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Art as a Social System

Stanford University Press (2000)

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  1. Critical Autopoiesis and the Materiality of Law.Andreas Philippopoulos-Mihalopoulos - 2014 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 27 (2):389-418.
    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 (...)
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  • Affirming Solitude: Heidegger and Blanchot on Art.Gary Peters - 2013 - Eidos: Revista de Filosofía de la Universidad Del Norte 19:9-37.
    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. (...)
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  • Complexity Theory, Systems Theory, and Multiple Intersecting Social Inequalities.Sylvia Walby - 2007 - Philosophy of the Social Sciences 37 (4):449-470.
    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, (...)
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  • Naivety as a form of social classification in art: a sociological analysis.Fernando A. Valenzuela - 2013 - Cinta de Moebio 48:136-146.
    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 (...)
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  • David Roberts: Images of Aesthetic Modernity.John Rundell - 2019 - Thesis Eleven 152 (1):76-86.
    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 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 (...)
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  • Representing Representation. [REVIEW]Götz Hoeppe - 2015 - Science, Technology, and Human Values 40 (6):1077-1092.
    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, (...)
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  • Creating Global Moral Iconicity: The Nobel Prizes and the Constitution of World Moral Culture.David Inglis - 2018 - European Journal of Social Theory 21 (3):304-321.
    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 (...)
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  • Niklas Luhmann and the Body.Francis Halsall - 2012 - The New Bioethics 18 (1):4-20.
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  • Aesthetic Opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    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 (...)
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  • Sociological and Communication-Theoretical Perspectives on the Commercialization of the Sciences.Loet Leydesdorff - 2013 - Science & Education 22 (10):2511-2527.
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  • Creativity with Apparatuses: From Chamber Music to Telematic Dialog.Paulo Chagas - 2013 - Flusser Studies 17 (1).
    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 (...)
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  • Authors’ Response: A Perspectivist View on the Perspectivist View of Interdisciplinary Science.H. F. Alrøe & E. Noe - 2014 - Constructivist Foundations 10 (1):88-95.
    Upshot: In our response we focus on five questions that point to important common themes in the commentaries: why start in wicked problems, what kind of system is a scientific perspective, what is the nature of second-order research processes, what does this mean for understanding interdisciplinary work, and how may polyocular research help make real-world decisions.
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  • Second-Order Science of Interdisciplinary Research: A Polyocular Framework for Wicked Problems.Hugo F. Alrøe & E. Noe - 2014 - Constructivist Foundations 10 (1):65-76.
    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 (...)
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  • Processual Media Theory.Ned Rossiter - 2003 - Symploke 11 (1):104-131.
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  • Affirming Art: Heidegger and the Sense of a Beginning.Gary Peters - 2013 - Philosophy Study 3 (10).
    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 (...)
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  • Danto and the Pale of Aesthetics.Jürgen Lawrenz - 2018 - The European Legacy 23 (6):658-673.
    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 (...)
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  • Playing with/as Systems: Short Paper, Discussion and Demonstration.Michael Straeubig - 2017 - Avant: Trends in Interdisciplinary Studies 8 (T):197-203.
    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.
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  • Introduction to Special Issue SI: Luhmann.Claudius Messner - 2014 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 27 (2):313-324.
    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 (...)
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  • Neuroesthetics is Not Just About Art.Dahlia W. Zaidel - 2015 - Frontiers in Human Neuroscience 9.
  • Why Aesthetic Patterns Matter: Art and a “Qualitative” Social Theory.Eduardo Fuente - 2014 - Journal for the Theory of Social Behaviour 44 (2):168-185.
    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 (...)
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  • Emergence and Communication in Computational Sociology.Mauricio Salgado & Nigel Gilbert - 2013 - Journal for the Theory of Social Behaviour 43 (1):87-110.
    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 (...)
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  • The Mediatized Co-Mediatizer: Anthropology in Niklas Luhmann's World.Young Bin Moon - 2012 - Zygon 47 (2):438-466.
    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 (...)
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