This article contributes to the revision of the concept of system in social theory using complexity theory. The old concept of social system is widely discredited; a new concept of social system can more adequately constitute an explanatory framework. Complexity theory offers the toolkit needed for this paradigm shift in social theory. The route taken is not via Luhmann, but rather the insights of complexity theorists in the sciences are applied to the tradition of social theory inspired by Marx, Weber, (...) and Simmel. The article contributes to the theorization of intersectionality in social theory as well as to the philosophy of social science. It addresses the challenge of theorizing the intersection of multiple complex social inequalities, exploring the various alternative approaches, before rethinking the concept of social system. It investigates and applies, for the first time, the implications of complexity theory for the analysis of multiple intersecting social inequalities. Key Words: complexity theory • inequality • intersectionality • social theory. (shrink)

The notion of naivety is a form of classification and explanation of the social world. By applying Erving Goffman’s expression games model, it is observed that the notion of naivety corresponds to a situation in which an observer assumes that the observed subject does not accommodate his behavior to the presence of the observer, in the assumption that the latter might take advantage from what he learns from it. This article explores this model’s explanatory power in reference to the diverse (...) forms in which the notion of naivety is used in contexts where transinteractive structures of the art world have to be taken into account. La noción de ingenuidad es una forma cotidiana de clasificación y explicación del mundo social. Usando el modelo de juegos de expresión de Erving Goffman, se observa que ella corresponde a la situación en que un actor asume que otro no modifica su comportamiento teniendo en cuenta lo que el primero aprende de él para alcanzar sus propios objetivos. En este artículo se explora la utilidad de este modelo para explicar el uso de la noción de ingenuidad en referencia a estructuras transinteractivas de mundos del arte. (shrink)

Complex phenomena such as play, creativity or innovation are familiar, yet difficult to describe in a systematic manner. In this short article I propose six necessary conditions for any comprehensive description of play. Against this background I discuss my systems-theoretic, constructivist and practice-informed approach to play.

Computational sociology models social phenomena using the concepts of emergence and downward causation. However, the theoretical status of these concepts is ambiguous; they suppose too much ontology and are invoked by two opposed sociological interpretations of social reality: the individualistic and the holistic. This paper aims to clarify those concepts and argue in favour of their heuristic value for social simulation. It does so by proposing a link between the concept of emergence and Luhmann's theory of communication. For Luhmann, society (...) emerges from the bottom-up as communication and he describes the process by which society limits the possible selections of individuals as downward causation. It is argued that this theory is well positioned to overcome some epistemological drawbacks in computational sociology. (shrink)

David Roberts has always had a keen, sharp and even mischievous eye for paradox, for pointing to what used to be termed in Hegelianese, ‘contradictions’ or ‘dialectics’ of modern society and its forms. Roberts’ keen eye has focused on the paradoxes (rather than negative dialectics) of aesthetic modernity and the forms that these paradoxes have taken within the historical time consciousness and self-understanding of modernity. This paper will suggest – although only sketchily and in outline – that Roberts’ keen eye (...) notices and reconstructs three paradoxical models or forms of aesthetic modernity: 1. The total work of art of aesthetic modernism; 2. the contemporary postmodern plurality of the present which is captured as musealization; 3. interpretation, play and humour as the open acceptance of the contingency and paradoxes of the present. (shrink)

Autopoietic theory is increasingly seen as a candidate for a radical theory of law, both in relation to its theoretical credentials and its relevance in terms of new and emerging forms of law. An aspect of the theory that has remained less developed, however, is its material side, and more concretely the theory’s accommodation of bodies, space, objects and their claim to legal agency. The present article reads Luhmann’s theory of autopoietic systems in a radical and material manner, linking it (...) on the one hand to current post-structural theorisations of law and society, and on the other hand extending its ambit to accommodate the influx of material considerations that have been working their way through various other disciplines. The latter comprises both a materialisation of the theory itself and ways of conceptualising the legal system as material through and through. This I do by further developing what I have called Critical Autopoiesis, namely an acentric, topological, post-ecological and posthuman understanding of Luhmann’s theory, that draws on Deleuzian thought, feminist theory, geography, non-representational theory, and new material and object-oriented ontologies. These are combined with some well-rehearsed autopoietic concepts, such as distinction, environment and boundaries; Luhmann’s earlier work on materiality continuum; more recent work on bodies and space; as well as his work on form and medium in relation to art. The article concludes with five suggestions for an understanding of what critical autopoietic materiality might mean for law. (shrink)

This essay offers a philosophical perspective that, in breaking with both the open and surreptitious dialectical method still so prominent in academic discourse, follows Heidegger in trying to conceive of a radically non-dialectical manner of approaching affirmation, negation, and neutrality. As with Heidegger, this is attempted through a turn towards art and the “emancipated contingency” that characterizes much creative production. In contrast to action and production within the knowledge economy, the creation of the artwork concerns a knowing of unknowingness that (...) demands a rethink of action in relation to truth and errancy. Indeed, the very working of the work of art is conceived here as a truth that is precisely “set to work” by errancy. Through a consideration of the essential difference between choice and decision and the different “beginning” of art that this suggests, the essay concludes with some reflections of the theme of art’s fascination and the and the affirmation of the unknown. (shrink)

Early 20th century philosopher Henri Bergson posited an initial push that propelled the diversity of life forward into a varied, novel future: The élan vital, a necessary force or impulse that animated life’s progress and development. His idea had largely been abandoned by mid-century. Even so, much of the conceptual and explanatory work this impulse targeted is yet in want of an explanation. In particular, Bergson’s derelict ideas on evolution addressed three areas that have once again become relevant in the (...) effort to unite evolutionary genetics, biological development, and ecological context : the purposeful nature of individual organisms and their parts; the integrative, holistic, non-linear emergent dynamics seen in evolutionary processes; and how genuine novelty emerges into the universe :422, 2016; Simondon et al. in On the mode of existence of technical objects. Univocal series, Univocal Publishing LLC, Minneapolis, 2017; Bang, in: Winther-Lindqvist, Bang, Valsiner Nothingness: philosophical insights into psychology, Transaction Publishers, Somerset, 2016; Moreno and Mossio in Biological autonomy: a philosophical and theoretical enquiry. History, philosophy and theory of the life sciences, Springer, Dordrecht, 2015). In this paper I argue that Bergson’s ideas may yet be relevant to these questions, and his work warrants a reexamination in light of current problems in evolutionary biology. This is not a call to ‘return’ to Bergson, nevertheless his notions about complexity suggest ways of looking at current biological problems in ways that offer a heuristic insight worth entertaining. Bergson’s Nobel Prize-winning book, Creative Evolution, provided a strikingly prescient early 20th century framework for understanding how Darwinian evolution acts as an engine for generating new forms, University Press of America, Lanham, Bergson 1911). (shrink)

This year marks the 30th anniversary of the publication of Niklas Luhmann’s (1927–1998) magnum opus Soziale Systeme. Grundriss einer allgemeinen Theorie [14]. On the occasion, this Special Issue of the International Journal for the Semiotics of Law celebrates the contribution of Luhmann’s thinking to our understanding of law, justice, and society.Luhmann’s work is wide open for argument. Some consider it the grand unified theory able to completely grasp social reality. Others see nothing but a substantially void conglomeration of analytical constructs (...) and “behaviouristic” descriptions joined together with “pseudo-empirism” [24, pp. 310, 313] or a hermetic ensemble of “self-mystifying semantics” [7, p. 76] supported by sophisticated strategies of pure self-apology. It might seem that the “giant” [1] theorist of the social has encouraged such impressions with pretensions which were “grandiose” in more than one respect [9, 23]. Indeed, readers who encounter systems theory for the first ti. (shrink)

Arthur Danto’s Transfiguration of the Commonplace is a new theory of art, seeking to catch the flavour and essence of its contemporary phenomenology. It is obliged, however, to pit itself in toto against aesthetic philosophy, leaning on the derivatives from deuteropraxis and institutional definition while committing itself to a concept of arthood extracted from exoteric ideas, which are held to comprise the artworks’ individuation and identity. This paper examines the principal notions in support of his contentions and contrasts them to (...) the chief principles of aesthetic philosophy. In this juxtaposition, it transpires that conviction eludes Danto, as his suppression of aesthetic criteria yields unsuspected aporias from a disconjugate amalgam of inherence, ontology, epistemology and concept integration. Thus the leap from “mere real things” to the plateau of arthood is never accomplished, as it falters at the step where a perceiving subject has a stake in, and the power of authorisation, of this co... (shrink)

Since at least the late nineteenth century, a world-level moral culture has developed, providing a space for certain persons to be presented as global moral icons. This global moral space was already pointed to by Kant as an emergent form, and was later theorized by Durkheim. This article shows that an important institutionalization of global moral culture involved the founding of the Nobel Prizes, the subsequent mutations of which were also important in the constitution of that culture. These, and other (...) awards which imitated them, are performative in a profound sense: they simultaneously reflect and help bring into being a planet-spanning culture which demands moral icons which both exemplify and partly constitute it. How the Nobel Prizes and their imitators work to create moral iconicity that is globally relevant is explored. The case of Gandhi is taken as an example of how, despite not being awarded a Nobel Prize, some moral icons are also brought into being through symbolic contact with other such icons, including Nobel Prize winners. The article considers the lingering, powerful, but generally invisible, influence today on world moral culture of the innovations pursued by the early Nobel Prize committees. (shrink)

This review essay of two edited volumes sketches how STS scholars have analyzed scientific representation and visualization in recent work. Several key foci have emerged, among them attending closely to materiality, engaging the digital through embodied action, turning to ontology, as well as benefitting from artistic practice and critique. In diverse ways these choices are informed by a discontentment with the Cartesian split of mind and body as well as the picture theory of language. Yet, naturalism endures as a template, (...) an expectation, and sometimes a specter with and against which much representational work in science is done. What STS scholars have learnt about representation in laboratory and expert settings still awaits being employed more comprehensively for making sense of practices beyond the lab, especially in contested political, social and ecological environments. In setting out to do so, they ought to reflect on the kinds of logic that their practices of representing representation enact. (shrink)

For Niklas Luhmann the body seems to almost disappear in modernity. Modern society, he argues, is a system comprised of a number of operatively closed and functionally distinct sub-systems such as economics, science, law, the mass media and so on. Each system is autonomous and observes the world in its own terms via its internal communications. Thus, Luhmann’s sociology is generally characterized as a post-human one. That is, one in which the basic unit of both social agency and sociological analysis (...) is not the embodied human subject but rather instances of impersonal communication. This article offers a challenge to this by arguing that the body still has a significant function in Luhmann’s account of social systems. My claim is that the body has the ability to migrate between different systems and, thus, has a transcendent status in social systems. That is, the body can migrate between social systems and, in Luhmann’s terms, irritate them in significant ways. (shrink)

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the complementary thesis (...) that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today. (shrink)

Abstract This essay explores what it means to be human in an age of infomedia. Appropriating Niklas Luhmann's systems theory/media theory in dialogue with other resources, I propose a post-Luhmannian paradigm of (1) extended media/meaning that conceives the world as world multimedia systems processing variegated meanings, and (2) an embodied, contextualized soft posthumanist anthropology that conceives the human as emergent collective phenomena of distinct meaning making by body-mind-society-technology media couplings. I argue: (1) Homo sapiens is Homo medialis distinct with mediatic (...) communication that emerged to cope with contingencies. (2) Evolution is the mediatization/codification of the world that culminated with the outcome of Homo medialis uniquely equipped to process transcendent meanings and to mediatize the world via diverse media—Mediatized Co-Mediatizer or Codified Co-Codifier. (3) This anthropic universe is possibly the most “meaningful” (full of meaning possibilities) of all possible worlds. (4) Social fragmentation could be an optimization; science-and-religion is an infomedium optimizing religion's manifest and science’ latent observation of divine manifestations. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

Context: The problems that are most in need of interdisciplinary collaboration are “wicked problems,” such as food crises, climate change mitigation, and sustainable development, with many relevant aspects, disagreement on what the problem is, and contradicting solutions. Such complex problems both require and challenge interdisciplinarity. Problem: The conventional methods of interdisciplinary research fall short in the case of wicked problems because they remain first-order science. Our aim is to present workable methods and research designs for doing second-order science in domains (...) where there are many different scientific knowledges on any complex problem. Method: We synthesize and elaborate a framework for second-order science in interdisciplinary research based on a number of earlier publications, experiences from large interdisciplinary research projects, and a perspectivist theory of science. Results: The second-order polyocular framework for interdisciplinary research is characterized by five principles. Second-order science of interdisciplinary research must: 1. draw on the observations of first-order perspectives, 2. address a shared dynamical object, 3. establish a shared problem, 4. rely on first-order perspectives to see themselves as perspectives, and 5. be based on other rules than first-order research. Implications: The perspectivist insights of second-order science provide a new way of understanding interdisciplinary research that leads to new polyocular methods and research designs. It also points to more reflexive ways of dealing with scientific expertise in democratic processes. The main challenge is that this is a paradigmatic shift, which demands that the involved disciplines, at least to some degree, subscribe to a perspectivist view. Constructivist content: Our perspectivist approach to science is based on the second-order cybernetics and systems theories of von Foerster, Maruyama, Maturana & Varela, and Luhmann, coupled with embodied theories of cognition and semiotics as a general theory of meaning from von Uexküll and Peirce. (shrink)

This article examines Flusser’s ideas on creativity with apparatus as a model for communication in a telematic society. By placing Flusser’s thinking in the post World War II context, it explores relations to Walter Benjamin’s criticism of technical reproduction and Katherine Hayles’ notion of the post-human. By focusing on Flusser’s suggestion of chamber music as a prototype of telematic dialog, it proposes an analysis of chamber music, electroacoustic music and digital audio technology aiming to critically illuminate Flusser’s utopian vision of (...) telematics dialog from the perspective of music. (shrink)

The following reflections are intended as a preliminary to a more extended and in-depth series of case studies, focused analyses of actual artworks, and the issues arising from their particularity within what will be described here as a Heideggerian post-aesthetic aesthetics. The essay is not written from the perspective of a professional or academic philosopher or of a practising artist (even though I am one), neither fields of which have sufficiently engaged with the existential and aesthetic predicament sketched out below. (...) Thus, the attraction of both Heidegger and Blanchot is not just related to their well-known discussions of inbetween-ness, but, more essentially, to the peculiarly in-between location of their own thought and trajectory of thinking: Heidegger from "out of" philosophy "drawn" towards art; Blanchot from within the space ofliterature towards the exteriority of ontological thinking. The intention is to identify similarities and differences in their thought, but this is only perceived as relevant to the extent that it allows an initial reassessment of a de-subjectivized existential and aesthetic mode of thinking that has been largely abandoned by academic philosophy and art practice alike (albeit for very different reasons). If nothing else, the hope is that a different voice might be heard in the clamorous exchange between philosopher and artists, one that is sensitive to the complex predicament of the artist in a post-Heidegerrian world, and which above all remains faithful to the project of the artist and the artwork in the face of the philosophical valorization of "Art". Las siguientes reflexiones se presentan como preliminares a una serie de estudios de caso mas extensos y profundos, analisis focalizados de obras de artes reales, y los temas que surgen de sus particularidades dentro de lo que se describira aqui como una estetica heideggeriana post-estetica. El ensayo no esta escrito desde la perspectiva de un filosofo profesional o academico ni de un artista operante (aunque yo lo soy), ninguno de cuyos campos se ha comprometido suficientemente con el dilema bosquejado mas adelante. Asi pues, la atraccion de Heidegger y Blanchot no solo tiene que ver con sus bien conocidas discusiones sobre la inbetween-ness, sino, mas esencialmente, con la ubicacion particularmente in-between de su propio pensamiento y trayectoria del pensar: Heidegger desde "fuera de" la filosofia "sacado" hacia el arte; Blanchot desde dentro del espacio de la literatura hacia la exterioridad del pensar ontologico. La intencion es identificar similitudes y diferencias en su pensamiento, pero esto solo es percibido como relevante en la medida en que permite una reevaluacion de un modo de pensar existencial y estetico des-subjetivado, que ha sido ampliamente abando-nado por la filosofia academica y la practica del arte (aunque por razones distintas). Sin mas pretensiones, la esperanza es que se pueda escuchar una voz diferente en el intercambio clamoroso entre el filosofo y los artistas; voz que es sensible al complejo dilema del artista en un mundo post-heideggeriano, y que sobre todo permanece fiel al proyecto del artista y a la obra de arte frente a la valorizacion filosofica del "Arte". (shrink)