Art As a Social System
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This version of Total HTML Converter is unregistered. Home Browse Authors Sources Documents Years Theories Subjects Find Sources Authors Search Simple Advanced Help Previous Source Document Document 1 Next Source Document Produced in collaboration with the University of Chicago. Front Matter by Editor, in Art as a Social System. by Niklas Luhmann. (Stanford University Press, Stanford, CA, 2000). pp. [N pag]-4. [Bibliographic Send mail to [email protected] with questions or comments about this web site. Details] [View Documents] Copyright © 2008 Alexander Street Press, L.L.C. All rights reserved. Terms of use PhiloLogic Software, Copyright © 2008 The University of Chicago. -- [NA] -- Front Matter [Cover] ART AS A SOCIAL SYSTEM Niklas Luhmann TRANSLATED BY EVA M. KNODT -- [NA] -- -- [NA] -- ART ASA SOCIAL SYSTEM -- [NA] -- -- [NA] -- MERIDIAN Crossing Aesthetics Werner Hamacher & David E. Wellbery Editors -- [NA] -- Translated by Eva M. Knodt Stanford University Press Stanford California -- [NA] -- [Title Page and Credits] ART AS A SOCIAL SYSTEM This version of Total HTML Converter is unregistered. Niklas Luhmann -- [NA] -- Stanford University Press Stanford, California © 2000 by the Board of Trustees of the Leland Stanford Junior University Art as a Social System was originally published in German in 1995 under the title Die Kunst der Gesellschafi, © Suhrkamp Verlag Frankfurt am Main. Assistance for the translation was provided by Inter Nationes, Bonn. Printed in the United States of America on acid-free, archival-quality paper. Library of Congress Cataloging-in-Publication Data Luhmann, Niklas. [Kunst der Gesellschaft. English] Art as a social system / Niklas Luhmann; [translated by Eva M. Knodt]. p. cm. -- (Meridian, crossing aesthetics) Includes bibliographical references and index. ISBN 0-8047-3906-4 (alk. paper) -- ISBN 0-8047-3907-2 (paper: alk. paper) 1. Aesthetics. 2. Art and society. I. Title. II. Meridian (Stanford, Calif.) BH39 .L8313 2000 306.4'7--dc21 00-041050 Original printing 2000 Last figure below indicates year of this printing: 09 08 Typeset by James P. Brommer in 10.9/13 Garamond with Lithos display -- [NA] -- Contents Preface 1 § 1 Perception and Communication: The Reproduction of Forms 5 § 2 Observation of the First and of the Second Order 54 § 3 Medium and Form 102 § 4 The Function of Art and the Differentiation of the Art System 133 § 5 Self-Organization: Coding and Programming 185 § 6 Evolution 211 § 7 Self-Description 244 Notes 319 Index 403 -- [NA] -- -- [NA] -- ART AS A SOCIAL SYSTEM -- [NA] -- -- 1 -- Preface Art as a Social System continues a series that aims to elaborate a theory of society. Since the overall project focuses on theories that deal with individual functional systems, I have considered the elaboration of these systems a priority. The theory of society itself requires two different approaches, assuming (1) that the system as a whole is operatively closed on the basis of communication, and (2) that the functional systems emerging within society conform to, and embody, the principle of operative closure and, therefore, will exhibit comparable structures despite factual differences between them. Comparisons derive force when we recognize that the compared realms differ in all other respects; we can then highlight what is comparable and charge it with special significance. However, to illustrate this point requires an analysis of individual functional systems. The introduction to this series appeared as Soziale Systemem 1984. 1 Since then, the following studies have appeared: Die Wirtschaft der Gesellschaft (1988; The Economy as a Social System); Die Wissenschaft der Gesellschaft (1990; Science as a Social System); and Das Recht der Gesellschaft (1993; Law as a Social System). The volume presented here is the fourth in this series. Further studies are planned. This version of Total HTML Converter is unregistered. This project seeks to distance itself from prevailing social theories that attempt to describe their object in terms of normative, integrative, and unifying concepts. Such theories envision society as a system determined by stratification, that is, by a principle of unequal distribution. In the eighteenth century, a counterdiscourse insisted on the possibility that mankind could nonetheless attain happiness. This promise was replaced in the nineteenth century by the demand for solidarity. In the twentieth century, politics -- 2 -- was put in charge of establishing equal living conditions throughout the world--a demand frequently made upon democratization or developmental and political modernization. As this century draws to a close, we are far from realizing universal happiness and satisfaction. Nor have we reached the goals of achieving solidarity and creating equal living conditions. One can continue to insist on these demands and call them "ethics," but it becomes difficult to ignore their increasingly apparent Utopian component. This is why we recommend rewriting the theory of society. To do so requires a shift, at the structural level, from stratification to functional differentiation. The unity of society is not to be sought in ethico-political demands, but rather in the emergence of comparable conditions in systems as diverse as religion or the monetary economy, science or art, intimate relationships or politics--despite extreme differences between the functions and the operational modes of these systems. Our theoretical proposition offers the following: a clear demarcation of external system boundaries of different domains and comparability between different systems. Talcott Parsons launched a similar experiment, taking the comparability of all subsystems of the general action system for granted. He believed that each action system, even in the position of subsystem or subsubsystem, needed to fulfill four functions to be complete, that is, if it were to exist as a system capable of maintaining its boundaries and orienting itself in relation to temporal differences. This is not the place to argue with Parsons's position. What matters is that with Parsons, the comparability of subsystems began to occupy a pivotal theoretical position in sociology. In what follows, we do not propose a theory as rigorously derived as Parsons's from an analysis of the concept of action. Instead, what interests us is another one of Parsons's ideas: that each evolutionary differentiation process must reconstruct the unity of the differentiated system. This does not presuppose central norms, no matter how generalized. In our modern (some would say postmodern) society, such norms are difficult to detect. It suffices that all subsystems employ the operational mode of the system as a whole, in this case communication, and that they are capable of fulfilling the conditions of system formation--namely, autopoiesis and operative closure-- no matter how complex the emerging structures turn out to be. Carrying out this program in the realm of art requires theoretical models that cannot be extracted from observing works of art and can be demonstrated in the communicative employment of these works. Here we use distinctions such as system/environment, medium/form, first- and second-order -- 3 -- observation, self-reference and external reference, and above all the distinction between psychic systems (systems of consciousness) and social systems (systems of communication); none is meant to assist in judging or creating works of art. We are not offering a helpful theory of art. This does not exclude the possibility that the art system, in its own operations, may profit from a theoretical endeavor intended to clarify the context and contingency of art from a sociotheoretical perspective. Whether such a transposition of insights can be accomplished and what kind of misunderstandings may contribute to its success must be decided within the art system itself, for "to succeed" can mean only "to succeed as a work of art." The issue is not to propose a theory that, if properly understood and applied, would guarantee success or assist the art system in coping with its worries about the future. It follows from the general theory of functional social differentiation that functional systems are incapable of directly influencing one another. At the same time, their coexistence increases their mutual irritability. Science [Wissenschaft], here specifically sociological theory, must open itself to irritation through art. Science must be able to observe what is presented as art. In this basic sense, sociological theory is an empirical science (according to its own self-description, at any rate). But the labor of transforming irritation into information that can be used within science is an entirely internal affair. The proof must be delivered within science. Art becomes a topic in the first place, not because of a peculiar inclination of the author, but because of the assumption that a social theory claiming universality cannot ignore the existence of art. In view of how these intentions have been realized in this book, we acknowledge that it turned out to be difficult, if not impossible, to distinguish the systematics of the system from the bare facts while bracketing historical analyses (as it would have been feasible with the economic system, the system of science, and the legal system). Aesthetic endeavors involving art have always separated themselves from a historical discourse oriented toward facts. This was the case in the poesialhistoria discussion of the sixteenth century with its emphasis on "beautiful