Epstein Secrets

Philosoph Daniel Dennett, der Kosniolo- ge Martin Rees,die biologische Anthropo- login dielen Fisher, der Okonom. Psycho- loge und Nobelpreisträger Daniel Kahne- man, der Quantenphysiker David Deutsch, der Computerwissenschaftler Marin Minsky, der Sozialtheoretiker An- thony Giddens. Vom Apple-Mitbegrün-

en ist, die Kunst und die Wissenschaft und die psychedelischen, sen Stroboskopblitzen durchzuckten Shows, durch deren Klanggewirr ein Mar- shall McLuhan seine kommunikationstheo- retischen Botschaften posaunt. Im Esalen Institute, dein kaliforni- schen Bewusstseinslabor am Pazifik, hört er Vorträge

mits on computational resources. The efficacy of human algorithms springs from what AI researchers refer to as “bounded optimality.” As psychologist Daniel Kahneman has notably pointed out, human beings are rational only up to a point. If you were perfectly rational, you would risk dropping dead before making an

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

xperiments like John Searle’s Chinese Room and Isaac Asimov’s Three Laws of Robotics all appeal to the sorts of intuitions plaguing human brains that Daniel Kahneman, Amos Tversky, and others have demonstrated. The Chinese Room experiment posits that a mind composed of mechanical and Homo sapiens parts cannot be c

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

mits on computational resources. The efficacy of human algorithms springs from what AI researchers refer to as “bounded optimality.” As psychologist Daniel Kahneman has notably pointed out, human beings are rational only up to a point. If you were perfectly rational, you would risk dropping dead before making an

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

xperiments like John Searle’s Chinese Room and Isaac Asimov’s Three Laws of Robotics all appeal to the sorts of intuitions plaguing human brains that Daniel Kahneman, Amos Tversky, and others have demonstrated. The Chinese Room experiment posits that a mind composed of mechanical and Homo sapiens parts cannot be c

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