<?xml version="1.0" encoding="utf-8"?><feed xmlns="http://www.w3.org/2005/Atom" ><generator uri="https://jekyllrb.com/" version="4.4.1">Jekyll</generator><link href="https://collopy.net/feed/research/consciousness.xml" rel="self" type="application/atom+xml" /><link href="https://collopy.net/" rel="alternate" type="text/html" /><updated>2026-07-08T11:07:54-07:00</updated><id>https://collopy.net/feed/research/consciousness.xml</id><title type="html">Peter Sachs Collopy</title><author><name>Peter Sachs Collopy</name></author><entry><title type="html">Between Paradigms: Video and Art Therapy</title><link href="https://collopy.net/writing/2024/between-paradigms/" rel="alternate" type="text/html" title="Between Paradigms: Video and Art Therapy" /><published>2024-05-24T00:00:00-07:00</published><updated>2024-05-24T00:00:00-07:00</updated><id>https://collopy.net/writing/2024/between-paradigms</id><content type="html" xml:base="https://collopy.net/writing/2024/between-paradigms/"><![CDATA[As therapists developed the new field of video therapy in the 1950s and 1960s, they rarely interacted with the parallel field of art therapy or with the concept of creative expression at its core. Video therapy mostly involved recording and playing back talk therapy sessions. In only a few places did it become something like art therapy, a practice in which patients themselves made art to process their own experiences. This chapter traces how that resemblance developed at New York’s Village Project and elsewhere in the United States from about 1967 to 1975. It considers how painter Frank Gillette and philosopher-sociologist Victor Gioscia in particular drew from both modernist and emerging postmodernist intellectual currents, particularly the boundary-crossing work of media theorist Marshall McLuhan, to navigate the intersections of disciplines.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="cybernetics" /><category term="psychiatry" /><category term="consciousness" /><category term="visual culture" /><category term="human sciences" /><category term="medicine" /><category term="art" /><category term="drugs" /><category term="anarchism" /><category term="politics" /><category term="conservatism" /><category term="technopolitics" /><category term="philosophy" /><category term="New York" /><summary type="html"><![CDATA[As therapists developed the new field of video therapy in the 1950s and 1960s, they rarely interacted with the parallel field of art therapy or with the concept of creative expression at its core. Video therapy mostly involved recording and playing back talk therapy sessions. In only a few places did it become something like art therapy, a practice in which patients themselves made art to process their own experiences. This chapter traces how that resemblance developed at New York’s Village Project and elsewhere in the United States from about 1967 to 1975. It considers how painter Frank Gillette and philosopher-sociologist Victor Gioscia in particular drew from both modernist and emerging postmodernist intellectual currents, particularly the boundary-crossing work of media theorist Marshall McLuhan, to navigate the intersections of disciplines.]]></summary></entry><entry><title type="html">“Video Is as Powerful as LSD”: Electronics and Psychedelics as Technologies of Consciousness</title><link href="https://collopy.net/writing/2023/video-is-as-powerful-as-lsd/" rel="alternate" type="text/html" title="“Video Is as Powerful as LSD”: Electronics and Psychedelics as Technologies of Consciousness" /><published>2023-11-21T00:00:00-08:00</published><updated>2023-11-21T00:00:00-08:00</updated><id>https://collopy.net/writing/2023/video-is-as-powerful-as-lsd</id><content type="html" xml:base="https://collopy.net/writing/2023/video-is-as-powerful-as-lsd/"><![CDATA[<p>In the middle of the twentieth century, the invention and availability of new psychedelic drugs, and the growing cultural discourse around them, coincided with those of television, videotape, and computing. The technologies of psychedelics and electronics grew up together, and those using or thinking about one often implicated the other. When Sony and other Japanese manufacturers developed new portable videotape recorders in the late 1960s, for example, new communities of artists and tinkerers emerged around them, first in the US and Canada and then in Europe, Asia, North Africa, and Latin America. For the first time, declared these enthusiasts, many people could make their own television, breaking the broadcast oligopoly. In describing the psychological and sociological implications of this new technology, many compared it to psychedelic drugs.<p>

<p class="translation">A mediados del siglo XX, la invención y disponibilidad de nuevas drogas psicodélicas, y el creciente discurso cultural en torno a ellas, coincidieron con los de la televisión, las cintas de vídeo y la informática. Las tecnologías psicodélicas y la electrónica crecieron juntas, y quienes usaban o pensaban en una a menudo implicaban a la otra. Cuando Sony y otros fabricantes japoneses desarrollaron nuevos magnetoscopios portátiles a finales de los años sesenta, por ejemplo, surgieron nuevas comunidades de artistas a su alrededor, primero en Estados Unidos y Canadá, y después en Europa, Asia, el norte de África y América Latina. Por primera vez, declararon estos entusiastas, mucha gente podía hacer su propia televisión, rompiendo el oligopolio de la radiodifusión. Al describir las implicaciones psicológicas y sociológicas de esta nueva tecnología, muchos la compararon con las drogas psicodélicas.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="synthesizers" /><category term="consciousness" /><category term="visual culture" /><category term="science" /><category term="biology" /><category term="evolution" /><category term="human sciences" /><category term="medicine" /><category term="engineering" /><category term="drugs" /><category term="art" /><category term="psychiatry" /><category term="California" /><category term="New York" /><summary type="html"><![CDATA[In the middle of the twentieth century, the invention and availability of new psychedelic drugs, and the growing cultural discourse around them, coincided with those of television, videotape, and computing. The technologies of psychedelics and electronics grew up together, and those using or thinking about one often implicated the other. When Sony and other Japanese manufacturers developed new portable videotape recorders in the late 1960s, for example, new communities of artists and tinkerers emerged around them, first in the US and Canada and then in Europe, Asia, North Africa, and Latin America. For the first time, declared these enthusiasts, many people could make their own television, breaking the broadcast oligopoly. In describing the psychological and sociological implications of this new technology, many compared it to psychedelic drugs. A mediados del siglo XX, la invención y disponibilidad de nuevas drogas psicodélicas, y el creciente discurso cultural en torno a ellas, coincidieron con los de la televisión, las cintas de vídeo y la informática. Las tecnologías psicodélicas y la electrónica crecieron juntas, y quienes usaban o pensaban en una a menudo implicaban a la otra. Cuando Sony y otros fabricantes japoneses desarrollaron nuevos magnetoscopios portátiles a finales de los años sesenta, por ejemplo, surgieron nuevas comunidades de artistas a su alrededor, primero en Estados Unidos y Canadá, y después en Europa, Asia, el norte de África y América Latina. Por primera vez, declararon estos entusiastas, mucha gente podía hacer su propia televisión, rompiendo el oligopolio de la radiodifusión. Al describir las implicaciones psicológicas y sociológicas de esta nueva tecnología, muchos la compararon con las drogas psicodélicas.]]></summary></entry><entry><title type="html">Video and the Self: Closed Circuit | Feedback | Narcissism</title><link href="https://collopy.net/writing/2022/video-and-the-self/" rel="alternate" type="text/html" title="Video and the Self: Closed Circuit | Feedback | Narcissism" /><published>2022-02-24T00:00:00-08:00</published><updated>2022-02-24T00:00:00-08:00</updated><id>https://collopy.net/writing/2022/video-and-the-self</id><content type="html" xml:base="https://collopy.net/writing/2022/video-and-the-self/"><![CDATA[A chapter which I guest edited:

The relationship between video and the self has been one of the central concerns of video theory. Prominent artists such as Vito Acconci, Dan Graham, Joan Jonas, and Bruce Nauman have organized their artistic practice around mediated self-observation, either using video to document and complicate their own expressions of self or building installations with which viewers can see and experience themselves in new ways. Such self-portraiture is the subject of the most widely cited essay in this volume, Rosalind Krauss’s 1976 “Video: The Aesthetics of Narcissism,” and of several essays responding to it.

Even before videotape became an artistic medium in 1965, though, video, self-observation, and narcissism were already the subjects of a theoretical literature produced by psychiatrists and psychologists. If patients saw how disordered they appeared to others, some psychotherapists suggested, they might be motivated to change. Other clinicians rewatched sessions with patients so that either could pause the video to discuss emotions or experiences which they hadn’t articulated, essentially putting themselves back into a moment in the conversation. Some of the most prominent artists and theorists working with video were directly influenced by this video therapy tradition.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="cybernetics" /><category term="consciousness" /><category term="visual culture" /><category term="human sciences" /><category term="medicine" /><category term="art" /><category term="psychiatry" /><summary type="html"><![CDATA[A chapter which I guest edited: The relationship between video and the self has been one of the central concerns of video theory. Prominent artists such as Vito Acconci, Dan Graham, Joan Jonas, and Bruce Nauman have organized their artistic practice around mediated self-observation, either using video to document and complicate their own expressions of self or building installations with which viewers can see and experience themselves in new ways. Such self-portraiture is the subject of the most widely cited essay in this volume, Rosalind Krauss’s 1976 “Video: The Aesthetics of Narcissism,” and of several essays responding to it. Even before videotape became an artistic medium in 1965, though, video, self-observation, and narcissism were already the subjects of a theoretical literature produced by psychiatrists and psychologists. If patients saw how disordered they appeared to others, some psychotherapists suggested, they might be motivated to change. Other clinicians rewatched sessions with patients so that either could pause the video to discuss emotions or experiences which they hadn’t articulated, essentially putting themselves back into a moment in the conversation. Some of the most prominent artists and theorists working with video were directly influenced by this video therapy tradition.]]></summary></entry><entry><title type="html">Electronic Artist Nam June Paik Celebrated in SFMOMA Retrospective</title><link href="https://collopy.net/discussions/2021/nam-june-paik/" rel="alternate" type="text/html" title="Electronic Artist Nam June Paik Celebrated in SFMOMA Retrospective" /><published>2021-07-23T00:00:00-07:00</published><updated>2021-07-23T00:00:00-07:00</updated><id>https://collopy.net/discussions/2021/nam-june-paik</id><content type="html" xml:base="https://collopy.net/discussions/2021/nam-june-paik/"><![CDATA[In the first retrospective of his work on the West Coast, SFMOMA’s current exhibition on electronic art pioneer Nam June Paik features more than 200 works from the artist whose five-decade career “changed the way we look at screens.” One of most acclaimed of the first generation of video artists, Paik’s early work in the 1960s changed perceptions of television, video and the boundary between art and spectator through its integration of camera, video, music and performance. We’ll talk about Paik’s work and legacy, and we’ll hear from contemporary video artists who will discuss Paik’s impact on their own art.]]></content><author><name>Peter Sachs Collopy</name></author><category term="discussions" /><category term="video" /><category term="art" /><category term="visual culture" /><category term="media" /><category term="technology" /><category term="consciousness" /><summary type="html"><![CDATA[In the first retrospective of his work on the West Coast, SFMOMA’s current exhibition on electronic art pioneer Nam June Paik features more than 200 works from the artist whose five-decade career “changed the way we look at screens.” One of most acclaimed of the first generation of video artists, Paik’s early work in the 1960s changed perceptions of television, video and the boundary between art and spectator through its integration of camera, video, music and performance. We’ll talk about Paik’s work and legacy, and we’ll hear from contemporary video artists who will discuss Paik’s impact on their own art.]]></summary></entry><entry><title type="html">The Revolution Will Be Videotaped: Consciousness and Digitization in the History of Video</title><link href="https://collopy.net/presentations/2019/revolution-will-be-videotaped/" rel="alternate" type="text/html" title="The Revolution Will Be Videotaped: Consciousness and Digitization in the History of Video" /><published>2019-04-08T00:00:00-07:00</published><updated>2019-04-08T00:00:00-07:00</updated><id>https://collopy.net/presentations/2019/revolution-will-be-videotaped</id><content type="html" xml:base="https://collopy.net/presentations/2019/revolution-will-be-videotaped/"><![CDATA[{% include youtube.html id=page.youtube %}]]></content><author><name>Peter Sachs Collopy</name></author><category term="presentations" /><category term="video" /><category term="computing" /><category term="analog/digital" /><category term="consciousness" /><category term="synthesizers" /><category term="visual culture" /><category term="art" /><category term="media" /><category term="technology" /><category term="human sciences" /><category term="medicine" /><category term="science" /><category term="psychiatry" /><summary type="html"><![CDATA[]]></summary></entry><entry><title type="html">Ego Me Absolvo: Catholicism as Prototype in Paul Ryan’s Experimental Video</title><link href="https://collopy.net/writing/2016/ego-me-absolvo/" rel="alternate" type="text/html" title="Ego Me Absolvo: Catholicism as Prototype in Paul Ryan’s Experimental Video" /><published>2016-07-01T00:00:00-07:00</published><updated>2016-07-01T00:00:00-07:00</updated><id>https://collopy.net/writing/2016/ego-me-absolvo</id><content type="html" xml:base="https://collopy.net/writing/2016/ego-me-absolvo/"><![CDATA[In May 1969, a video installation entitled <cite>Everyman’s Moebius Strip</cite> appeared at the Howard Wise Gallery show <cite>TV as a Creative Medium</cite> in New York. When an individual entered a curtained booth, they found a video camera, a blank monitor, and an audio recording prompting participation. “React to the following people,” spoke the recording. “Nixon, your mother, Eldridge Cleaver, Teddy Kennedy, you.… For the next ten seconds do what you want.… Now, let your face be sad.… Turn away from the camera.… Now turn back.… Press the stop button.… Thank you.” After two minutes of this guidance, an attendant played a videotape of the viewer’s face back for them. Like its topological namesake, explained the artist, <cite>Everyman’s Moebius Strip</cite> “is used to take in our outside,” providing the viewer “one continuous (sur)face with nothing to hide.” Since each recording taped over the previous one, each participant received a unique, private experience of communing with the self.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="video" /><category term="art" /><category term="visual culture" /><category term="cybernetics" /><category term="consciousness" /><category term="religion" /><category term="Christianity" /><category term="psychiatry" /><category term="New York" /><summary type="html"><![CDATA[In May 1969, a video installation entitled Everyman’s Moebius Strip appeared at the Howard Wise Gallery show TV as a Creative Medium in New York. When an individual entered a curtained booth, they found a video camera, a blank monitor, and an audio recording prompting participation. “React to the following people,” spoke the recording. “Nixon, your mother, Eldridge Cleaver, Teddy Kennedy, you.… For the next ten seconds do what you want.… Now, let your face be sad.… Turn away from the camera.… Now turn back.… Press the stop button.… Thank you.” After two minutes of this guidance, an attendant played a videotape of the viewer’s face back for them. Like its topological namesake, explained the artist, Everyman’s Moebius Strip “is used to take in our outside,” providing the viewer “one continuous (sur)face with nothing to hide.” Since each recording taped over the previous one, each participant received a unique, private experience of communing with the self.]]></summary></entry><entry><title type="html">Infolding the Self: From Video Therapy to Video Art</title><link href="https://collopy.net/presentations/2015/infolding-the-self/" rel="alternate" type="text/html" title="Infolding the Self: From Video Therapy to Video Art" /><published>2015-11-04T00:00:00-08:00</published><updated>2015-11-04T00:00:00-08:00</updated><id>https://collopy.net/presentations/2015/infolding-the-self</id><content type="html" xml:base="https://collopy.net/presentations/2015/infolding-the-self/"><![CDATA[{% include youtube.html id=page.youtube %}]]></content><author><name>Peter Sachs Collopy</name></author><category term="presentations" /><category term="video" /><category term="consciousness" /><category term="visual culture" /><category term="art" /><category term="media" /><category term="technology" /><category term="human sciences" /><category term="medicine" /><category term="science" /><category term="psychiatry" /><summary type="html"><![CDATA[]]></summary></entry><entry><title type="html">Video and Technologies of Consciousness: An Interview with Peter Sachs Collopy</title><link href="https://collopy.net/discussions/2015/video-and-technologies/" rel="alternate" type="text/html" title="Video and Technologies of Consciousness: An Interview with Peter Sachs Collopy" /><published>2015-11-02T00:00:00-08:00</published><updated>2015-11-02T00:00:00-08:00</updated><id>https://collopy.net/discussions/2015/video-and-technologies</id><content type="html" xml:base="https://collopy.net/discussions/2015/video-and-technologies/"><![CDATA[**We were really struck by your description of early video as a technology of consciousness. Can you tell us a bit more about this idea? Did early users of portable video technology use video in order to witness events?**

Absolutely! Technology of consciousness is a term I found in communications scholar Fred Turner’s work, particularly his essay on the composer Paul DeMarinis. Every technology affects how we think and experience the world, but I use this phrase specifically to refer to technologies whose users understood that they were doing so. The quintessential examples are psychedelic drugs, which people use specifically in order to alter their consciousness. For many videographers in the 1960s and 1970, video was like a drug in that it helped a person see the world in new ways; a cartoon in the magazine Radical Software proclaimed, for example, that “Video is as powerful as LSD.”]]></content><author><name>Peter Sachs Collopy</name></author><category term="discussions" /><category term="video" /><category term="consciousness" /><category term="visual culture" /><category term="analog/digital" /><category term="media" /><category term="technology" /><summary type="html"><![CDATA[We were really struck by your description of early video as a technology of consciousness. Can you tell us a bit more about this idea? Did early users of portable video technology use video in order to witness events? Absolutely! Technology of consciousness is a term I found in communications scholar Fred Turner’s work, particularly his essay on the composer Paul DeMarinis. Every technology affects how we think and experience the world, but I use this phrase specifically to refer to technologies whose users understood that they were doing so. The quintessential examples are psychedelic drugs, which people use specifically in order to alter their consciousness. For many videographers in the 1960s and 1970, video was like a drug in that it helped a person see the world in new ways; a cartoon in the magazine Radical Software proclaimed, for example, that “Video is as powerful as LSD.”]]></summary></entry><entry><title type="html">The Revolution Will Be Videotaped: Making a Technology of Consciousness in the Long 1960s</title><link href="https://collopy.net/writing/2015/revolution-will-be-videotaped/" rel="alternate" type="text/html" title="The Revolution Will Be Videotaped: Making a Technology of Consciousness in the Long 1960s" /><published>2015-07-13T00:00:00-07:00</published><updated>2015-07-13T00:00:00-07:00</updated><id>https://collopy.net/writing/2015/revolution-will-be-videotaped</id><content type="html" xml:base="https://collopy.net/writing/2015/revolution-will-be-videotaped/"><![CDATA[In the late 1960s, video recorders became portable, leaving the television studio for the art gallery, the psychiatric hospital, and the streets. The technology of recording moving images on magnetic tape, previously of use only to broadcasters, became a tool for artistic expression, psychological experimentation, and political revolution. Video became portable not only materially but also culturally; it could be carried by an individual, but it could also be carried into institutions from the RAND Corporation to the Black Panther Party, from psychiatrists’ offices to art galleries, and from prisons to state-funded media access centers. Between 1967 and 1973, American videographers across many of these institutional contexts participated in a common discourse, sharing not only practical knowledge about the uses and maintenance of video equipment, but visions of its social significance, psychological effects, and utopian future. For many, video was a technology which would bring about a new kind of awareness, the communal consciousness that—influenced by the evolutionary philosophy of Henri Bergson—Pierre Teilhard de Chardin referred to as the noosphere and Marshall McLuhan as the global village. Experimental videographers across several fields were also influenced by the psychedelic research of the 1950s and early 1960s, by the development of cybernetics as a science of both social systems and interactions between humans and machines, by anthropology and humanistic psychology, and by revolutionary political movements in the United States and around the world.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="politics" /><category term="technology" /><category term="media" /><category term="consciousness" /><category term="cybernetics" /><category term="video" /><category term="art" /><category term="visual culture" /><category term="analog/digital" /><category term="synthesizers" /><category term="evolution" /><category term="war" /><category term="technopolitics" /><category term="science" /><category term="human sciences" /><category term="medicine" /><category term="engineering" /><category term="drugs" /><category term="anthropology" /><category term="religion" /><category term="Christianity" /><category term="utopianism" /><category term="communism" /><category term="psychiatry" /><category term="fascism" /><category term="New York" /><category term="California" /><category term="biology" /><category term="philosophy" /><summary type="html"><![CDATA[In the late 1960s, video recorders became portable, leaving the television studio for the art gallery, the psychiatric hospital, and the streets. The technology of recording moving images on magnetic tape, previously of use only to broadcasters, became a tool for artistic expression, psychological experimentation, and political revolution. Video became portable not only materially but also culturally; it could be carried by an individual, but it could also be carried into institutions from the RAND Corporation to the Black Panther Party, from psychiatrists’ offices to art galleries, and from prisons to state-funded media access centers. Between 1967 and 1973, American videographers across many of these institutional contexts participated in a common discourse, sharing not only practical knowledge about the uses and maintenance of video equipment, but visions of its social significance, psychological effects, and utopian future. For many, video was a technology which would bring about a new kind of awareness, the communal consciousness that—influenced by the evolutionary philosophy of Henri Bergson—Pierre Teilhard de Chardin referred to as the noosphere and Marshall McLuhan as the global village. Experimental videographers across several fields were also influenced by the psychedelic research of the 1950s and early 1960s, by the development of cybernetics as a science of both social systems and interactions between humans and machines, by anthropology and humanistic psychology, and by revolutionary political movements in the United States and around the world.]]></summary></entry><entry><title type="html">Video Synthesizers: From Analog Computing to Digital Art</title><link href="https://collopy.net/writing/2014/video-synthesizers/" rel="alternate" type="text/html" title="Video Synthesizers: From Analog Computing to Digital Art" /><published>2014-12-11T00:00:00-08:00</published><updated>2014-12-11T00:00:00-08:00</updated><id>https://collopy.net/writing/2014/video-synthesizers</id><content type="html" xml:base="https://collopy.net/writing/2014/video-synthesizers/"><![CDATA[In the late 1960s, artists and engineers began building increasingly sophisticated video synthesizers, machines that produced abstract or distorted images by electronically manipulating either a video signal or the cathode ray tube on which it was displayed. This article explores how experimental videographers modeled video synthesizers on audio synthesizers, conceptualized them as analog computers, and starting in 1973, interfaced them with digital minicomputers.]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="technology" /><category term="media" /><category term="computing" /><category term="video" /><category term="synthesizers" /><category term="consciousness" /><category term="art" /><category term="visual culture" /><category term="analog/digital" /><category term="engineering" /><category term="drugs" /><category term="utopianism" /><category term="New York" /><summary type="html"><![CDATA[In the late 1960s, artists and engineers began building increasingly sophisticated video synthesizers, machines that produced abstract or distorted images by electronically manipulating either a video signal or the cathode ray tube on which it was displayed. This article explores how experimental videographers modeled video synthesizers on audio synthesizers, conceptualized them as analog computers, and starting in 1973, interfaced them with digital minicomputers.]]></summary></entry><entry><title type="html">The Revolution Will Be Videotaped: Making a Technology of Consciousness in the Long 1960s</title><link href="https://collopy.net/presentations/2014/revolution-will-be-videotaped/" rel="alternate" type="text/html" title="The Revolution Will Be Videotaped: Making a Technology of Consciousness in the Long 1960s" /><published>2014-08-01T00:00:00-07:00</published><updated>2014-08-01T00:00:00-07:00</updated><id>https://collopy.net/presentations/2014/revolution-will-be-videotaped</id><content type="html" xml:base="https://collopy.net/presentations/2014/revolution-will-be-videotaped/"><![CDATA[{% include youtube.html id=page.youtube %}

In the 1960s, video recording technology became portable. Tools that had previously been available only in television studios turned up in art galleries, in psychiatric hospitals, and in the Black Panther Party. This cultural portability was facilitated by a material portability: the technology got smaller, it got cheaper, it got lighter. For instance, this 1970 Sony camera is part of a piece of equipment called a portapak. Between the camera and the deck it was a complete video production studio that was light enough for somebody to carry around and was battery-powered. These recorders used half-inch open reel magnetic tape.

Many of the people using these new video technologies, from artists to psychiatrists to political activists, were particularly interested in what video meant for consciousness. They were interested in the experience of watching yourself on a television monitor. For some psychiatrists this was a self-confrontation experience that could force a person to confront how other people saw them and not merely experience themselves through their own impressions. For some artists this was a meditative experience, that watching yourself could be a path to holistic self-understanding.

Many of these experimental videographers were also interested in pointing cameras at their own monitors, and in the kaleidoscopic visual effects that appeared when they did this. And they referred to both these kaleidoscopic effects, this practice of pointing cameras at monitors, and to watching oneself on a monitor, as feedback, borrowing a term from the field of cybernetics. This idea of taking the message of a system that comes out of that system, like what you see coming out of a television, and putting it back into that system in order to make it reflect upon itself was something that they understood as both an optical and electronic phenomenon that could be harnessed to aesthetic ends, and as a psychological phenomenon that could lead to new kinds of human understanding.

They also thought about this on a broader social scale. If you could watch yourself and understand yourself better, perhaps watching other people, or watching the world through other people's eyes—watching video that they had shot—could help you understand others better. And this seemed a path to a kind of universal consciousness that had been described by Pierre Teilhard de Chardin as the noosphere—the global mind—or by Marshall McLuhan, who as a media theorist was a big influence on experimental video, as the global village.]]></content><author><name>Peter Sachs Collopy</name></author><category term="presentations" /><category term="video" /><category term="consciousness" /><category term="visual culture" /><category term="cybernetics" /><category term="media" /><category term="technology" /><category term="art" /><summary type="html"><![CDATA[In the 1960s, video recording technology became portable. Tools that had previously been available only in television studios turned up in art galleries, in psychiatric hospitals, and in the Black Panther Party. This cultural portability was facilitated by a material portability: the technology got smaller, it got cheaper, it got lighter. For instance, this 1970 Sony camera is part of a piece of equipment called a portapak. Between the camera and the deck it was a complete video production studio that was light enough for somebody to carry around and was battery-powered. These recorders used half-inch open reel magnetic tape. Many of the people using these new video technologies, from artists to psychiatrists to political activists, were particularly interested in what video meant for consciousness. They were interested in the experience of watching yourself on a television monitor. For some psychiatrists this was a self-confrontation experience that could force a person to confront how other people saw them and not merely experience themselves through their own impressions. For some artists this was a meditative experience, that watching yourself could be a path to holistic self-understanding. Many of these experimental videographers were also interested in pointing cameras at their own monitors, and in the kaleidoscopic visual effects that appeared when they did this. And they referred to both these kaleidoscopic effects, this practice of pointing cameras at monitors, and to watching oneself on a monitor, as feedback, borrowing a term from the field of cybernetics. This idea of taking the message of a system that comes out of that system, like what you see coming out of a television, and putting it back into that system in order to make it reflect upon itself was something that they understood as both an optical and electronic phenomenon that could be harnessed to aesthetic ends, and as a psychological phenomenon that could lead to new kinds of human understanding. They also thought about this on a broader social scale. If you could watch yourself and understand yourself better, perhaps watching other people, or watching the world through other people’s eyes—watching video that they had shot—could help you understand others better. And this seemed a path to a kind of universal consciousness that had been described by Pierre Teilhard de Chardin as the noosphere—the global mind—or by Marshall McLuhan, who as a media theorist was a big influence on experimental video, as the global village.]]></summary></entry><entry><title type="html">The Brainwashing of the Cleveland 5</title><link href="https://collopy.net/writing/2012/cleveland-5/" rel="alternate" type="text/html" title="The Brainwashing of the Cleveland 5" /><published>2012-06-04T00:00:00-07:00</published><updated>2012-06-04T00:00:00-07:00</updated><id>https://collopy.net/writing/2012/cleveland-5</id><content type="html" xml:base="https://collopy.net/writing/2012/cleveland-5/"><![CDATA[<p>On April 30, the FBI arrested five men affiliated with Occupy Cleveland. According to <a href="http://s3.documentcloud.org/documents/352006/bridge-bomb-plot-new-charges.pdf">Special Agent Ryan M. Taylor’s affidavit</a>, Brandon Baxter, Anthony Hayne, Joshua Stafford, Connor Stevens, and Douglas Wright were apprehended “after placing two inert IEDs at the base of the Brecksville-Northfield High Level Bridge and attempting repeatedly to detonate those IEDs.” They did so by dialing a phone number to trigger the devices—a phone number provided by the undercover FBI agent who also sold them the fake explosives.</p>
<!--more-->
<p>The <a href="http://cleveland5justice.org/">Cleveland 5</a> face life in prison on three charges, to which they’ve pled not guilty: attempted use of a weapon of mass destruction to destroy property used in interstate commerce, conspiracy to use a weapon of mass destruction to destroy property used in interstate commerce, and attempted use of an explosive device to damage or destroy real property used in interstate commerce. Judge David Dowd, Jr. <a href="http://www.cleveland.com/metro/index.ssf/2012/05/judges_proposal_of_sept_11_tri.html">initially proposed</a> a trial date of September 11, then settled on September 17 after defense attorneys protested.</p>
<p>This was the first time FBI strategies of infiltration and escalation resulted in charges against participants in the Occupy movement. In this case, the agency may be responsible not only for entrapment but for even more egregious malfeasance which amounts to brainwashing.</p>
<p>On April 29—the day before the Cleveland arrests—<cite>The New York Times</cite> published an opinion piece by journalist David K. Shipler under the headline “<a href="http://www.nytimes.com/2012/04/29/opinion/sunday/terrorist-plots-helped-along-by-the-fbi.html?pagewanted=all">Terrorist Plots, Hatched by the F.B.I.</a>” Shipler described an increasingly utilized FBI tactic of fostering terrorist plots in order to catch potential criminals. “Typically,” writes Shipler, “the stings initially target suspects for pure speech—comments to an informer outside a mosque, angry posting on websites, emails with radicals overseas—then woo them into relationships with informers, who are often convicted felons working in exchange for leniency.” Those subjected to this tactic lack the knowledge, connections, and materials necessary to commit a crime, so the FBI supplies them. James Cromitie, for example, was convicted of attempting to bomb synagogues and shoot down military aircraft. “Only the government could have made a ‘terrorist’ out of Mr. Cromitie, whose buffoonery is positively Shakespearean in its scope,” said Judge Colleen McMahon, although she nonetheless sentenced him to 25 years in prison. “Of the 22 most frightening plans for attacks since 9/11 on American soil,” Shipler concluded, “14 were developed in sting operations.”</p>
<p>As in their entrapment of Muslims, the FBI seems to have picked low-hanging fruit in Cleveland: naive young men seeking to make a difference in the world. Even Taylor’s affidavit makes it clear these alleged conspirators were coached extensively by felon <a href="http://www.thesmokinggun.com/documents/fbi-informant-shaquille-azir-756123">Shaquille Azir</a>, an FBI informant similar to those described by Shipler. <a href="http://www.greenisthenewred.com/blog/fbi-anarchist-terrorists-may-day-ohio/5988/">Will Potter writes</a> that “what’s troubling is that the government has had a heavy hand in creating the very plot it thwarted. And on top of that, the defendants, by the admission of the FBI, said repeatedly that they had no intention of harming anyone.” Potter compares the case to that of environmentalist <a href="http://supporteric.org/">Eric McDavid</a>, who was also provided with plans, supplies, and encouragement by an FBI infiltrator.</p>
<p>Azir supplied more than encouragement and fake explosives, however. Based on interviews with friends and family members of the Cleveland 5, <a href="http://www.alternet.org/story/155581/has_the_fbi_launched_a_war_of_entrapment_against_the_occupy_movement?page=entire">Arun Gupta concludes</a> that Azir “provided the five with jobs, money, a place to live, a friendly ear, beer, pot, the prescription stimulant Adderall, and most significant, the ideas and means to carry out a plot conceived by the Bureau itself.” Similarly, <a href="http://www.counterpunch.org/2012/05/21/police-entrapment-of-nonviolent-movements/">Jake Olzen writes</a>, based on an interview with Cleveland activist Richard Schulte, that “Azir would give them a case of beer in the morning,… have them work outside on houses all day, and then give them a case of beer at night. He gave them marijuana and would wear them down by keeping them up late into the night with drinking and conversation—all the while urging them to break away from other groups, keep their arrangement secret and not to trust other activists.”</p>
<p>This treatment was brainwashing—or, as it is sometimes termed, coercive persuasion. The new social environment Azir created meets several of the conditions psychologist Margaret Singer associates with such thought-reform in her book <cite><a href="https://openlibrary.org/works/OL3264926W/Cults_in_Our_Midst">Cults in Our Midst</a></cite>: Azir separated the alleged conspirators from their support networks by suggesting outsiders couldn’t be trusted (a tactic Schulte provocatively describes as using “<a href="http://security.resist.ca/personal/culture.shtml">security culture</a> against activists”), controlled their time by providing them with long days of work, and kept them unaware they were being manipulated by presenting himself as a friend and mentor. According to Gupta, friends described Stafford and Baxter as “highly impressionable,” and Azir took advantage of their vulnerability. Sociologist Richard Ofshe (quoted in <cite><a href="https://openlibrary.org/works/OL6025390W/Brainwash">Brainwash</a></cite> by Dominic Streatfeild) explains that people subjected to such manipulation “make bad decisions because they find themselves in situations that are built to get them to make those decisions.”</p>
<p>In addition to controlling their social environment, Azir manipulated the group physiologically to make them more suggestible. Fatigue obviously helped, and marijuana may have as well: <a href="http://www.ncbi.nlm.nih.gov/sites/entrez?Cmd=Retrieve&amp;list_uids=417375">Researchers in the 1970s found</a> that “the drug caused an increase in suggestibility similar to that produced by the induction of hypnosis.” Similarly, the National Commission on Marihuana and Drug Abuse’s 1972 report, “Marijuana: A Signal of Misunderstanding,” <a href="http://www.druglibrary.org/schaffer/Library/studies/nc/nc1g_8.htm">stated</a> that “cannabis intoxication produces a heightened suggestibility.” I don’t know if this phenomenon has been exploited by the FBI before. According to John Marks’ classic <cite><a href="https://openlibrary.org/works/OL4097029W/The_search_for_the_Manchurian_candidate">The Search for the “Manchurian Candidate,”</a></cite> though, the Office of Strategic Services used cannabis as a truth drug during World War II. The CIA, its successor agency, later experimented more extensively.</p>
<p>It is not clear whether Azir decided to brainwash the alleged conspirators himself or was instructed to do so by his FBI handlers, particularly since <a href="http://tpmmuckraker.talkingpointsmemo.com/2012/05/fbi_says_it_isnt_investigating_occupy_cleveland_as.php">the agency denies</a> telling him to hire them for construction work. If Azir provided the group with drugs without FBI authorization, though, his illegal activity would represent egregious loss of control over an informant; according to <a href="https://www.fas.org/irp/agency/doj/fbi/chs-guidelines.pdf">guidelines from 2006</a>, informants may distribute controlled substances only with written authorization from both the Special Agent in Charge and a Chief Federal Prosecutor.</p>
<p>At least one of the Cleveland 5 resisted Azir’s attempt to recruit him: On April 29, according to Taylor’s affidavit, “Stevens advised he did not want to be part of the project, but still wanted to work on [Azir’s] houses. [Azir] told Wright to have Stevens call him,” and apparently persuaded him to participate.</p>
<p>That the alleged conspirators required such persuasion undermines the FBI’s claim that they are dangerous criminals. Specifically, it demonstrates that they were not predisposed to commit the crime, and thus that the case against them constitutes entrapment even under the <a href="http://www.justice.gov/usao/eousa/foia_reading_room/usam/title9/crm00645.htm">narrow definition</a> prevailing in case law.</p>
<p>&nbsp;</p>
<p><i>Two disclaimers: First, this essay represents a historian’s analysis, not legal advice, and certainly not the opinions of the Cleveland 5 or their lawyers. Second, the Cleveland 5 include friends of friends of mine. As <a href="http://www.salon.com/2012/05/01/fbi_heorically_locks_up_ridiculous_anarchists_on_may_day/singleton/">Alex Pareene writes</a>	of this case, “Someday all Americans, regardless of creed or color, will have their circle of friends secretly infiltrated by a paid informant.”</i></p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="anarchism" /><category term="consciousness" /><category term="politics" /><category term="drugs" /><summary type="html"><![CDATA[On April 30, the FBI arrested five men affiliated with Occupy Cleveland. According to Special Agent Ryan M. Taylor’s affidavit, Brandon Baxter, Anthony Hayne, Joshua Stafford, Connor Stevens, and Douglas Wright were apprehended “after placing two inert IEDs at the base of the Brecksville-Northfield High Level Bridge and attempting repeatedly to detonate those IEDs.” They did so by dialing a phone number to trigger the devices—a phone number provided by the undercover FBI agent who also sold them the fake explosives.]]></summary></entry><entry><title type="html">Wipe Cycle: Feedback and Experimental Video</title><link href="https://collopy.net/presentations/2012/wipe-cycle/" rel="alternate" type="text/html" title="Wipe Cycle: Feedback and Experimental Video" /><published>2012-05-12T00:00:00-07:00</published><updated>2012-05-12T00:00:00-07:00</updated><id>https://collopy.net/presentations/2012/wipe-cycle</id><content type="html" xml:base="https://collopy.net/presentations/2012/wipe-cycle/"><![CDATA[{% include youtube.html id=page.youtube %}]]></content><author><name>Peter Sachs Collopy</name></author><category term="presentations" /><category term="video" /><category term="consciousness" /><category term="visual culture" /><category term="art" /><category term="cybernetics" /><category term="media" /><category term="technology" /><category term="New York" /><summary type="html"><![CDATA[]]></summary></entry><entry><title type="html">History of Cybernetics Bibliography</title><link href="https://collopy.net/writing/2012/cybernetics-bibliography/" rel="alternate" type="text/html" title="History of Cybernetics Bibliography" /><published>2012-02-29T00:00:00-08:00</published><updated>2012-02-29T00:00:00-08:00</updated><id>https://collopy.net/writing/2012/cybernetics-bibliography</id><content type="html" xml:base="https://collopy.net/writing/2012/cybernetics-bibliography/"><![CDATA[<p>This is a bibliography of historical and sociological works on cybernetics, a science of “control and communication in the animal and the machine” which flourished from World War II into the 1970s.</p>
<!--more-->
<p>If you’ve come here after asking yourself (or Google) what cybernetics is, I recommend starting with Bernard Geoghegan and Benjamin Peters’ entry “<a href="https://doi.org/10.1002/9781118766804.wbiect041">Cybernetics</a>,” from the <cite>International Encyclopedia of Communication Theory and Philosophy</cite>, and Geoffrey Bowker’s “<a href="https://www.jstor.org/stable/285691">How to Be Universal: Some Cybernetic Strategies, 1943–70</a>.” Ronald Kline’s <cite><a href="https://www.worldcat.org/title/cybernetics-moment-or-why-we-call-our-age-the-information-age/oclc/890127838">The Cybernetics Moment</a></cite> is the synthetic history the field has been waiting for. William Aspray’s “<a href="https://doi.org/10.1109/MAHC.1985.10018">The Scientific Conceptualization of Information: A Survey</a>” places cybernetics in the context of developments in computing and information theory, while Peter Galison’s “<a href="https://www.jstor.org/stable/1343893">The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision</a>” is a classic account of the field’s military origins. The texts listed below survey the many forms cybernetics took in the decades that followed.</p>
	
<p>This bibliography is limited in three ways: It includes only books and articles which focus on cybernetics rather than the related histories of cyborgs and information theory; it includes only texts in English, though there are also substantial literatures on the subject in other languages; and it excludes articles and dissertations that have been superseded by books by the same authors. Within these limitations, I welcome references to additional books and articles. I last updated this list in April 2026.</p>

<h3 id="big">The Big Picture <small>(but mostly Anglo-American)</small></h3>
<ol class="start">
	<li>A. A. Verveen, “<a href="https://doi.org/10.1016/0025-5564(71)90004-6">In Search of Processes: The Early History of Cybernetics</a>,” <cite>Mathematical Biosciences</cite> 11 (1971).
	<li>Michael Apter, “Cybernetics: A Case Study of a Scientific Subject-Complex,” in <cite><a href="https://www.worldcat.org/title/sociology-of-science/oclc/591825">The Sociology of Science</a></cite>, edited by Paul Halmos (University of Keele, 1972).</li>
	<li>Robert Lilienfeld, <cite><a href="https://www.worldcat.org/title/rise-of-systems-theory-an-ideological-analysis/oclc/3275488">The Rise of Systems Theory: An Ideological Analysis</a></cite> (Wiley, 1978).</li>
	<li><a href="http://www.ics.uci.edu/~gbowker/">Geoffrey Bowker</a>, “<a href="https://www.jstor.org/stable/285691">How to Be Universal: Some Cybernetic Strategies, 1943–70</a>,” <cite>Social Studies of Science</cite> 23 (1993).</li>
	<li><a href="http://nkhayles.com/">Katherine Hayles</a>, <cite><a href="https://www.worldcat.org/title/how-we-became-posthuman-virtual-bodies-in-cybernetics-literature-and-informatics/oclc/39539341">How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics</a></cite> (University of Chicago Press, 1999).</li>
	<li>Charles Fran&ccedil;ois, “<a href="https://doi.org/10.1002/(SICI)1099-1743(199905%2F06)16%3A3%3C203%3A%3AAID-SRES210%3E3.0.CO%3B2-1">Systemics and Cybernetics in a Historical Perspective</a>,” <cite>Systems Research and Behavioral Science</cite> 16 (1999).</li>
	<li><a href="http://sonoma.edu/hutchins/faculty/debora-hammond.html">Debora Hammond</a>, <cite><a href="https://www.worldcat.org/title/science-of-synthesis-exploring-the-social-implications-of-general-systems-theory/oclc/939936819">The Science of Synthesis: Exploring the Social Implications of General Systems Theory</a></cite> (University Press of Colorado, 2003).</li>
	<li><a href="http://www.ics.uci.edu/~gbowker/">Geoffrey Bowker</a>, “The Empty Archive: Cybernetics and the 1960s,” in <cite><a href="https://www.worldcat.org/title/memory-practices-in-the-sciences/oclc/60776866">Memory Practices in the Sciences</a></cite> (MIT Press, 2006).</li>
	<li><a href="http://bernardg.com/">Bernard Geoghegan</a>, “<a href="https://doi.org/10.1109/MAHC.2008.9">The Historiographic Conceptualization of Information: A Critical Survey</a>,” <cite>IEEE Annals of the History of Computing</cite> 30 (2008).</li>
	<li><a href="http://english.emory.edu/home/people/faculty/faculty_pages/johnston.html">John Johnston</a>, <cite><a href="https://www.worldcat.org/title/allure-of-machinic-life-cybernetics-artificial-life-and-the-new-ai/oclc/255975196">The Allure of Machinic Life: Cybernetics, Artificial Life, and the New AI</a></cite> (MIT Press, 2008).</li>
	<li>Philipp Aumann, “<a href="https://doi.org/10.1109/MAHC.2011.78">The Distinctiveness of a Unifying Science: Cybernetics’ Way to West Germany</a>” <cite>IEEE Annals of the History of Computing</cite> 33 (2011).</li>
	<li><a href="http://orithalpern.net/">Orit Halpern</a>, “<a href="https://doi.org/10.1179/0308018812Z.00000000018">Cybernetic Sense</a>,” <cite>Interdisciplinary Science Reviews</cite> 37 (2012).</li>
	<li><a href="http://orithalpern.net/">Orit Halpern</a>, <cite><a href="https://www.worldcat.org/title/beautiful-data-a-history-of-vision-and-reason-since-1945/oclc/875884461">Beautiful Data: A History of Vision and Reason since 1945</a></cite> (Duke University Press, 2014).</li>
	<li><a href="http://sts.cornell.edu/people/Kline.cfm">Ronald Kline</a>, <cite><a href="https://www.worldcat.org/title/cybernetics-moment-or-why-we-call-our-age-the-information-age/oclc/890127838">The Cybernetics Moment; or, Why We Call Our Age the Information Age</a></cite> (Johns Hopkins University Press, 2015).</li>
	<li><a href="http://medientheorie.com/">Claus Pias</a>, “The Age of Cybernetics,” in <cite><a href="https://www.worldcat.org/title/cybernetics-the-macy-conferences-1946-1953-transactions/oclc/945975579">Cybernetics: The Macy Conferences, 1946–1954; The Complete Transactions</a></cite> (diaphanes, 2016).</li>
	<li><a href="https://ridt.co/">Thomas Rid</a>, <cite><a href="https://www.worldcat.org/title/rise-of-the-machines-a-cybernetic-history/oclc/921868924">Rise of the Machines: A Cybernetic History</a></cite> (Norton, 2016).</li>
	<li><a href="http://bernardg.com/">Bernard Geoghegan</a> and <a href="https://petersbenjamin.wordpress.com/">Benjamin Peters</a>, “<a href="https://doi.org/10.1002/9781118766804.wbiect041">Cybernetics</a>,” <cite>International Encyclopedia of Communication Theory and Philosophy</cite> (2016).</li>
	<li><a href="http://elizabethpetrick.com">Elizabeth Petrick</a>, “<a href="https://doi.org/10.1177/0162243919881212">Building the Black Box: Cyberneticians and Complex Systems</a>,” <cite>Science, Technology, and Human Values</cite> (2019).</li>
</ol>

<h3 id="origins">Origins</h3>
<ol class="continue">
	<li>Otto Mayr, <cite><a href="https://www.worldcat.org/title/origins-of-feedback-control/oclc/102836">The Origins of Feedback Control</a></cite> (MIT Press, 1970).</li>
	<li><a href="https://www.ischool.utexas.edu/~bill/">William Aspray</a>, “<a href="https://doi.org/10.1109/MAHC.1985.10018">The Scientific Conceptualization of Information: A Survey</a>,” <cite>IEEE Annals of the History of Computing</cite> 7 (1985).</li>
	<li><a href="http://mindell.scripts.mit.edu/homepage/">David Mindell</a>, <cite><a href="https://www.worldcat.org/title/between-human-and-machine-feedback-control-and-computing-before-cybernetics/oclc/51493422">Between Human and Machine: Feedback, Control, and Computing before Cybernetics</a></cite> (Johns Hopkins University Press, 2002).</li>
</ol>

<h3 id="us">United States</h3>
<ol class="continue">
	<li><a href="http://galison.scholar.harvard.edu/">Peter Galison</a>, “<a href="https://www.jstor.org/stable/20027476">The Americanization of Unity</a>,” <cite>Daedalus</cite> 127 (1998).</li>
	<li>Peter Krieg, “<a href="https://doi.org/10.1108/03684920510581729">The Human Face of Cybernetics: Heinz von Foerster and the History of a Movement That Failed</a>,” <cite>Kybernetes</cite> 34 (2005).</li>
	<li><a href="https://www.gwu.edu/~umpleby/">Stuart Umpleby</a>, “<a href="http://www.gwu.edu/~umpleby/cybernetics/2005_WAS_History_of_Cybernetics_Movement.doc">A History of the Cybernetics Movement in the United States</a>,” <cite>Journal of the Washington Academy of Sciences</cite> 91 (2005).</li>
	<li>Christopher Johnson, “<a href="https://www.jstor.org/stable/43151893">Analogue Apollo: Cybernetics and the Space Age</a>,” <cite>Paragraph</cite> 31 (2008).</li>
</ol>

<h3 id="wiener">Norbert Wiener</h3>
<ol class="continue">
	<li>Steve Heims, <cite><a href="https://www.worldcat.org/title/john-von-neumann-and-norbert-wiener-from-mathematics-to-the-technologies-of-life-and-death/oclc/6304716">John von Neumann and Norbert Wiener: From Mathematics to the Technologies of Life and Death</a></cite> (MIT Press, 1982).</li>
	<li>Pesi Masani, <cite><a href="https://www.worldcat.org/title/norbert-wiener-1894-1964/oclc/19389460">Norbert Wiener, 1894–1964</a></cite> (Birkhauser, 1990).</li>
	<li><a href="http://galison.scholar.harvard.edu/">Peter Galison</a>, “<a href="https://www.jstor.org/stable/1343893">The Ontology of the Enemy: Norbert Wiener and the Cybernetic Vision</a>,” <cite>Critical Inquiry</cite> 21 (1994).</li>
	<li><a href="https://www.unizar.es/sociocybernetics/chen/felix/">Felix Geyer</a> and Johannes van der Zouwen, “<a href="https://doi.org/10.1108/03684929410068334">Norbert Wiener and the Social Sciences</a>,” <cite>Kybernetes</cite> 23 (1994).
	<li><a href="http://math.mit.edu/people/profile.php?pid=112">David Jerison</a> and <a href="http://math.mit.edu/people/profile.php?pid=268">Daniel Stroock</a>, “Norbert Wiener,” <cite><a href="https://www.worldcat.org/title/legacy-of-norbert-wiener-a-centennial-symposium-in-honor-of-the-100th-anniversary-of-norbert-wieners-birth-october-8-14-1994-massachusetts-institute-of-technology-cambridge-massachusetts/oclc/36307811">The Legacy of Norbert Wiener: A Centennial Symposium</a></cite> (1997).</li>
	<li><a href="http://conwayandsiegelman.stillpointpress.net/">Flo Conway and Jim Siegelman</a>, <cite><a href="https://www.worldcat.org/title/dark-hero-of-the-information-age-in-search-of-norbert-wiener-the-father-of-cybernetics/oclc/56656253">Dark Hero of the Information Age: In Search of Norbert Wiener, the Father of Cybernetics</a></cite> (Basic Books, 2004).</li>
	<li><a href="http://maramills.org/">Mara Mills</a>, “<a href="https://doi.org/10.1215/10407391-1428852">On Disability and Cybernetics: Helen Keller, Norbert Wiener, and the Hearing Glove</a>,” <cite>differences</cite> 22 (2011).</li>
	<li><a href="https://petersbenjamin.wordpress.com/">Benjamin Peters</a>, “<a href="https://doi.org/10.1080/19409419.2013.775544">Toward a Genealogy of a Cold War Communication Science: The Strange Loops of Leo and Norbert Wiener</a>,” <cite>Russian Journal of Communication</cite> 5 (2013).</li>
	<li><a href="https://www.uni-weimar.de/de/medien/professuren/medienwissenschaft/theorie-medialer-welten/personen/schmidgen/">Henning Schmidgen</a>, “<a href="https://doi.org/10.1177/0952695119880662">Cybernetic Times: Norbert Wiener, John Stroud, and the ‘Brain Clock’ Hypothesis</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
</ol>

<h3 id="ussr">Soviet and Comparative Studies</h3>
<ol class="continue">
	<li><a href="https://profiles.stanford.edu/david-holloway">David Holloway</a>, “<a href="https://www.jstor.org/stable/284545">Innovation in Science—The Case of Cybernetics in the Soviet Union</a>,” <cite>Science Studies</cite> 4 (1974).</li>
	<li>Peter Elias, “The Rise and Fall of Cybernetics in the US and the USSR,” <cite><a href="https://www.worldcat.org/title/legacy-of-norbert-wiener-a-centennial-symposium-in-honor-of-the-100th-anniversary-of-norbert-wieners-birth-october-8-14-1994-massachusetts-institute-of-technology-cambridge-massachusetts/oclc/36307811">The Legacy of Norbert Wiener: A Centennial Symposium</a></cite> (1997).</li>
	<li><a href="http://web.mit.edu/slava/homepage/">Slava Gerovitch</a>, <cite><a href="https://www.worldcat.org/title/from-newspeak-to-cyberspeak-a-history-of-soviet-cybernetics/oclc/48477582">From Newspeak to Cyberspeak: A History of Soviet Cybernetics</a></cite> (MIT Press, 2002).</li>
	<li><a href="http://mindell.scripts.mit.edu/homepage/">David Mindell</a>, <a href="http://jerome-segal.de/">J&eacute;r&ocirc;me Segal</a>, and <a href="http://web.mit.edu/slava/homepage/">Slava Gerovitch</a>, “From Communications Engineering to Communications Science: Cybernetics and Information Theory in the United States, France, and the Soviet Union,” in <cite><a href="https://www.worldcat.org/title/science-and-ideology-a-comparative-history/oclc/49395331">Science and Ideology: A Comparative History</a></cite>, edited by Mark Walker (Routledge, 2003).</li>
	<li><a href="https://petersbenjamin.wordpress.com/">Benjamin Peters</a>, “<a href="http://ijoc.org/ojs/index.php/ijoc/article/view/212">Betrothal and Betrayal: The Soviet Translation of Norbert Wiener’s Early Cybernetics</a>,” <cite>International Journal of Communications</cite> 2 (2008).</li>
	<li><a href="https://petersbenjamin.wordpress.com/">Benjamin Peters</a>, <cite><a href="https://www.worldcat.org/title/how-not-to-network-a-nation-the-uneasy-history-of-the-soviet-internet/oclc/927438758">How Not to Network a Nation: The Uneasy History of the Soviet Internet</a></cite> (MIT Press, 2016).</li>
	<li><a href="https://slavic.columbia.edu/content/adam-e-leeds">Adam Leeds</a>, “<a href="https://www.jstor.org/stable/26413630">Dreams in Cybernetic Fugue: Cold War Technoscience, the Intelligentsia, and the Birth of Soviet Mathematical Economics</a>,” <cite>Historical Studies in the Natural Sciences</cite> 46 (2016).</li>
	<li><a href="https://cla.auburn.edu/history/people/faculty/instructors/diana-kurkovsky-west/">Diana Kurkovsky West</a>, “<a href="https://doi.org/10.1177/0952695119886520">Cybernetics for the Command Economy: Foregrounding Entropy in Late Soviet Planning</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://sites.lafayette.edu/sanbornj/">Joshua Sanborn</a>, “<a href="https://doi.org/10.1353/kri.2022.0044">Cybernetics and Surveillance: The Secret Police Enter the Computer Age</a>,” <cite>Kritika</cite> 23 (2022).</li>
</ol>

<h3 id="france">France and “French Theory”</h3>
<ol class="continue">
	<li><a href="http://socio.umontreal.ca/repertoire-departement/vue/lafontaine-celine/">C&eacute;line Lafontaine</a>, “<a href="https://doi.org/10.1177/0263276407084637">The Cybernetic Matrix of ‘French Theory,’</a>” <cite>Theory, Culture &amp; Society</cite> 24 (2007).</li>
	<li><a href="http://www.columbia.edu/~ll2410/">Lydia Liu</a>, “<a href="https://doi.org/10.1086/648527">The Cybernetic Unconscious: Rethinking Lacan, Poe, and French Theory</a>,” <cite>Critical Inquiry</cite> 36 (2010).</li>
	<li><a href="https://history.cornell.edu/jacob-krell">Jacob Krell</a>, “<a href="https://doi.org/10.1177/0952695119886988">What is the ‘Cybernetic’ in the ‘History of Cybernetics’? A French Case, 1968 to the Present</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://www.sowi.hu-berlin.de/en/lehrbereiche-en/general-sociology/team/vincent-august/index">Vincent August</a>, “<a href="https://doi.org/10.1177/1368431021991046">Network Concepts in Social Theory: Foucault and Cybernetics</a>,” <cite>European Journal of Social Theory</cite> 24 (2021).</li>
	<li><a href="http://bernardg.com/">Bernard Geoghegan</a>, <cite><a href="https://search.worldcat.org/title/1346150607">Code: From Information Theory to French Theory</a></cite> (Duke University Press, 2023)</li>
</ol>

<h3 id="chile">Chile</h3>
<ol class="continue">
	<li><a href="https://edenmedina.mit.edu/">Eden Medina</a>, <cite><a href="https://www.worldcat.org/title/cybernetic-revolutionaries-technology-and-politics-in-allendes-chile/oclc/713834502">Cybernetic Revolutionaries: Technology and Politics in Allende’s Chile</a></cite> (MIT Press, 2011).</li>
	<li><a href="https://airandspace.si.edu/people/staff/martin-collins">Martin Collins</a>, <a href="https://doi.org/10.1080/07341512.2013.776857">introduction to forum on <cite>Cybernetic Revolutionaries</cite></a>, <cite>History and Technology</cite> 28 (2012).</li>
	<li><a href="https://usnwc.edu/Faculty-and-Departments/Directory/Michael-Aaron-Dennis">Michael Dennis</a>, “<a href="https://doi.org/10.1080/07341512.2012.756240">Scientific and Technical Knowledge and the Making of Political Order</a>,” <cite>History and Technology</cite> 28 (2012).</li>
	<li><a href="http://sts.cornell.edu/people/Kline.cfm">Ronald Kline</a>, “<a href="https://doi.org/10.1080/07341512.2012.756239">Beyond the Closed World</a>,” <cite>History and Technology</cite> 28 (2012).</li>
	<li><a href="https://drexel.edu/coas/faculty-research/faculty-directory/TiagoSaraiva/">Tiago Saraiva</a>, “<a href="https://doi.org/10.1080/07341512.2012.756238">The History of Cybernetics in McOndo</a>,” <cite>History and Technology</cite> 28 (2012).</li>
	<li><a href="https://edenmedina.mit.edu/">Eden Medina</a>, <a href="https://doi.org/10.1080/07341512.2012.756237">author response to forum on <cite>Cybernetic Revolutionaries</cite></a>, <cite>History and Technology</cite> 28 (2012).</li>
</ol>

<h3 id="biology">Biology</h3>
<ol class="continue">
	<li><a href="http://people.ucsc.edu/~haraway/">Donna Haraway</a>, “<a href="https://doi.org/10.1215/01636545-1979-20-206">The Biological Enterprise: Sex, Mind, and Profit from Human Engineering to Sociobiology</a>,” <cite>Radical History Review</cite> no. 20 (1979).</li>
	<li><a href="http://people.ucsc.edu/~haraway/">Donna Haraway</a>, “The High Cost of Information in Post World War II Evolutionary Biology: Ergonomics, Semiotics, and the Sociobiology of Communications Systems,” <cite><a href="https://www.worldcat.org/title/philosophical-forum/oclc/1787155">Philosophical Forum</a></cite> 13 (1981–2).</li>
	<li><a href="http://people.ucsc.edu/~haraway/">Donna Haraway</a>, “Signs of Dominance: From a Physiology to a Cybernetics of Primate Society, C.R. Carpenter, 1930–1970,” in <cite><a href="https://www.worldcat.org/title/studies-in-history-of-biology/oclc/2957828">Studies in History of Biology</a></cite> 6, edited by William Coleman and Camille Limoges (Johns Hopkins University Press, 1983).</li>
	<li><a href="http://people.ucsc.edu/~haraway/">Donna Haraway</a>, “A Semiotics of the Naturalistic Field, from C.R. Carpenter to S.A. Altmann, 1930–55,” in <cite><a href="https://www.worldcat.org/title/primate-visions-gender-race-and-nature-in-the-world-of-modern-science/oclc/19672184">Primate Visions: Gender, Race, and Nature in the World of Modern Science</a></cite> (Routledge, 1989).</li>
	<li><a href="http://web.mit.edu/sts/people/keller.html">Evelyn Fox Keller</a>, “The Body of a New Machine: Situating the Organism between Telegraphs and Computers,” in <cite><a href="https://www.worldcat.org/title/refiguring-life-metaphors-of-twentieth-century-biology/oclc/31606662">Refiguring Life: Metaphors of Twentieth-Century Biology</a></cite> (Columbia University Press, 1995).</li>
	<li>Lily Kay, <cite><a href="https://www.worldcat.org/title/who-wrote-the-book-of-life-a-history-of-the-genetic-code/oclc/41967065">Who Wrote the Book of Life? A History of the Genetic Code</a></cite> (Stanford University Press, 2000).</li>
	<li><a href="http://web.mit.edu/sts/people/keller.html">Evelyn Fox Keller</a>, “Taming the Cybernetic Metaphor” in <cite><a href="https://www.worldcat.org/title/making-sense-of-life-explaining-biological-development-with-models-metaphors-and-machines/oclc/48100379">Making Sense of Life: Explaining Biological Development with Models, Metaphors, and Machines</a></cite> (Harvard University Press, 2002).</li>
	<li><a href="https://sydney.edu.au/arts/history/staff/profiles/warwick.anderson.php">Warwick Anderson</a> and Ian MacKay, “The Science of Self,” in <cite><a href="https://www.worldcat.org/title/intolerant-bodies-a-short-history-of-autoimmunity/oclc/894511336">Intolerant Bodies: A Short History of Autoimmunity</a></cite> (Johns Hopkins University Press, 2014).</li>
</ol>

<h4 id="ecology">Ecology</h4>
<ol class="continue">
	<li><a href="http://faculty.umb.edu/pjt/">Peter Taylor</a>, “<a href="https://www.jstor.org/stable/4331051">Technocratic Optimism, H.T. Odum, and the Partial Transformation of Ecological Metaphor after World War II</a>,” <cite>Journal of the History of Biology</cite> 21 (1988).</li>
	<li><a href="http://host.jhu.edu/directory/sharon-kingsland/">Sharon Kingsland</a>, “Defining the Ecosystem,” in <cite><a href="https://www.worldcat.org/title/evolution-of-american-ecology-1890-2000/oclc/56982282">The Evolution of American Ecology, 1890–2000</a></cite> (John Hopkins University Press, 2005).</li>
	<li>William Bryant, “<a href="http://search.proquest.com/docview/305339541/">Whole System, Whole Earth: The Convergence of Technology and Ecology in Twentieth-Century American Culture</a>” (doctoral dissertation, University of Iowa, 2006).</li>
	<li><a href="https://www.depts.ttu.edu/english/general_info/directory/faculty_profile_pages/clarke_detailed.php">Bruce Clarke</a>, “Neocybernetics of Gaia: The Emergence of Second-Order Gaia Theory,” in <cite><a href="https://www.worldcat.org/title/gaia-in-turmoil-climate-change-biodepletion-and-earth-ethics-in-an-age-of-crisis/oclc/313017382">Gaia in Turmoil: Climate Change, Biodepletion, and Earth Ethics in an Age of Crisis</a></cite>, edited by Eileen Crist and H. Bruce Rinker (MIT Press, 2010).</li>
	<li>Nancy Slack, “Good Friends: Margaret Mead and Gregory Bateson” in <cite><a href="https://www.worldcat.org/title/g-evelyn-hutchinson-and-the-invention-of-modern-ecology/oclc/758332328">G. Evelyn Hutchinson and the Invention of Modern Ecology</a></cite> (Yale University Press, 2010).</li>
	<li><a href="https://www.usf.edu/arts-sciences/departments/humanities-cultural-studies/faculty/daniel-belgrad.aspx">Daniel Belgrad</a>, <cite><a href="https://search.worldcat.org/title/1153210310">The Culture of Feedback: Ecological Thinking in ’70s America</a></cite> (University of Chicago Press, 2019).</li>
</ol>

<h3 id="social">Social Sciences</h3>
<ol class="continue">
	<li>Steve Heims, <cite><a href="https://www.worldcat.org/title/cybernetics-group/oclc/23047769">Constructing a Social Science for Postwar America: The Cybernetics Group, 1946–1953</a></cite> (MIT Press, 1991).</li>
	<li><a href="http://www.albany.edu/~gpr/">George Richardson</a>, <cite><a href="https://www.worldcat.org/title/feedback-thought-in-social-science-and-systems-theory/oclc/22731896">Feedback Thought in Social Science and Systems Theory</a></cite> (University of Pennsylvania Press, 1991).</li>
	<li><a href="http://emsent.nl/">Esther-Mirjam Sent</a>, “<a href="http://muse.jhu.edu/journals/perspectives_on_science/v008/8.4sent.html">Herbert A. Simon as a Cyborg Scientist</a>,” <cite>Perspectives on Science</cite> 8 (2000).</li>
	<li><a href="http://reilly.nd.edu/people/reilly-fellows/philip-mirowski/">Philip Mirowski</a>, <cite><a href="https://www.worldcat.org/title/machine-dreams-economics-becomes-a-cyborg-science/oclc/45636899">Machine Dreams: Economics Becomes a Cyborg Science</a></cite> (Cambridge University Press, 2001).</li>
	<li><a href="http://cas.ou.edu/hunter-heyck">Hunter Crowther-Heyck</a>, <cite><a href="https://www.worldcat.org/title/herbert-a-simon-the-bounds-of-reason-in-modern-america/oclc/55511492">Herbert A. Simon: The Bounds of Reason in Modern America</a></cite> (Johns Hopkins University Press, 2005).</li>
	<li><a href="http://cas.ou.edu/hunter-heyck">Hunter Heyck</a>, <cite><a href="https://www.worldcat.org/title/age-of-system-understanding-the-development-of-modern-social-science/oclc/891185841">Age of System: Understanding the Development of Modern Social Science</a></cite> (Johns Hopkins University Press, 2015).</li>
	<li><a href="https://www.stefanos-geroulanos.com">Stefanos Geroulanos</a> and <a href="https://leifweatherby.org/">Leif Weatherby</a>, <a href="https://doi.org/10.1177/0952695119887098">“Cybernetics and the Human Sciences” special issue introduction</a>, <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="http://sts.cornell.edu/people/Kline.cfm">Ronald Kline</a>, “<a href="https://doi.org/10.1177/0952695119872111">How Disunity Matters to the History of Cybernetics in the Human Sciences in the United States, 1940–80</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li>Poornima Paidipaty, “<a href="https://doi.org/10.1177/1463499619899747">‘Tortoises All the Way Down’: Geertz, Cybernetics and ‘Culture’ at the End of the Cold War</a>,” <cite>Anthropological Theory</cite> 20 (2020).</li>
</ol>

<h4 id="bateson">Gregory Bateson</h4>
<ol class="continue">
	<li><a href="http://cla.umn.edu/about/directory/profile/lipse001">David Lipset</a>, <cite><a href="https://www.worldcat.org/title/gregory-bateson-the-legacy-of-a-scientist/oclc/5894222">Gregory Bateson: The Legacy of a Scientist</a></cite> (Prentice Hall, 1980).</li>
	<li><a href="http://hss.sas.upenn.edu/people/tresch">John Tresch</a>, “<a href="https://www.jstor.org/stable/2783231">Heredity is an Open System: Gregory Bateson as Descendant and Ancestor</a>,” <cite>Anthropology Today</cite> 14 (1998).</li>
	<li><a href="http://www.armoniedeldisordine.it/">Leone Montagnini</a>, “<a href="https://doi.org/10.1108/03684920710777522">Looking for ‘Scientific’ Social Science: The Macy Conferences on Cybernetics in Bateson’s Itinerary</a>,” <cite>Kybernetes</cite> 36 (2007).</li>
	<li>Frank Thomas, Rebekah Waits, and Gail Hartsfield, “<a href="https://doi.org/10.1108/03684920710777397">The Influence of Gregory Bateson: Legacy or Vestige?</a>” <cite>Kybernetes</cite> 36 (2007).</li>
	<li><a href="https://www.northeastern.edu/camd/artdesign/people/william-kaizen/">William Kaizen</a>, “<a href="https://www.jstor.org/stable/40598913">Steps to an Ecology of Communication: <cite>Radical Software</cite>, Dan Graham, and the Legacy of Gregory Bateson</a>,” <cite>Art Journal</cite> 67 (2008).</li>
	<li><a href="http://history.ua.edu/faculty/erik-peterson/">Erik Peterson</a>, “<a href="http://etd.nd.edu/ETD-db/theses/available/etd-04132010-142514/">Finding Mind, Form, Organism, and Person in a Reductionist Age: The Challenge of Gregory Bateson and C. H. Waddington to Biological and Anthropological Orthodoxy, 1924–1980</a>” (doctoral dissertation, University of Notre Dame, 2010).</li>
	<li><a href="http://orithalpern.net/">Orit Halpern</a>, “<a href="http://sfonline.barnard.edu/feminist-media-theory/schizophrenic-techniques-cybernetics-the-human-sciences-and-the-double-bind/">Schizophrenic Techniques: Cybernetics, the Human Sciences, and the Double Bind</a>,” <cite>S&amp;F Online</cite> 10 (2012).</li>
	<li><a href="http://laps-dept.apps01.yorku.ca/anth/faculty/emeriti/harries.html">Peter Harries-Jones</a>, <cite><a href="https://www.worldcat.org/title/upside-down-gods-gregory-batesons-world-of-difference/oclc/952953457">Upside-Down Gods: Gregory Bateson’s World of Difference</a></cite> (Fordham University Press, 2016).</li>
	<li><a href="https://anthonychaney.com/">Anthony Chaney</a>, <cite><a href="https://www.worldcat.org/title/runaway-gregory-bateson-the-double-bind-and-the-rise-of-ecological-consciousness/oclc/1032366653">Runaway: Gregory Bateson, the Double Bind, and the Rise of Ecological Consciousness</a></cite> (University of North Carolina Press, 2017).</li>
</ol>

<h3 id="mind">Sciences of Mind</h3>
<ol class="continue">
	<li><a href="http://www.sv.uio.no/psi/personer/vit/geirki/">Geir Kirkeb&oslash;en</a>, “<a href="https://doi.org/10.1177/053901895034001002">From a Naked Emperor to Just Clothes: The Rise and Fall of Cybernetic Family Therapy</a>,” <cite>Social Science Information</cite> 34 (1995).</li>
	<li><a href="https://www.brown.edu/Departments/CLPS/people/james-anderson">James Anderson</a> and Edward Rosenfeld, <cite><a href="https://doi.org/10.7551/mitpress/6626.001.0001">Talking Nets: An Oral History of Neural Networks</a></cite> (MIT Press, 1998).</li>
	<li><a href="https://dlcl.stanford.edu/people/jean-pierre-dupuy">Jean-Pierre Dupuy</a>, <cite><a href="https://www.worldcat.org/title/mechanization-of-the-mind-on-the-origins-of-cognitive-science/oclc/44026149">The Mechanization of the Mind: The Origins of Cognitive Science</a></cite>, translated by M. B. DeBevoise (Princeton University Press, 2000).</li>
	<li>Roberto Cordeschi, <cite><a href="https://www.worldcat.org/title/discovery-of-the-artificial-behavior-mind-and-machines-before-and-beyond-cybernetics/oclc/49860160">The Discovery of the Artificial: Behavior, Mind and Machines Before and Beyond Cybernetics</a></cite> (Kluwer Academic Publishers, 2002).</li>
	<li><a href="http://www.triuhistory.ca/tara-abraham/">Tara Abraham</a>, “<a href="https://doi.org/10.1023/A:1024147708370">From Theory to Data: Representing Neurons in the 1940s</a>,” <cite>Biology and Philosophy</cite> 18 (2003).</li>
	<li><a href="http://www.triuhistory.ca/tara-abraham/">Tara Abraham</a>, “<a href="http://link.springer.com/article/10.1162/biot.2006.1.4.418">Cybernetics and Theoretical Approaches in 20th-Century Brain and Behavior Sciences</a>,” <cite>Biological Theory</cite> 1 (2006).</li>
	<li><a href="http://socialsciences.exeter.ac.uk/sociology/staff/pickering/">Andrew Pickering</a>, <cite><a href="https://www.worldcat.org/title/cybernetic-brain-sketches-of-another-future/oclc/615626770">The Cybernetic Brain: Sketches of Another Future</a></cite> (University of Chicago Press, 2010).</li>
	<li><a href="http://histsci.fas.harvard.edu/people/rebecca-lemov">Rebecca Lemov</a>, “<a href="http://limn.it/running-amok-in-labyrinthine-systems-the-cyber-behaviorist-origins-of-soft-torture/">Running Amok in Labyrinthine Systems: The Cyber-Behaviorist Origins of Soft Torture</a>,” <cite>Limn</cite> 1 (2011).</li>
	<li><a href="https://vivo.brown.edu/display/dweinste">Deborah Weinstein</a>, “‘Systems Everywhere’: Schizophrenia, Cybernetics, and the Double Bind,” in <cite><a href="https://www.worldcat.org/title/pathological-family-postwar-america-and-the-rise-of-family-therapy/oclc/800721205">The Pathological Family: Postwar America and the Rise of Family Therapy</a></cite> (Cornell University Press, 2013).</li>
	<li><a href="https://mediashiga.net/">John Shiga</a>, “<a href="http://amodern.net/article/of-other-networks/">Of Other Networks: Closed-World and Green-World Networks in the Work of John C. Lilly</a>,” <cite>Amodern</cite> 2 (2013).</li>
	<li><a href="https://hps.utoronto.ca/staff/chen-pang-yeang/">Chen-Pang Yeang</a>, “<a href="https://doi.org/10.1086/694184">From Modernizing the Chinese Language to Information Science: Chao Yuen Ren’s Route to Cybernetics</a>,” <cite>Isis</cite> 108 (2017).</li>
	<li><a href="https://anthropology.columbia.edu/content/danielle-judith-zola-carr">Danielle Judith Zola Carr</a>, “<a href="https://doi.org/10.1177/0952695119874009">‘Ghastly Marionettes’ and the Political Metaphysics of Cognitive Literalism: Anti-Behaviourism, Language, and the Origins of Totalitarianism</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="http://www.christinavagt.com">Christina Vagt</a>, “<a href="https://doi.org/10.1177/0952695119882883">Design as Aesthetic Education: On the Politics and Aesthetics of Learning Environments</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://history.princeton.edu/people/katja-guenther">Katja Guenther</a>, “The Dancing Robot: Grey Walter’s Cybernetic Mirror,” in <cite><a href="https://search.worldcat.org/title/1345590894">The Mirror and the Mind: A History of Self-Recognition in the Human Sciences</a></cite> (Princeton University Press, 2022).</li>
</ol>

<h4 id="mcculloch">Warren McCulloch and Walter Pitts</h4>
<ol class="continue">
	<li><a href="http://ngp.usc.edu/faculty/profile/?fid=16">Michael Arbib</a>, “<a href="https://doi.org/10.1353/pbm.2000.0001">Warren McCulloch’s Search for the Logic of the Nervous System</a>,” <cite>Perspectives in Biology and Medicine</cite> 43 (2000).</li>
	<li><a href="http://www.psych.uic.edu/department-of-psychiatry-faculty-list/154-about-us/directory/faculty/234-neil-r-smalheiser-md-phd">Neil Smalheiser</a>, “<a href="https://doi.org/10.1353/pbm.2000.0009">Walter Pitts</a>,” <cite>Perspectives in Biology and Medicine</cite> 43 (2000).</li>
	<li>Lily Kay, “<a href="https://doi.org/10.1017/S0269889701000266">From Logical Neurons to Poetic Embodiments of Mind: Warren S. McCulloch’s Project in Neuroscience</a>,” <cite>Science in Context</cite> 14 (2001).</li>
	<li><a href="http://www.triuhistory.ca/tara-abraham/">Tara Abraham</a>, “<a href="https://doi.org/10.1016/S0160-9327(03)00017-6">Integrating Mind and Brain: Warren S. McCulloch, Cerebral Localization, and Experimental Epistemology</a>,” <cite>Endeavour</cite> 27 (2003).</li>
	<li><a href="https://sites.google.com/site/kenaizawa/">Kenneth Aizawa</a>, “<a href="https://doi.org/10.1179/0308018812Z.00000000017">Warren McCulloch’s Turn to Cybernetics: What Walter Pitts Contributed</a>,” <cite>Interdisciplinary Science Reviews</cite> 37 (2012).</li>
	<li><a href="http://users.sussex.ac.uk/~philh/">Phil Husbands</a> and <a href="http://cswww.essex.ac.uk/staff/owen/">Owen Holland</a>, “<a href="https://doi.org/10.1179/0308018812Z.00000000019">Warren McCulloch and the British Cyberneticians</a>,” <cite>Interdisciplinary Science Reviews</cite> 37 (2012).</li>
	<li><a href="http://www.lancaster.ac.uk/psychology/contact-and-getting-here/people/alan-collins">Alan Collins</a>, “<a href="https://doi.org/10.1179/0308018812Z.00000000020">An Asymmetric Relationship: The Spirit of Kenneth Craik and the Work of Warren McCulloch</a>,” <cite>Interdisciplinary Science Reviews</cite> 37 (2012).</li>
	<li><a href="http://www.triuhistory.ca/tara-abraham/">Tara Abraham</a>, <cite><a href="https://mitpress.mit.edu/books/rebel-genius">Rebel Genius: Warren S. McCulloch’s Transdisciplinary Life in Science</a></cite> (MIT Press, 2016).</li>
</ol>

<h3 id="politics">Politics and Planning</h3>
<ol class="continue">
	<li><a href="http://pne.people.si.umich.edu/">Paul Edwards</a>, <cite><a href="https://www.worldcat.org/title/closed-world-computers-and-the-politics-of-discourse-in-cold-war-america/oclc/42636403">The Closed World: Computers and the Politics of Discourse in Cold War America</a></cite> (MIT Press, 1996).</li>
	<li><a href="http://web.mit.edu/sts/people/light.html">Jennifer Light</a>, <cite><a href="https://www.worldcat.org/title/from-warfare-to-welfare-defense-intellectuals-and-urban-problems-in-cold-war-america/oclc/51924188">From Warfare to Welfare: Defense Intellectuals and Urban Problems in Cold War America</a></cite> (Johns Hopkins University Press, 2003).</li>
	<li><a href="http://web.mit.edu/sts/people/light.html">Jennifer Light</a>, “<a href="https://doi.org/10.1353/tech.0.0007">Taking Games Seriously</a>,” <cite>Technology and Culture</cite> 49 (2008).</li>
	<li><a href="http://bbk.ac.uk/politics/our-staff/academic/antoine-bousquet">Antoine Bousquet</a>, “<a href="https://doi.org/10.1080/14682740701791359">Cyberneticizing the American War Machine: Science and Computers in the Cold War</a>,” <cite>Cold War History</cite> 8 (2008).</li>
	<li><a href="http://www.egs.edu/faculty/brian-holmes/">Brian Holmes</a>, <cite><a href="https://brianholmes.wordpress.com/2009/01/19/book-materials/">Escape the Overcode: Activist Art in the Control Society</a></cite> (Van Abbemuseum, 2009).</li>
	<li><a href="http://geography.utoronto.ca/matt-farish-home-page/">Matthew Ferish</a>, “The Cybernetic Continent: North America as Defense Laboratory,” in <cite><a href="https://www.worldcat.org/title/contours-of-americas-cold-war/oclc/698116870">The Contours of America’s Cold War</a></cite> (University of Minnesota Press, 2010).</li>
	<li><a href="https://www.democracycollaborative.org/john-duda">John Duda</a>, “<a href="https://www.lwbooks.co.uk/anarchist-studies/21-1/cybernetics-anarchism-and-self-organisation">Cybernetics, Anarchism and Self-Organisation</a>,” <cite>Anarchist Studies</cite> 21 (2013).</li>
	<li><a href="https://rhetoric.berkeley.edu/people/david-bates/">David Bates</a>, “<a href="https://doi.org/10.1177/0952695119864237">The Political Theology of Entropy: A Katechon for the Cybernetic Age</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Guilhot">Nicolas Guilhot</a>, “<a href="https://doi.org/10.1177/0952695119864244">Automatic Leviathan: Cybernetics and Politics in Carl Schmitt’s Postwar Writings</a>,” <cite>History of the Human Sciences</cite> 33 (2020).</li>
	<li><a href="https://www.hf.uio.no/ikos/english/people/aca/middle-east-studies/temporary/joakimp/">Joakim Parslow</a>, “<a href="https://doi.org/10.1017/S0020743821001033">The Mechanical Atatürk: Cybernetics and State Violence in the Second Turkish Republic</a>,” <cite>International Journal of Middle East Studies</cite> 53 (2021).</li>
	<li>Thomas Swann, “<a href="https://anarchiststudies.org/acybernetics/">Anarchist Cybernetics</a>,” <cite>Perspectives in Anarchist Theory</cite> 33 (2023).</li>
</ol>

<h3 id="popular">Popular Culture and Counterculture</h3>
<ol class="continue">
	<li><a href="http://homepages.rpi.edu/~eglash/eglash.htm">Ron Eglash</a>, “<a href="https://doi.org/10.1080/095023898335474">Cybernetics in American Youth Subculture</a>,” <cite>Cultural Studies</cite> 12 (1998).</li>
	<li><a href="http://fredturner.stanford.edu/">Fred Turner</a>, <cite><a href="https://www.worldcat.org/title/from-counterculture-to-cyberculture-stewart-brand-the-whole-earth-network-and-the-rise-of-digital-utopianism/oclc/62533774">From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism</a></cite> (University of Chicago Press, 2006).</li>
	<li><a href="https://www.depts.ttu.edu/english/general_info/directory/faculty_profile_pages/clarke_detailed.php">Bruce Clarke</a>, “<a href="http://www.univie.ac.at/constructivism/journal/7/3/196.clarke">From Information to Cognition: The Systems Counterculture, Heinz von Foerster’s Pedagogy, and Second-Order Cybernetics</a>,” <cite>Constructivist Foundations</cite> 7 (2012).</li>
	<li><a href="http://www.dubberly.com/about">Hugh Dubberly</a> and <a href="http://pangaro.com">Paul Pangaro</a>, “<a href="http://www.dubberly.com/articles/cybernetics-and-counterculture.html">How Cybernetics Connects Computing, Counterculture, and Design</a>,” in <cite>Hippie Modernism: The Struggle for Utopia</cite>, edited by Andrew Blauvelt (2015).</li>
</ol>

<h3 id="art">Art</h3>
<ol class="continue">
	<li><a href="http://daniels.utoronto.ca/people/lobsingerm">Mary Louise Lobsinger</a>, “Cybernetic Theory and the Architecture of Performance: Cedric Price’s Fun Palace,” in <cite><a href="https://www.worldcat.org/title/anxious-modernisms-experimentation-in-postwar-architectural-culture/oclc/46929153">Anxious Modernisms: Experimentation in Postwar Architectural Culture</a></cite> (Canadian Center for Architecture, 2000).</li>
	<li><a href="http://artexetra.wordpress.com">Edward Shanken</a>, “<a href="http://artexetra.com/CyberneticsArtCultConv.pdf">Cybernetics and Art: Cultural Convergence in the 1960s</a>,” in <cite><a href="https://www.worldcat.org/title/from-energy-to-information-representation-in-science-and-technology-art-and-literature/oclc/49821329">From Energy to Information</a></cite>, edited by Bruce Clarke and Linda Henderson (Stanford University Press, 2002).</li>
	<li><a href="http://arthistory.cornell.edu/people/fernandez.cfm">Maria Fernandez</a>, “<a href="http://muse.jhu.edu/journals/leonardo/v041/41.2.fernandez.html">Gordon Pask: Cybernetic Polymath</a>,” <cite>Leonardo</cite> 41 (2008).</li>
	<li><a href="http://arthistory.cornell.edu/people/fernandez.cfm">Maria Fernandez</a>, “<a href="https://www.jstor.org/stable/40598908">Detached from HiStory: Jasia Reichardt and Cybernetic Serendipity</a>,” <cite>Art Journal</cite> 67 (2008).</li>
	<li>Etan J. Ilfeld, “<a href="https://doi.org/10.1162/LEON_a_00326">Contemporary Art and Cybernetics: Waves of Cybernetic Discourse within Conceptual, Video and New Media Art</a>,” <cite>Leonardo</cite> 45 (2012).</li>
	<li><a href="http://etiennebenson.com/">Etienne Benson</a>, “<a href="https://doi.org/10.7275/R5HT2M7T">Environment between System and Nature: Alan Sonfist and the Art of the Cybernetic Environment</a>,” <cite>communication +1</cite> 3 (2014).</li>
</ol>

<h4 id="film">Film and Video</h4>
<ol class="continue">
	<li><a href="http://www.gc.cuny.edu/Page-Elements/Academics-Research-Centers-Initiatives/Doctoral-Programs/Art-History/Faculty-Bios/David-Joselit">David Joselit</a>, <cite><a href="https://www.worldcat.org/title/feedback-television-against-democracy/oclc/71322293">Feedback: Television Against Democracy</a></cite> (MIT Press, 2007).</li>
	<li><a href="http://art.stonybrook.edu/faculty/zabet-patterson/">Zabet Patterson</a>, “<a href="https://doi.org/10.1162/grey.2009.1.36.36">From the Gun Controller to the Mandala: The Cybernetic Cinema of John and James Whitney</a>,” <cite>Grey Room</cite> no. 36 (2009).</li>
	<li><a href="http://film.fsu.edu/People/Administration/Dr.-Andrew-Syder">Andrew Syder</a>, “<a href="http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll127/id/220820/">“Shaken Out of the Ruts of Ordinary Perception”: Vision, Culture and Technology in the Psychedelic Sixties</a>” (doctoral dissertation, University of Southern California, 2009).</li>
	<li><a href="http://kpaulsen.com/">Kris Paulsen</a>, “<a href="http://amodern.net/article/half-inch-revolution/">Half Inch Revolution: The Guerilla Video Tape Network</a>,” <cite>Amodern</cite> 2 (2013).</li>
	<li><a href="http://procom.ryerson.ca/people/carolyn-kane">Carolyn Kane</a>, “<a href="https://doi.org/10.1162/LEON_a_00871">The Tragedy of Radical Subjectivity: From Radical Software to Proprietary Subjects</a>,” <cite>Leonardo</cite> 47, no. 5 (2014).</li>
	<li><a href="https://collopy.net/">Peter Sachs Collopy</a>, “<a href="https://repository.upenn.edu/edissertations/1665/">The Revolution Will Be Videotaped: Making a Technology of Consciousness in the Long 1960s</a>” (doctoral dissertation, University of Pennsylvania, 2015).</li>
	<li><a href="https://medienwissenschaft.philhist.unibas.ch/de/personen/ute-holl/">Ute Holl</a>, <cite><a href="http://library.oapen.org/handle/20.500.12657/31337">Cinema, Trance and Cybernetics</a></cite> (Amsterdam University Press, 2017).
</ol>

<h4 id="sound">Sound and Music</h4>
<ol class="continue">
	<li><a href="http://annenberg.usc.edu/faculty/communication/christina-dunbar-hester">Christina Dunbar-Hester</a>, “<a href="https://doi.org/10.1177/0162243909337116">Listening to Cybernetics: Music, Machines, and Nervous Systems, 1950–1980</a>,” <cite>Science, Technology, &amp; Human Values</cite> 35 (2010).</li>
	<li><a href="http://sterneworks.org/">Jonathan Sterne</a>, “Nature Builds No Telephones” and “Perceptual Coding and the Domestication of Noise,” in <cite><a href="https://www.worldcat.org/title/mp3-the-meaning-of-a-format/oclc/769429993">MP3: The Meaning of a Format</a></cite> (2013).</li>
	<li><a href="https://www.birmingham.ac.uk/staff/profiles/music/haworth-christopher.aspx">Christopher Haworth</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.461">Music and Cybernetics in Historical Perspective: Introduction to the Special Issue</a>,” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="https://deirdreloughridge.wordpress.com">Deirdre Loughridge</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.503">Daphne Oram: Cyberneticist?</a>” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="https://www.eamonnbell.com">Eamonn Bell</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.523">Cybernetics, Listening, and Sound-Studio Phenomenotechnique in Abraham Moles’s <cite>Théorie de l’information et perception esthétique</cite> (1958)</a>,” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="https://www.claralatham.com">Clara Latham</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.559">The Sound Machine in the Body: Cybernetics and the Theremin</a>,” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="https://music.utexas.edu/about/people/eric-drott">Eric Drott</a>, “<a href="https://doi.org/10.1525/res.2021.2.4.578">Music and the Cybernetic Mundane</a>,” <cite>Resonance</cite> 2 (2021).</li>
	<li><a href="http://ted-gordon.net">Theodore Gordon</a>, “<a href="https://doi.org/10.1080/07494467.2021.2001939">‘Androgynous Music’: Pauline Oliveros’s Early Cybernetic Improvisation</a>,” <cite>Contemporary Music Review</cite> 40 (2022).</li>
</ol>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="cybernetics" /><category term="science" /><category term="technology" /><category term="politics" /><category term="computing" /><category term="art" /><category term="war" /><category term="biology" /><category term="video" /><category term="media" /><category term="anthropology" /><category term="visual culture" /><category term="consciousness" /><category term="human sciences" /><category term="medicine" /><category term="technopolitics" /><category term="engineering" /><category term="evolution" /><category term="psychiatry" /><summary type="html"><![CDATA[This is a bibliography of historical and sociological works on cybernetics, a science of “control and communication in the animal and the machine” which flourished from World War II into the 1970s.]]></summary></entry><entry><title type="html">Social Network Sites and the High Fidelity Model of Identity</title><link href="https://collopy.net/writing/2008/high-fidelity/" rel="alternate" type="text/html" title="Social Network Sites and the High Fidelity Model of Identity" /><published>2008-01-08T00:00:00-08:00</published><updated>2008-01-08T00:00:00-08:00</updated><id>https://collopy.net/writing/2008/high-fidelity</id><content type="html" xml:base="https://collopy.net/writing/2008/high-fidelity/"><![CDATA[<blockquote>
	<p>When you’re filling out your Friendster profile, it says “Give other people a chance to find out how you’re unique,” and the second question in that list is “What’s your favorite television program?”</p>
	<div style="text-align: right">—Ze Frank, “<a href="http://www.zefrank.com/smallworld/">small world</a>,” 2004</div>
</blockquote>
<p>Although 2007 brought a great deal of change with the opening of Facebook to outside developers, its original components have stayed remarkably fixed for three years. Among these initial features are some based on what I will term the <cite>High Fidelity</cite> model of identity, after a passage in Nick Hornby’s novel in which Rob, his narrator, explains that “what really matters is what you like, not what you are like.” Few of us would admit to basing our social lives on this principle, but it doesn’t seem to have hindered Facebook and other social network sites.</p>
<!--more-->
<p>The locus of the <cite>High Fidelity</cite> model on Facebook is a box on each profile with the bland and unhelpful title “Information.” The Information box holds two categories of, well, information: Contact Info and Personal Info. Oddly, sexual orientation and relationship status, the most personal info on the profile, don’t go under the Personal Info heading; they’re important enough to be trumpeted at the top of the page. The information listed in Personal Info is much more broadly social and contextual: activities and interests, as well as favorite music, TV shows, movies, books, and quotes. The most expressive element, a freeform “about me” space, comes last, appearing <a href="http://motive.co.nz/glossary/fold.php">below the fold</a> on the profile.</p>
<p>So Facebook doesn’t draw much attention to the most flexible portion of the profile, but it does draw attention to the lists of favorite things, which tend to visually dominate the Information box. Each favorite thing is a convenient link to a list of other users who share a love of that particular cultural phenomenon. From the perspective of interface design, these links appear to be a key feature of Facebook, an obvious way of finding others. In practice, however, they’re little used, and their value, which is based on the <cite>High Fidelity</cite> principle, is limited.</p>
<p><a href="http://msu.edu/~lampecli/papers/chi2007_slashdot.pdf">According to social network researchers Cliff Lampe, Nicole Ellison, and Charles Steinfield</a>, users who list many favorite things have no more friends than those who list few. (Those who list none do have fewer friends, perhaps because they spend less time on Facebook generally.) This suggests that users don’t find each other on the site through shared cultural preferences. Indeed, the links may be present less for any particular purpose and more just because they can be; even birthdays are links on Facebook, though there’s little value in a list of others with the same birthday. (Birthday links also suggest, though, that features which seem useless if unobtrusive to some may be useful to others: believers in astrology and planners of joint birthday parties might disagree with my judgment against them.)</p>
<p>It turns out that social network sites, especially Facebook, are generally used to articulate existing friendships rather than to create new ones. (Lampe, Ellison, and Steinfield have also done <a href="http://msu.edu/~lampecli/papers/cscw2006.pdf">research on this point</a> with regard to Facebook.) Lists of favorite things, though, originated in a world where users were trying to create new relationships, on dating websites like Match.com. The value of these lists on dating websites was clear: as Hornby wrote of a hypothetical questionnaire for prospective dates, “it was intended a) to dispense with awkward conversation, and b) to prevent a chap from leaping into bed with someone who might, at a later date, turn out to have every Julio Iglesias record ever made.” I suspect the effects of using such lists on dating websites are not entirely positive—there’s a reason why the questionnaire idea is somewhere between absurd and offensive in print, and we shouldn’t ignore that reaction just because computers are involved.</p>
<p>Friendster, originally designed as a more sophisticated dating site, brought these lists into the new world of social network sites in 2002. The role of lists of favorite things on social network sites is a lot less clear, though. Facebook’s founder <a href="http://businessweek.com/innovate/NussbaumOnDesign/archives/2007/06/ceos_must_be_de.html">Mark Zuckerberg has said</a> that “the other guys think the purpose of communication is to get information. We think the purpose of information is to get communication.” The information Facebook profiles provide can contribute to communication; in his webcomic xkcd, for instance, Randall Munroe depicts “<a href="http://xkcd.com/300/">looking up someone’s profile before introducing yourself so you know which of your favorite bands to mention</a>.” In general, though, lists of favorite things contribute little to communication.</p>
<p>Their greatest role might instead be in identity formation. To the extent that these lists matter, it is because they allow users to present themselves to an audience, and perhaps more importantly to themselves, in terms of their tastes. <a href="http://jcmc.indiana.edu/vol13/issue1/liu.html">Hugo Liu has studied this phenomenon in depth on MySpace</a>, <a href="http://jcmc.indiana.edu/vol13/issue1/liu.html#conclusions">concluding</a> that “the social network profile’s lists of interests might actually be more useful as an indicator of one’s aesthetics than as a factual declaration of interests.” Social network sites may not help us make friends, but they do provide us with new ways to express how we see ourselves.</p>
<hr />
<p>Both <cite>High Fidelity</cite> quotations are from page 117 in <a href="http://worldcat.org/oclc/35211299">the first Riverhead trade paperback edition</a>, and probably in other Riverhead editions as well.</p>]]></content><author><name>Peter Sachs Collopy</name></author><category term="writing" /><category term="computing" /><category term="internet" /><category term="consciousness" /><category term="technology" /><category term="media" /><summary type="html"><![CDATA[When you’re filling out your Friendster profile, it says “Give other people a chance to find out how you’re unique,” and the second question in that list is “What’s your favorite television program?” —Ze Frank, “small world,” 2004 Although 2007 brought a great deal of change with the opening of Facebook to outside developers, its original components have stayed remarkably fixed for three years. Among these initial features are some based on what I will term the High Fidelity model of identity, after a passage in Nick Hornby’s novel in which Rob, his narrator, explains that “what really matters is what you like, not what you are like.” Few of us would admit to basing our social lives on this principle, but it doesn’t seem to have hindered Facebook and other social network sites.]]></summary></entry></feed>