• Cinema's Expansion into the Noosphere
• Caroline A. Jones (bio)

Lovingly re-issued (complete with its original 1970 errata), Gene Youngblood's prophetic sacrament of videotronics is as fresh as ever. Expanded Cinema now comes with an introductory mini-memoir by the aptly-named Youngblood (still young-blooded-and-eugened at age 78), showing photographs of the author's shift in habitus from 1967's buttoned-down, clean-shaven reporter to an open-collared, curly-haired, mustachioed 1970's counter-cultural intellectual. The revolution he joined is still vexing theory today, as systems thinking confronts the violence of differences eradicated through black-box thinking, baked-in algorithmic bias, and false universals. Can systems be saved for Youngblood's own progressive politics?

As a historian, I would argue that this urgent question can only be answered if we return to Youngblood's '60s moment of cybernetics to sit with its troubles, revisiting the politics of his manifesto, published in the inaugural number of Radical Software: The Alternate Television Movement (Spring 1970—the graphic is reproduced in his "Introduction" to Expanded Cinema). Here he aspired to "wrench the intermedia network free" from commerce and ownership, but we will need to reckon with his praise for technoanarchy as the presumptive locus for those who will "assume conscious control over the videosphere" in order to place the media "in the service of all humanity." Scholars of Youngblood must hold in mind (as he does) the derivation of cybernetics from the C3 military-industrial complex and systems from bio-management. And as we celebrate, with the author's help, the galvanizing impact of these ideas on the art world, we still need to hold these tools responsible for instrumentalizing racist urban planning and for generating revenue by robotically boosting reactionary political speech. (C3 references the "command, control, communication" imperative at the heart of early cybernetic theory. For a crystallizing take, see Donna Haraway's classic and multiply-anthologized "Cyborg Manifesto," 1984. For a critique of homophily algorithms as biased by segregation models in urban systems science, readers may wish to track down the 2019 work of Wendy Hui Kyong Chun et al., "Homophily: The Urban History of an Algorithm," published in the journal eflux, https://www.e-flux.com/architecture/are-friends-electric/289193/homophily-the-urban-history-of-an-algorithm/)

None of the fantastic artists Youngblood celebrates would recognize the future we now inhabit, in which holography has shrunk to an icon on a credit card, and cell-phone charge-coupling devices are algorithmically loaded to recognize the white-skinned human face. Youngblood knew it was possible that things could go wrong, tempering his utopianism by declaring not neo-but "Paleo-cybernetics." Rhetorically, he was insisting that nothing but primitive tool-use had been achieved. We were hominids grasping the crude implements of an unprecedented revolution, troglodytes of a potential shimmering future we had to evolve to achieve. Make no mistake: expanded cinema "actually mean[s] expanded consciousness" as the electrons arranged for human image-making beamed out and jounced with the electrons streaming from newly discovered pulsars and quasars in the distant reaches of space, one as output and the other as input, both crossing inside the read-write innards of our Turing machines.

Hanging with Bucky Fuller (who wrote the original introduction), and cybernetic theorists such as Heinz von Foerster and Humberto Maturana, Youngblood's new introduction situates Expanded Cinema in the heady West Coast context of the late '60s, in which scientists and counter-culture gurus alike had "brain[s] full of mescaline and logarithms" as they probed the mysteries of consciousness with increasingly sensitive machines and non-Western philosophies. With this new edition, Expanded Cinema's cultural location within "left" cybernetics is much clearer than when New York publisher Dutton printed that original cover, criss-crossed by video raster lines in an abstract play of color that slowly revealed itself as the phosphor tracings of a bird and a human (from Scott Bartlett's 1967 videotronic film Offon). Part of the use-value of Youngblood's compendium is its technological...

• 电影院向Noosphere的扩张
• Caroline A.Jones（生物）

充满爱意地重新发行（带有原始的1970勘误表），吉恩·杨布洛德（Gene Youngblood）的先声影像电子学圣事一如既往地新鲜。现在，Expanded Cinema随附了一个介绍性的微型回忆录，该微型回忆录的名字恰当地命名为Youngblood（在78岁时仍是年轻血统的人），其中显示了作者从1967年衣着扣紧，剃光reporter的记者到惯用的习惯转变的照片。露头的卷发，留着胡子的男人是1970年代反文化知识分子。如今，他所参加的革命仍在困扰理论，因为系统思维正面临着通过黑匣子思维，固有的算法偏见和虚假的普遍性而消除的差异暴力。可以为Youngblood自己的进步政治保留制度吗？

作为一个历史学家，我认为，如果我们回到布拉德的60年代控制论坐下来与它的麻烦的时刻这一紧迫问题只能回答，重温他的宣言，发表在就职数量的政治激进软件：替代电视运动（1970年春季-图形在他的“扩大电影院简介”中被复制）。在这里，他渴望“摆脱商业和所有权的束缚，摆脱媒体的束缚”，但是我们需要赞扬他对技术无政府制的赞誉，因为它是那些“假定对视频领域有意识地控制”以便放置媒体的人的推定源。为全人类服务。” Youngblood的学者们必须牢记（正如他所做的那样）C3军工联合体和生物管理系统衍生的控制论。当我们在作者的帮助下庆祝这些想法对艺术界产生的巨大影响时，我们仍然需要让这些工具负责对种族主义的城市规划进行工具化，并通过机器人地推动反动性政治言论来创造收入。（C3引用了“命令，控制，通信” 早期控制论的核心是当务之急。欲了解更多细节，请参见Donna Haraway于1984年经典和多语种化的“ Cyborg Manifesto”。对于都市系统科学中隔离模型所偏向的同构算法的批评，读者不妨追踪一下Wendy Hui Kyong Chun的2019年工作等人，“同质性：算法的城市历史”，发表在该杂志上eflux，https: //www.e-flux.com/architecture/are-friends-electric/289193/homophily-the-urban-history-of-an-algorithm/）

Youngblood所庆祝的杰出艺术家中，没有一个人能够意识到我们现在所居住的未来，全息术已经缩小到信用卡上的图标，并且算法上已安装了手机电荷耦合装置以识别白皮肤的人脸。布拉德知道这是可能的事情可能出错，宣称不新，但砥砺自己的乌托邦理想“古控制论”。夸张地说，他坚持认为除了原始工具的使用外，别无他法。我们是原始的人，掌握着史无前例的革命的原始工具，是我们必须实现才能实现的潜在微光未来的穴居人。没错：扩大的电影院“实际上意味着扩大的意识”，因为排列在人类成像中的电子被发射并与来自遥远空间的新发现的脉冲星和类星体的电子射出并跳动，一个作为输出，另一个作为其他作为输入，都跨越了我们图灵机的读写内部。

与布基·富勒（Bucky Fuller，最初的导言的作者）和控制论理论家如海因茨·冯·福斯特（Heinz von Foerster）和温贝托·马图拉纳（Humberto Maturana）一起工作时，Youngblood的新导论将扩展电影放映在60年代后期令人振奋的西海岸背景下，科学家和反文化专家在其中当他们用越来越敏感的机器和非西方哲学探索意识的奥秘时，他们都充满了“脑中充满了麦斯卡林和对数”。有了这个新版本，扩展电影院与纽约出版商达顿（Dutton）印刷原始封面时，清晰的文化位置比在纽约的出版商达顿（Dutton）清晰得多，而原始的封面则被视频光栅线纵横交错，呈现出抽象的色彩，慢慢地将自身展现为鸟类和人类的荧光粉描迹（摘自Scott Bartlett 1967年的视频电子电影Offon）。Youngblood纲要的使用价值的一部分是其技术...