Epstein Secrets

xxxxxxx", and I am sure you would have insightful and interesting things to say. See attached file. I've been at this since 1965, when the composer John Cage reached across the table at dinner and handed me CYBERNETICS, saying "this is for you". I never did meet Wiener who had recently died, but also in 1

nd handed me CYBERNETICS, saying "this is for you". I never did meet Wiener who had recently died, but also in 1965 his colleagues A.K. Soloman and Walter Rosenblith called ne at Film-Makers' Cinematheque to ask if I would bring some NY artists I was working with at the Expanded Cinema Festival to a meeting to di

xxxxxxx", and I am sure you would have insightful and interesting things to say. See attached file. I've been at this since 1965, when the composer John Cage reached across the table at dinner and handed me CYBERNETICS, saying "this is for you". I never did meet Wiener who had recently died, but also in 1

nd handed me CYBERNETICS, saying "this is for you". I never did meet Wiener who had recently died, but also in 1965 his colleagues A.K. Soloman and Walter Rosenblith called ne at Film-Makers' Cinematheque to ask if I would bring some NY artists I was working with at the Expanded Cinema Festival to a meeting to di

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

rk. Solomon invited me to bring some of the artists up to Cambridge to meet with him and a group that included MIT sensory- communications researcher Walter Rosenblith, Harvard applied mathematician Anthony Oettinger, and MIT engineer Harold “Doc” Edgerton, inventor of the strobe light. Like many other “art meets s

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

rk. Solomon invited me to bring some of the artists up to Cambridge to meet with him and a group that included MIT sensory- communications researcher Walter Rosenblith, Harvard applied mathematician Anthony Oettinger, and MIT engineer Harold “Doc” Edgerton, inventor of the strobe light. Like many other “art meets s