Epstein Secrets

he is a "cultural impresario" or, as his friend Stewart Brand puts it, an "intellectual enzyme". The fi

Rauschenberg, Andy Warhol. several kinetic and "happenings" artists, avant- garde film-makers and dramatists, the Velvet Underground, and composer John Cage. This immersion in New York's arts scene also led to deep interest in science and technology Many of the pieces at the festival were informed by

arrive at the edge of the worldaTMs knowledge.a Stewart Brand has called Brockman an aceintellectual enzy

nt-garde program at the Poetry Center at the 92nd St Y in New York. Preceding and following Brockman on the program, respectively, were evenings by John Cage and Jorge Luis Borges. This was the era of ficeThe Living Theatre,fi of Antonin AnaudaTMs ficetheatre of cruelty,fi and the management of the Poetry

he is a "cultural impresario" or, as his friend Stewart Brand puts it, an "intellectual enzyme". The fi

Rauschenberg, Andy Warhol, several kinetic and "happenings" artists, avant- garde film-makers and dramatists, the Velvet Underground, and composer John Cage. This immersion in New York's arts scene also led todeep interest in science and technology. Many of the pieces at the festival were informed by

eparing the first edition of The Whole Earth Catalog for publication. While Lois and the team did the heavy lifting on the final mechanicals for WEC, Stewart and I sat together in a corner for two days, reading, underlining, and annotating the same paperback copy of Cybernetics that Cage had handed to me t

self-regulating control, laid out in Norbert Wiener’s foundational text of 1948. I can date my own serious exposure to it to 1966, when the composer John Cage invited me and four or five other young arts people to join him for a series of dinners—an ongoing seminar about media, communications, art, music, a

eparing the first edition of The Whole Earth Catalog for publication. While Lois and the team did the heavy lifting on the final mechanicals for WEC, Stewart and I sat together in a corner for two days, reading, underlining, and annotating the same paperback copy of Cybernetics that Cage had handed to me t

self-regulating control, laid out in Norbert Wiener’s foundational text of 1948. I can date my own serious exposure to it to 1966, when the composer John Cage invited me and four or five other young arts people to join him for a series of dinners—an ongoing seminar about media, communications, art, music, a