Focusing on artists Guy Debord, Samuel Beckett, John Cage, William S. Burroughs, and Daniel Spoerri, Gerald Hartnett’s in-progress dissertation examines experimental, interdisciplinary art of the 1950s and early 1960s that engaged the tools and codes of technical reproducibility, cybernetics, informatics, and indeterminacy. From 1994 to 2000 he served as Editorial Advisor to Leonardo Music Journal (MIT Press), which published his article “Ballast Reduction and the Audio Arts” as the introduction to the Journal’s 1996 issue. He received an M.A. from Wesleyan University in 1998 and taught Art History courses in the Continuing Studies Program at Columbia University and at The University of Pittsburgh where, assisted by Luce Foundation grants he obtained without ever subscribing to Time magazine, his M.A. essay “On the Origins of Détournement: Guy Debord’s Historical Menagerie” received the University Prize in Film Studies for 2005. More recently, he presented a paper on cybernetic and archival themes in Samuel Beckett’s work at the 2013 Society of Cinema and Media Studies Conference in Chicago. He is finishing an article on Beckett’s works in (or about) electronic media and another about twentieth-century art by transgender practitioners on the feminine spectrum. He teaches Art History and Writing and Rhetoric at Stony Brook University.