Epstein Secrets

fic even though no one seems to be in control. There are three laws of artificial intelligence. The first, known as Ashby’s Law, after cybernetician W. Ross Ashby, author of Design for a Brain, states that any effective control system must be as complex as the system it controls. The second law, articulated by

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’s idea that by inventing electronic technologies we had externalized our central nervous system—that is, our minds—and that we now had to presume tha

rence to make a difference. In this way of looking at the world, a control system needed to be as complex as the system it controlled. Cyberneticist W. Ross Ashby proved that this was true in a precise mathematical sense, in what is now called Ashby’s Law of Requisite Variety, or sometimes the First Law of Cybe

s of Curating and Lives of the Artists, Lives of the Architects. In the Introduction to the second edition of his book Understanding Media, Marshall McLuhan noted the ability of art to “anticipate future social and technological developments.” Art is “an early alarm system,” pointing us to new development

fic even though no one seems to be in control. There are three laws of artificial intelligence. The first, known as Ashby’s Law, after cybernetician W. Ross Ashby, author of Design for a Brain, states that any effective control system must be as complex as the system it controls. The second law, articulated by

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’s idea that by inventing electronic technologies we had externalized our central nervous system—that is, our minds—and that we now had to presume tha

rence to make a difference. In this way of looking at the world, a control system needed to be as complex as the system it controlled. Cyberneticist W. Ross Ashby proved that this was true in a precise mathematical sense, in what is now called Ashby’s Law of Requisite Variety, or sometimes the First Law of Cybe

s of Curating and Lives of the Artists, Lives of the Architects. In the Introduction to the second edition of his book Understanding Media, Marshall McLuhan noted the ability of art to “anticipate future social and technological developments.” Art is “an early alarm system,” pointing us to new development