIENCE AT THE UK http://www.edge.org/

ia life My Dinner with Rupert By Michael Wolff Stewart Brand Mitch Kapor Rupert kept taking. He grew more ex

ing in all fields, including Nam June Paik, Andy Warhol, Robert Rauschenberg, Robert Whitman, and Claes O

nematheque and to initiate an Expanded Cinema Festival there. He invited many great New York artists working in all fields, including Nam June Paik, Andy Warhol, Robert Rauschenberg, Robert Whitman, and Claes Oldenburg, to make a work integrating film for a special performance. These activities led to an inv

.org, an important platform for the exchange of knowledge between different fields that aims ficeto arrive at the edge of the worldaTMs knowledge.a Stewart Brand has called Brockman an aceintellectual enzyme . . . an adroit enabler of otherwise impossible things.fi As Brockman himself puts it, ace' look to .

b Dylan heraufdämmert, schaut Brockman bei Andy Warhol vorbei: nichts für ihn, das drogendurchtränkte K

er Stern der Beatniks um Al- len Ginsberg und William Burroughs ins Sinken gerät und die Folkszene um Bob Dylan heraufdämmert, schaut Brockman bei Andy Warhol vorbei: nichts für ihn, das drogendurchtränkte Kollektiv in der Factory. Er muss sein eigener Herr sein. Darum klappt es auch nicht mit den ge- ge

durch den wissenschaftlichen Text, zusammen mit Stewart Brand, seinem Freund. der bald den Whole Earth Cata- l

ow's "IWo Cultures" - the parallel universes of the arts and the sciences. When profilers ask him for pictures, one he often sends shows him with Andy Warhol and Bob Dylan, no less. But he's also one of the few people around who can phone Nobel laureates in science with a good chance that they will tak

pictures, one he often sends shows him with Andy Warhol and Bob Dylan, no less. But he's also one of the

on rather understates the reality. More accurate ways of describing Brockman would be to say that he is a "cultural impresario" or, as his friend Stewart Brand puts it, an "intellectual enzyme". The first thing you notice about Brockman, though, is the interesting way he bridges CP Snow's "IWo Cultures"

Festival), under the auspices of avant-garde filmmaker and impresario Jonas Mekas. They included visual artists Claes Oldenburg, Robert Rauschenberg, Andy Warhol, Robert Whitman; kinetic artists Charlotte Moorman and Nam June Paik; happenings artists Allan Kaprow and Carolee Schneemann; dancer Tricia Brown; fi

Kuchar brothers; avant-garde dramatist Ken Dewey; poet Gerd Stern and the USCO group; minimalist musicians Lamonte Young and Terry Riley; and through Warhol, the music group, The Velvet Underground. Many of these people were reading Wiener, and cybernetics was in the air. It was at one of these dinners th

window into the cold room. Wiping it off, I saw “the” computer. I fell in love. Later, in the Fall of 1967, I went to Menlo Park to spend time with Stewart Brand, whom I had met in New York in 1965 when he was a satellite member of the USCO group of artists. Now, with his wife Lois, a mathematician, he was pre

Festival), under the auspices of avant-garde filmmaker and impresario Jonas Mekas. They included visual artists Claes Oldenburg, Robert Rauschenberg, Andy Warhol, Robert Whitman; kinetic artists Charlotte Moorman and Nam June Paik; happenings artists Allan Kaprow and Carolee Schneemann; dancer Tricia Brown; fi

Kuchar brothers; avant-garde dramatist Ken Dewey; poet Gerd Stern and the USCO group; minimalist musicians Lamonte Young and Terry Riley; and through Warhol, the music group, The Velvet Underground. Many of these people were reading Wiener, and cybernetics was in the air. It was at one of these dinners th

window into the cold room. Wiping it off, I saw “the” computer. I fell in love. Later, in the Fall of 1967, I went to Menlo Park to spend time with Stewart Brand, whom I had met in New York in 1965 when he was a satellite member of the USCO group of artists. Now, with his wife Lois, a mathematician, he was pre