| Connected Entity | Relationship Type |
Strength
(mentions)
|
Documents | Actions |
|---|---|---|---|---|
|
person
Hans Haacke
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Artistic contemporaries |
5
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1 |
This document is page 179 of a larger academic text, stamped 'HOUSE_OVERSIGHT_016982', suggesting it was part of a document production to Congress. The text discusses cybernetics, artificial intelligence, and the philosophy of mind, drawing heavily on the work of Gregory Bateson and Mary Catherine Bateson while critiquing modern corporations like Uber and Google. While part of an Epstein-related investigation dump (likely related to MIT Media Lab or scientific funding), this specific page contains no mention of Jeffrey Epstein or Ghislaine Maxwell.
This document appears to be a page (177) from an academic book or article discussing art history, specifically focusing on cybernetic art, kinetic sculptures, and the shift from 1960s male-dominated cybernetics to 1990s feminist techno-critique. It mentions various artists including Lynn Hershman Leeson and Judith Barry. While the content is purely academic, the page bears the Bates stamp 'HOUSE_OVERSIGHT_016980', indicating it was included as part of a document production for a House Oversight Committee investigation.
This text explores the philosophical and artistic implications of cybernetics, contrasting "right cybernetics" (corporate and military AI) with "left cybernetics" (ecological and trans-species understanding). Drawing on the work of Gregory Bateson and various artists, it argues for a view of the mind as immanent and interconnected with the environment, rather than confined to the individual cranium.
This document appears to be a page from an academic text or book regarding art history, specifically focusing on cybernetic art, installation art, and feminist technoscience criticism. It discusses the evolution from 1960s male-dominated kinetic art to 1990s feminist critiques involving AI and robotics. While stamped 'HOUSE_OVERSIGHT,' suggesting it is part of a government production (likely related to the Epstein investigation into banks/finances), the content itself is purely academic and contains no direct references to Jeffrey Epstein, flight logs, or financial transactions.
This text explores the history of cybernetic art in the 1970s, focusing on the shift toward "machinic ecosystems" where viewers became active participants. It details specific works like Edward Ihnatowicz's "Senster" and Tsai's cybernetic sculptures, analyzing how these machines were programmed to interact with human behaviors and environmental stimuli.
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