Frases de Niklas Luhmann (15 citas)

Niklas Luhmann: 15 citas3 Me gusta

Frases célebres de Niklas Luhmann

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“Los humanos no pueden comunicarse; ni siquiera sus cerebros pueden comunicarse; Ni siquiera la conciencia en sus mentes puede comunicarse. Sólo la comunicación puede comunicarse.”

Niklas Luhmann

“El surgimiento del Estado soberano moderno basado en el monopolio de la toma de decisiones sobre el uso de la violencia física, y su inflación a un grado de complejidad que difícilmente puede controlarse, es el ejemplo más significativo de su desarrollo en el ámbito social general. Al mismo tiempo, esta teoría del poder explica el modo en que esta situación es propicia para la revolución, es decir, para el recurso de la violencia con el objeto de modificar un sistema incontrolablemente complejo, por medio de la progresión regresiva.”

Niklas Luhmann

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“El sistema artístico opera bajo sus propios términos, pero un observador del arte puede elegir muchas distinciones diferentes para indicar lo que él observa”

Niklas Luhmann

Niklas Luhmann: Frases en inglés

“The art system operates on its own terms, but an observer of art can choose many different distinctions to indicate what he observes.”

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Niklas Luhmann

Fuente: Art As a Social System (2000), p. 102.

“Humans cannot communicate; not even their brains can communicate; not even their conscious minds can communicate. Only communication can communicate.”

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Niklas Luhmann

Luhmann (1988) "How can the mind participate in communication" In: Hans Ulrich Gumbrecht et all. (Ed.) Materialities of Communication. p. 371 ( link http://books.google.nl/books?id=WDmrAAAAIAAJ&pg=PA371).

“No matter how abstractly formulated are a general theory of systems, a general theory of evolution and a general theory of communication, all three theoretical components are necessary for the specifically sociological theory of society. They are mutually interdependent.”

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Niklas Luhmann

Luhmann (1982) The Differentiation of Society, Translated by Stephen Holmes and Charles Larmore. Columbia University Press, New York, 1982, pp. 261. Cited in: Loet Leydesdorff (2000) " Luhmann, Habermas, and the Theory of Communication http://www.leydesdorff.net/montreal.htm".

“Does knowledge rest on construction in the sense that it only functions because the knowing system is operatively closed, therefore: because it can maintain no operative contact with the outside world; and because it therefore remains dependent, for everything that it constructs, on its own distinction between self-reference and allo-reference?”

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Niklas Luhmann

Luhmann (1991) “Wie lassen sich latente Strukturen beobachten?,” in Paul Watzlawick, Peter Krieg (eds.), Das Auge des Betrachters: Beiträge zum Konstruktivismus. Festschrift für Heinz von Foerster, Piper, München-Zürich, p. 71; cited in: Heinz von Foerster (1993) " For Niklas Luhmann: “How Recursive is Communication?” http://e1020.pbworks.com/f/fulltext-2.pdf". Translated by Richard Howe.

“Unlike philosophy, art does not search for islands of security from which other experiences can be expelled as fantastic or imaginary, or rejected as a world of secondary qualities or enjoyment, of pleasure or common sense. Art radicalizes the difference between the real and the merely possible in order to show through works of its own that even in the realm of possibility there is order after all. Art opposes, to use a Hegelian formulation, “the prose of the world,” but for precisely this reason it needs this contrast.”

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Niklas Luhmann

Fuente: Art As a Social System (2000), p. 146 as cited in: Astonishment And Recognition http://unrealnature.wordpress.com/2012/01/26/astonishment-and-recognition/ on unrealnature.wordpress.com, January 26, 2012.

“Whatever we know about society, or indeed about the world in which we live, we know through the mass media. This is true not only of our knowledge of society but also of our knowledge of nature.”

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Niklas Luhmann

Fuente: The reality of the Mass Media (2000), p. 1.

“We are still spellbound by a tradition that arranged psychological faculties hierarchically, relegating ‘sensuousness’ — that is, perception — to a lower position in comparison to higher, reflective functions of reason and understanding. The most advanced versions of ‘conceptual art’ still follow this tradition. By refusing to base themselves in sensuously perceptible distinctions between works of art and other objects, these works seek to avoid reducing art to the realm of sense perception.”

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Niklas Luhmann

Fuente: Art As a Social System (2000), p. 5 as cited by Andrew E. McNamara (2010) "Visual acuity is not what it seems : on Ian Burn's 'Late' reflections". In: Ann Stephen (Ed.) Mirror Mirror http://sydney.edu.au/museums/pdfs/Art_Gallery/mirror_mirror_catalogue.pdf.

“The effect if not the function of the mass media seems to lie, therefore, in the reproduction of non- transparency through transparency, in the reproduction of non-transparency of effects through transparency of knowledge.”

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Niklas Luhmann

Fuente: The reality of the Mass Media (2000), p. 103.

“In the twentieth century, one encounters artworks that seek to cancel the difference between a real and an imagined reality by presenting themselves in ways that make them indistinguishable from real objects. Should we take this trend as an internal reaction of art against itself?”

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Niklas Luhmann

Fuente: Art As a Social System (2000), p. 145.

“By representing themselves as a system [the mass media ] generates boundaries with an inside and an outside that is inaccessible to them. They too reflect [or represent] their outside as public life, so long as specific external relationships, such as to politics or to the advertisers, are not in question.”

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Niklas Luhmann

Fuente: The reality of the Mass Media (2000), p. 106 as cited in: John Downin (2004) The SAGE Handbook of Media Studies. p. 234.