Epstein Secrets

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"

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

.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 .

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

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"

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

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

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

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

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