Epstein Secrets

ted architecture that emerged. See, for instance, Barry M. Leiner, Vinton G. Cerf, et al, “A Brief Histor

r, they are worth learning about and exploring. They stand out as trailguides to a fresh sensibility in the same way Nijinsky’s 20" century dances or Goethe’s 19" century poetry once did. We flip back and forth between real and virtual in our every day lives now, popping our head from screen to street. O

, Dead Imagine (1991), for example, had no moving parts: He/she was comprised of pure signals, flickering projections on flat surfaces. In her setup, Barry commented on the alienating effects of late-20th-century technology. The image of an androgynous head fills an enormous cube made of ten-foot-square

particular, sun-scorched, caterpillar-chewed clover found outside your house in an atlas. No, you aimed—if you were a genius natural philosopher like Goethe, Albinus, or Cheselden—to observe nature but then to perfect the object in question, to abstract it visually to the ideal. Take a skeleton, view it t

, Dead Imagine (1991), for example, had no moving parts: He/she was comprised of pure signals, flickering projections on flat surfaces. In her setup, Barry commented on the alienating effects of late-20th-century technology. The image of an androgynous head fills an enormous cube made of ten-foot-square

particular, sun-scorched, caterpillar-chewed clover found outside your house in an atlas. No, you aimed—if you were a genius natural philosopher like Goethe, Albinus, or Cheselden—to observe nature but then to perfect the object in question, to abstract it visually to the ideal. Take a skeleton, view it t