Epstein Secrets

ocess of control via feedback. (“Cybernetics,” from the ancient Greek for “helmsman,” is the etymological basis of our word “governor,” which is what James Watt called his pathbreaking feedback control device that transformed the use of steam engines.) Because he was immersed in problems of control, Wiener sa

d systems—1* order Cybernetics— moved to the Cybernetics of observing systems—2"™ order Cybernetics—or “the Cybernetics of Cybernetics”, as coined by Heinz von Foerster, who joined the Macy conferences in the mid 1950s, and spearheaded the new movement. Cybernetics, rather than disappearing, was becoming metabolized

ntury. 174 HOUSE_OVERSIGHT_016977 from kuber- to guber—the root of “gubernatorial” and “governor,” another term for masculine control, deployed by James Watt to describe his 19th-century device for modulating a runaway steam engine. Cybernetics thus took ideas that had long analogized people and devices an

ge making, creativity, and the use of programming as artistic tools. The deep connections between science and art had already been noted by the late Heinz von Foerster, one of the architects of cybernetics, who worked with Norbert Wiener from the mid-1940s and in the 1960s founded the field of second-order cyberneti

ocess of control via feedback. (“Cybernetics,” from the ancient Greek for “helmsman,” is the etymological basis of our word “governor,” which is what James Watt called his pathbreaking feedback control device that transformed the use of steam engines.) Because he was immersed in problems of control, Wiener sa

d systems—1* order Cybernetics— moved to the Cybernetics of observing systems—2"™ order Cybernetics—or “the Cybernetics of Cybernetics”, as coined by Heinz von Foerster, who joined the Macy conferences in the mid 1950s, and spearheaded the new movement. Cybernetics, rather than disappearing, was becoming metabolized

ntury. 174 HOUSE_OVERSIGHT_016394 from kuber- to guber—the root of “gubernatorial” and “governor,” another term for masculine control, deployed by James Watt to describe his 19th-century device for modulating a runaway steam engine. Cybernetics thus took ideas that had long analogized people and devices an

ge making, creativity, and the use of programming as artistic tools. The deep connections between science and art had already been noted by the late Heinz von Foerster, one of the architects of cybernetics, who worked with Norbert Wiener from the mid-1940s and in the 1960s founded the field of second-order cyberneti