Epstein Secrets

series of dinners—an ongoing seminar about media, communications, art, music, and philosophy that focused on Cage’s interest in the ideas of Wiener, Claude Shannon, and Marshall McLuhan, all of whom had currency in the New York art circles in which I was then moving. In particular, Cage had picked up on McLuhan’

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

arguments in Zhe Human Use of Human Beings seem closer to the 19th century than the 21st. In particular, although Wiener made reference throughout to Claude Shannon’s then-new work on information theory, he seems not to have fully embraced Shannon’s notion of information as consisting of irreducible, meaning-free

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

series of dinners—an ongoing seminar about media, communications, art, music, and philosophy that focused on Cage’s interest in the ideas of Wiener, Claude Shannon, and Marshall McLuhan, all of whom had currency in the New York art circles in which I was then moving. In particular, Cage had picked up on McLuhan’

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

arguments in Zhe Human Use of Human Beings seem closer to the 19th century than the 21st. In particular, although Wiener made reference throughout to Claude Shannon’s then-new work on information theory, he seems not to have fully embraced Shannon’s notion of information as consisting of irreducible, meaning-free

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