No More Learning

113-275; Giesen and Junge, "Vom Patriotismus zum Nationalismus. "
182. August Wlhelm Schlegel suggests that and how one can dispense with the Idea: "Das Schone ist eine symbolische Darstellung des Unendlichen" (Die Kunstlehre, p. 81).
398 Notes to Pages 287-pi
183. The theme of a change of identity, e. g. , in the sexual relationship between brother and sister, was common before romanticism, and it becomes evident that this is a literary topic that presupposes writing. For evidence from the Italian Re- naissance, see Graziella Pagliano, "Sociologia e letteratura, owero storie di fratelli e sorelle," Rassegna Italiana di Sociologia 35 (1994): 151-62.
184. See, e. g. , Hoffmann, Ritter Gluck, quoted from E. T. A. Hoffmann,
Musikalische Novellen und Schriften, ed. Richard Miinnich (Weimar, 1961), pp.
35-55-
185. Friedrich Schlegel, "Uber Lessing," quoted from Werke, vol. 1, pp. 103-35
(123).
186. Novalis, Fragmente II, no. 2167, quoted from Werke/Briefe Dokurnente,
ed. Ewald Wasmuth, vol. 3 (Heidelberg, 1957) (numbers follow this edition). 187. A formulation pertaining to postmodern architecture can already be ap- plied to romanticism: "Whereas a mythology was given to die artist in the past by tradition and by patron, in the postmodern world it is chosen and invented" (Charles Jencks, "Postmodern vs. Late-Modern," in Ingeborg Hoesterey, ed. ,
Zeitgeist in Babel: The Postmodernist Controversy [Bloomington, Ind. , 1991], pp. 4-21 [9]).
188. On the misrecognition of the functional differentiation of the social sys-
tem, which is already widely established, see Klaus Disselbeck, Geschmack und
Kunst: Eine systemtheoretische Untersuchung zu Schillers Briefen "Uber die asthetis- che Erziehung des Menschen" (Opladen, 1987).
189. See, e. g. , Ludwig Tieck's novella Das ZauberschloJ? (ifyo).
190. Foranoverview,seeDavidRoberts,ArtandEnlightenment:AestheticThe- ory after Adorno (Lincoln, Nebr. , 1991). See also Christoph Menke-Eggers, Die Souveranitdt der Kunst: Asthetische Erfahrung nach Adorno und Derrida (Frank- fart, 1988).
191. Max Horkheimer and Theodor W. Adorno, Dialektik der Aufkldrung (1947), quoted from Theodor W. Adorno, Gesammelte Schriften, vol. 3 (Frank- furt, 1981).
192. This could be demonstrated by a more detailed analysis of new forms of "fantastic" art. A wealth of materials can be found in Christian W. Thomsen and Jens Make Fischer, eds. , Phantastik in Literatur und Kunst, 2d ed. (Darm- stadt, 1985). See also Tzvetan Todorov, The Fantastic (Ithaca, N. Y. , 1973). To- dorov's answer is diat the fantastic renders the issue of supernatural influences undecidable (! ).
193. See Stephane Mallarme's famous "Un coup de des jamais n abolira le haz- ard," Preface, quoted from CEuvres completes, Pleiade ed. (Paris, 1945), pp. 453-- 77: "Les 'blancs,' en effet, assument l'importance, frappent d'abord; la versifica- tion en exigea" (453).
194. These are Heidegger's words. See "Der Ursrprung des Kunstwerks," in Martin Heidegger, Holzwege (Frankfurt, 1950), pp. 7-68 (jif. ).
Notes to Pages 292-95
399
195. We might speculate whether negating every tie to the past amounts to negating any decidable future; after all, the future presupposes something from which it distinguishes itself.
196. See Theodor W. Adorno, Asthetische Theorie, in Adorno, Gesammelte Schrifien, vol. 7 (Frankfurt, 1970).
197. See Chapter 2, section I, above.
198. Umberto Eco, Opera aperta (1962; 6th ed. Milan, 1988), p. 177, maintains that even an open work must be recognizable as a work. But other factors must limit die continuation of a work. A piano piece by Stockhausen can be re- arranged in various ways, but one cannot continue it by singing "Lilli Marleen. "
199. On the notion of an "outside of the calculus of forms," see Elena Espos- ito, "Ein zweiwertiger nicht-selbststandiger Kalkul," in Dirk Baecker, ed. , Kalkul derForm (Frankfurt, 1993), pp. 96-m.
200. Spencer Brown, Laws ofForm, p. 57.
201. For further considerations of this matter, see Arthur C. Danto, The Transfiguration of the Commonplace: A Philosophy of Art (Cambridge, Mass. ,
1983).
202. This can be accomplished from above or from below, by offering a mas-
sive amount of erudition that has become unintelligible or by speaking the slang of the lower classes (Burroughs, Pasolini), which makes sense only to those who are not addressed as readers.
203. That this case can be subsumed under the concept of autonomy has been disputed, e. g. , by Wolfgang Welsch, "Ubergange," Selbstorganisation 4 (1993): 11- 15. But Welsch seems to restrict autonomy to the resistance against external reg- imentation and infringement, and today this is certainly no longer a problem. However, it is unclear how the search for transitions, for contact with "life" or, finally, the assault on the distinction between art and nonart could be made in- telligible, if not in terms of an autonomous action.
204. See. Werner Hofmann, Die Kunst, die Kunst zu verkrnen (Vienna, 1993). 205. Ibid. , p. 47.
206. Here, the differentiation of the art system is especially blatant if one con-
siders the potential reaction were one to attempt to make such works accessible to people who live in the dumps and are forced to build dwellings from trash.
207. See Karl-Heinrich Bette, Theorie als Herausforderung: Beitrage zur sys- temtheoretischen Reflexion der Sportwissenschaft (Aachen, 1992), pp. 6off.
208. See Michael Baldwin, Charles Harrison, and Mel Ramsden (with refer- ence to T. J. Clark), "On Conceptual Art and Painting, and Speaking, and See- ing," Art-Language ns. 1 (1994): 30-69 (45).
209. On such "signal systems," see Raymond Williams, The Sociology ofCul- ture (New York, 1982), pp. i3of.
210. One of the formulas for this technique is "a painting which is not to be seen" (Baldwin et al. , "On Conceptual Art," pp. 44ff, 6}ff. ).
4 0 0 Notes to Pages 296-301
211. Of course, buildings must be excluded from this claim. But an aria, for example, is not tested as to whether it can be performed by someone who has a cold, and at what degree of infection.
212. See David Roberts, "The Law of the Text of the Law: Derrida before Kafka," ms. , 1992.
213. On this and the following, see Rosalind E. Krauss, "The Originality of the Avant-Garde: A Postmodern Repetition," in Ingeborg Hoesterey, ed. , Zeit- geist in Babel, pp. 66-79.
214. Ibid. , p. 68.
215. On this division, considered from the perspective of self-reference/hetero- reference, see further Gerhard Plumpe, "Systemtheorie und Literaturgeschichte:
Mit Anmerkungen zum deutschen Realismus im 19. Jahrhundert," in Hans Ul- rich Gumbrecht and Ursula Link-Heer, eds. , Epochenschwellen und Epochenstruk- turen im Diskurs der Literatur- und Sprachhistorie (Frankfurt, 1985), pp. 251-64.
216. See Fuchs, Moderne Kommunikation, pp. i63ff. Fuchs proposes the dif- ference BezeichnunglNichtbezeichnung as the "Midas-code" of modern art. It is well known that this leads to a dead end.
217. On "concept art," see, e. g. , Victor Burgin, "The Absence of Presence: Conceptualism and Postmodernism," in Burgin, The End ofArt Theory: Criti- cism andPostmodernity (London, 1986), pp. 29-50 (29): "Today the excitement has died down. Recollected in tranquillity conceptual art is now being woven into the seamless tapestry of 'art history. ' This assimilation, however, is being achieved only at the cost of amnesia in respect of all that was most radical in con- ceptual art. "
218. The relevant literature on this topic has grown out of proportion. (This would be reason enough for a communication system to end the discussion. ) For
a compilation of heterogeneous contributions, see Hoesterey, Zeitgeist in Babel.
219. For a short presentation, which includes his own leading early work, see Jencks, "Postmodern vs. Late-Modern," pp. 4-21.
220. Christo's response to this question is particularly striking: if objects can no longer legitimize their boundaries and distinctions, they must be wrapped.
221. Jencks, "Postmodern vs. Late-Modern," p. 9.
222. A parallel trend is evident in the rapidly alternating fashions in the con- sulting business for organizations, which leads to ever new self-designations.
223. The form of "quotation" indicates that the works' diversity is emphasized rather than melded together and that their diversity is remembered rather than forgotten. The difference is marked in a manner that can be recognized by an in- formed audience. For a wealth of material on this topic, see Lachmann, Geddcht- nis und Literatur.
224. Jacques Derrida, Margins ofPhilosophy, trans. Alan Bass (Chicago, 1982), p. 66.
Notes to Pages 302-8 4 0 1
225. See Talcott Parsons, "Pattern Variables Revisited: A Response to Robert Dubin," American Sociological Review 25 (i960): 467-83; rpt. in Parsons, Socio- logical Theory and Modern Society (New York, 1967), pp. 192-219. In Parsons, this combination refers specifically to the adaptive subsystem of the social system,
but it occurs in this form only when the differentiation of the general action sys- tem has progressed far enough.
226. See already Novalis, Bliithenstaub 109: "Die gewohnliche Gegenwart verkniipft Vergangenheit und Zukunft durch Beschrankung. Es entsteht Konti- guitat, durch Erstarrung, Krystallisation. Es gibt aber eine geistige Gegenwart, die beyde durch Auflosung identifiziert. " Quoted from Werke, Tagebucher und Brief Friedrich von Hardenbergs (Darmstadt, 1978), vol. 2, p. 283.
227. See Lomazzo, Idea del Tempio, pp. 8ff.
228. This might be a reason why one speaks again of "conceptual art. "
229.
See Boris Groys, "Die Erzeugung der Sichtbarkeit: Innovation im Mu-
seum: Nicht das Kunstwerk andert sich, sondern sein Kontext," Frankfurter All- gemeine Zeitung, January 28,1995, n. p.
230. Incidentally, the same holds for the latest esoteric interests and for all ver- sions of religious fundamentalism. The parallels between these social contexts and aesthetics are noticeable in the tendency, typical of recent religious or quasi- religious movements, to insist on "experience" as an argument: like an experience mediated by perception, inner experience supplies certainty in situations that, considered in themselves, could be different. A similar tendency is evident in the passion of the mass media for "true stories" that draw on "personal experience" and expose highly individual perceptions and opinions. This kind of communi- cation supplies reality without the obligation ofconsensus.
231. See n. 224, above.
232. Nelson Goodman, Ways of Worldmaking (Indianapolis, 1978), and Good- man, Languages ofArt (Indianapolis, 1968).
233. The notion is from Michel Serres, Leparasite (Paris, 1980).
234. The most familiar critique of an "object"-oriented "aesthetics" is proba- bly Martin Heidegger's "Der Ursprung des Kunstwerks. "
235. See Paul de Man, The Resistance to Theory (Minneapolis, 1986), pp. 67f. and throughout.
236. See Danto, The Transfiguration of the Commonplace, and Danto, The Philosophical Disenfranchisement of Art (New York, 1986).
237. See the exhibition "Das Bild der Aufitellung" in the Heiligenkreuzhof'Vi- enna (May 27-July 17, 1993). The catalogue, published by Markus Briiderlin (Academy for Applied Art, Vienna), contains texts that reflect upon this framing of the framing of the frame.
238. As structuralists or poststructuralists, for example, or as "new literary crit- icism," neo-Marxists, and so on. On these "institutional" states of affairs, which
402 Notes to Pages 308-15
become more and more chaotic (thus corresponding to the growth of the uni- versities), see Jonathan Culler, On Deconstruction: Theory and Criticism after Structuralism (Ithaca, N. Y . , 1982); Culler, Framing the Sign: Criticism and Its In- stitutions (Norman, Okla. , 1988).
239. Danto, The Philosophical Disenfranchisement of Art.
240. Roberts, Art and Enlightenment, pp. 150,158.
241. On this question, see Arthur C. Danto, "Deep Interpretation," The Philo-
sophical Disenfranchisement of Art, p p . 47~6j.
242. For the opposite view, see Gebauer and Wulf, Mimesis: Kultur-Kunst-
Gesellschaft; the authors return to a pre-Aristotelian notion of mimesis and shift the emphasis from world acceptance to world creation.
243. It is crucial to identify the controlling function of this terminology, which permitted both Hegel and Marx to think of the end of opposition as a de- sirable end. One could hardly make this claim with regard to the end of all dis- tinctions (entropy).
244. See Arthur C. Danto, "The End of Art," in The Philosophical Disenfran- chisementofArt, pp. 81-115.
245. Roberts, Art and the Enlightenment.
246. See Julia Kristeva's observations on a "paragrammatic" perspective in "Pour un sdmiologie des paragrammes," in Kristeva, Semeiotikt Recherchespour un se~manalyse (Paris, 1969), pp. i74ff. The position of the nothing (not being able to see) (= o) is replaced by the distinction (= 2), which is an effect of an op- eration that is only what it is (= 1). The paragrammatic description prefers the 2 (the double) instead of the 1 and "le ziio comme non-sens n'existe pas dans le r&eau paragrammatique. Le z6io est deux qui sont un" (p. 193).
247. For sometime, group psychology has demonstrated the opposite claim, if only under extremely contrived conditions. Any reader can convince himself of this if he imagines someone who claims that the book he is about to finish does not exist.
248. See section VI of this chapter.
249. One must read this carefully. What is at stake here is not the psychic construction of reality, which is simply the result of perceiving an artwork or of listening to it without conflicting with other operations of the same system in ways that lead to failure.
250. Virgil, Aeneid Book VI, 129 (Oxford, 1972), p. 4.
Index
In this index an "f" after a number indicates a separate reference on the next page, and an "ff" indicates separate references on the next two pages. A continuous discus- sion over two or more pages is indicated by a span of page numbers, e. g. , "pp. 57-58. " Passim is used for a cluster of references in close but not consecutive sequence.
Aboriginal art, 249
Abstract art, 114
Abstraction, 12, 43, 48,142,156,199,
201, 277, 291
Academies, art, 268, 270, 307 Action, 2, 78, 263, 35on4 Actuality, 107-8,113,130,139,146 Actualization, 113,129,139 Admiration, 145,150, 259, 264ff,
352n26, 389^2
Adorno, Theodor, 36,141, 248, 290,
292, 302
Aesthetics: and beauty, 15, 70, 97,179,
190, 232, 235, 247, 272, 279, 311; and judgment, 22,175, 273; and morality, 70,189, 247, 267; and philosophy, 100,175, 235, 248, 268, 273, 277-78, 30if, 322n25; and art system, 241,
306. See also Art, dieory of Agrippa, Heinrich Cornelius, 168 Alberti, Leon Battista, 154,160, 218,
Ambiguity, 40, 50
Anthropology, 18, i5of, 152, 279 Arabesque, 22if, 373ml
Architecture, 45, 84,114,117,178, 218,
233, 252, 254^ 288, 298, 37i~72n64 Aristotle, 68,138,146,150,182,197,199,
232, 25of, 257, 262, 269, 310, 37on44 Art, criticism of: and communication,
17, 22; and perception, 17; and autopoiesis, 53;and romanticism, 53,164,166, 205, 285-87, 292; and effect of art, 69; and connoisseur- ship, 81-82,164, 276; and market relations, 81-82,164; and literature, 98,125-26; and second-order obser- vation, 100-101; and unity, 126;
and differentiation, 234; and public opinion, 270-71; and visibility/ invisibility, 286; and art system, 307-8; and self-description, 308
Art, function of: and communication, 18,19-20, 25-26, 40, 48, 51-53, 67-68, 78-80,139, i42f, 150; and coupling, 20, 22, 44, 46, 48, 52, 69;
254f
Allegory, 170-72, 36inn6, Alliances, artistic, 167
^yaxyj
40}
4 0 4
Index
and information, 23-25, 52; and connectivity, 43; and self-reference, 43,149; and consciousness, 48, 51; and integration, 48-49; and social system, 48,134,136-37; and systems theory, 137-40; and art history, 140; and artworks, 140-41; and percep- tion, i4if, 150; and difference, 145ft and evolution, 146; and order, 146- 48ff, and self-observation, 146; and theory of art, 146; and marked/ unmarked space, 148; and hetero- reference, I49f; and operative closure, 149; and improbability, 150; and style, 208-9; and romanticism, 263; and coding, 352M6
Art, history of: and art system, 3-4,127, 159, 230; and practice of art, 18, 44, 144-45; and purpose of art, 23, 68- 69; and theory of art, 23,145-46, 162; and autonomy, 43,159; and consensus, 75; and expert knowledge, 82,163; functional analysis of, 140; and social status, 154; and evolution, 159; and patronage, 160-64; and shift from symbol to sign, 168-77; and genre, I78f; and periodization, 208; and cultural history, 2iif; and differ- entiation, 212; and influence, 212
Art, practice of: and perception, 7,18,
25ft and imitation, 17, 43, 68,162,
2an
255, 260-63, 7<>; ' l history, 18, 44,
144-45; language circumvented by, 19-20, 25; and consciousness, 20, 73; and recursivity, 20; and temporality, 20, 72ft and information, 23-26, 40; and intentionality, 24, 68; and differ- ence, 26; and hetero-reference, 26, 155; and self-description, 26; and self- reference, 26, 43,155; and unity, 26; and novelty, 31, 44; and paradox, 33, 40, 73^ 259, 265; and constraint, 34--35, 75; and body, 38; and distinc- tion, 38; and first-order observation, 38, 40, 52, 228-29; and operation, 38,
73,156, 228-29; and astonishment, 40,146; and second-order observa- tion, 52, 69-70; and consensus, 74-75; and marked/unmarked space, 117; and difficulty, 128; and social system, 144-45; and social status, 154, 161; and skill, 160,162; and freedom, 203-4; and market relations, 243; and art theory, 308
Art, purpose of: and art history, 23, 68-69; and artworks, 23-24, 35, 44, 52, 68, 70,152; and beauty, 23,142, 192; and communication, 23-24, 48, 78; and theory of art, 23; and form, 24-25; and second-order observation, 70; and reality, 147; and imitation, 179,197
Art, reception of: and communication, 13, 2of, 22-23, 26, 39, 43ft 53; and perception, i3f, 20, 22-23, 26, 39, 52; and reflexivky, 14; and temporality, 14, 20-22, 43; and social system, 17, 70-71,136-37; and consciousness,
2i, 40, 49; and difference, 21; and judgment, 22, 43; and information, 26, 39,105; and first-order observa- tion, 38-39, 43; and repetition, 38- 39, 43; and operation, 43,156; and coupling, 49; and recursivity, 49; and astonishment, 50,146; and second-order observation, 52, 72ft 77; and pleasure, 70, 200-201, 265; and multiplicity, 73; and consensus, 74-75; and participation, 77; func- tional analysis of, 136-37; and nov- elty, 200-201, 265; and imitation, 262
Art, system of: and art history, 3-4, 127,159, 230; and differentiation,
3f, 36, 49, 65, 69, 81,132,134,136-37, 140,151, i56ff, i66ff, i78-8if, 189, 215, 218, 231-32, 237, 249, 269, 299, 302, 312, 314; functional analysis of, 3ft 69,134,136-37,140, 306, 308; and history, 3-4, 49,127,158; and self-
description, 23, 235, 237, 241, 243, 246, 248, 251, 253, 271, 273, 278, 286, 291-93, 298ff, 302ff, 3o8ff, 312; and
2 autopoiesis, 25, 49-50,130, 245ft 98>
302; and closure, 33;and universality, 34; and communication, 40, 49-53, 79-80,128,141,166, 313ft and auton-
1J
omy, 43, 80,134-35, 59> 66,181,184,
206, 238-39, 241ft 251, 283, 292, 297, 302ft 312, 315; and art theory, 44,162, 281; and theory of art, 44,162; and
2
recursivity, 49, 245ft 53> ^4, 315;
and social system, 49, 71, 79-80, 99,
128, 208, 231-32, 237, 308-9, 314; and
artworks, 53,130,141,180,189, 205,
296, 299, 307, 313; and unity, 71,128,
132,178-79,181, 233, 271-72, 310,
311-12; and second-order observa-
tion, 74,129,132,134, 244; and dis-
tinction, 102ft 189, 302fft 314; and
evolution, 122,128, 216, 230, 232,
236-43, 302; and form, 122,127,129,
314; and improbability, 127; and
4 0 5
and art criticism, 307-8; and self-
reference, 309; and difference, 312-13 Art, theory of: and differentiation, 3; and perception, 7; and art history,
23,145-46,162; and history, 23,145- 46; and paradox, 23; and form, 36, 66, 96; and art system, 44,162, 281; and avant-garde, 44; and causality, 76; and second-order observation, 76; and taste, 81,174; and distinc- tion, 96; and beauty, 97,162; and social stratification, 137; and improb- ability, 145; and function of art, 146; and ugliness, 202; and dialectics, 248; and disegno, 264; and philosophy, 277-78, 308; and self-description, 285; and practice of art, 308
Art, works of: and systems theory, 3; and perception, 5,10,14, 20, 22-23, 38, 45, 68,113,142, 33on97; and communication, 10,12,14, 22-23, 34-35. 45. 52-53. 7<<f. 157. 286, 297, 306, 313, 349n4o; and temporality, 20-21, 30, 72,114; and purpose of art, 23-24, 35, 44, 52, 68, 70,152; and closure, 30, 33,120,123; and constraint, 34-35; and marked/ unmarked space, 34-35,117-18;
and first-order observation, 37-38, 42ft 50, 67, 71, 80, 207; and form, 37-38, 52,109,117-21,123,144, 205, 301, 308, 313ft and information, 39, 50, 70,105,118,130,154,173; and paradox, 42, 45,119,152,154, 296, 301; and unity, 42,114,190; and artificiality, 44; and boundary, 45- 46,117-18,180; and imaginary space, 45-46,113; and self-description, 45, 123, 241, 297; as quasi objects, 47; and integration, 48-49; and novelty, 50, 68, 200, 218, 229, 303; and sec- ond-order observation, 52,67, 69- 72, 204, 206; and art system, 53, 130,141,180,189, 205, 296, 299,
307, 313; and autopoiesis, 53, 203;
medium, I27ff; and subjectivity, 128; z2
and operative closure, 134ft 5^> 53> 309, 312, 314; and systems theory, 134,
157; and religion, 142,182-84; hetero-reference, 151;and institu- tions, 154; and redundancy, 155, 290, 315; and market relations, 165, 243; and romanticism, 166-67; and al- liances, 167; and genre, 178-81; and beauty, 179, 233, 269; and political system, 182,184; and coding, i87fft 194ft and self-organization, 195, 309; and style, 208ft 230, 241, 268, 276; and intertextuality, 216; and mod- ernism, 230; and environment, 231-32, 237, 246, 314; and stability, 235, 237, 241; European origin oft 236-37, 38on78; and aesthetics, 241, 306; and participation, 242; and boundary, 244, 306; and temporality, 268ft 305; and negation, 292-93, 296-97, 305; and complexity, 306;
an
^
Index
4 0 6
Index
and recursivity, 53,148, 245; and in- tentionality; 68; and authenticity,
82, 88, 209; and restoration, 82;
and beauty, 88,190-92, 269; and medium, 109,113--15,118,123; and distinction, ii7-i8ff, 123,130-31,186, 189, 206-7, 215-16; and indication,
22 an 118,123,154-55, 7! d contin-
gency, 120,194, 206; and ornament, i20-2if, 192, 218, 220; and whole/ part, 120; and improbability, 126-27, 153-54, 215; and difficulty, 128, 349n64; and coupling, 130; and repetition, 130, 297; and style, 130-31, 208-10; and function of art, 140-41; and reality, I42f, 151, 281; and pleasure, 144,152,173, 200;
and utility, 152, 308; and redundancy, 154,173; and hetero-reference, 155, 205, 303; and patronage, 162; and recognition, 173, 2451; and coding, 186,194, 227; and failure, 194, 206, 300; and interpretation, 203, 283;
2IO
2I2
x
art system, 43, 80,134-35, 59> 166,
181,184, 206, 238-39, 241ft 251, 283,
292, 297, 302ft 312, 315; and au-
2I2
topoiesis, 157ft 8. Ji. 302; and
operative closure, 157, 218, 251; and evolution, 158, 242, 302; and patron- age, 161; and romanticism, 166-67, 284; and coding, 186; and negation, 186, 293-94, 297; and self-program-
0 ming, 205; and artworks, 207ft 3 3!
and stability, 234, 241; and self- description, 251, 280, 291; and rationalism, 267, 275; and self- organization, 280; and communi-
2
cation, 284ft ^7; and self-reference,
288; and dialectics, 290-91
Autopoiesis; and communication, 2, 9-ioft 16,18, 40, 51, 68, 286; and perception, 6, 8,16; and immediacy, 8; and operative closure, 13, 79ft 215, 218, 251; and temporality, 20; and art system, 25, 49-50,130, 245ft 298>> 302; and distinction, 40; and systems theory, 49, 51,157, 236; explanatory power of, 50-51, 236; and operation, 50,185, 214, 236; and reproduction, 50ft 69,129, 224, 246; and coupling, 51; and evolution, 51,157, 214, 229, 236, 302, 377n49, 379^2; and art criticism, 53; and artworks, 53, 204; and science, 63; and social system, 95,135; and meaning, 108; and poetry, 125; and autonomy, 157ft
218, 251, 302; and complexity, 157; and negation, 292ft 296; and form, 295
12 Avant-garde, 44, 53,122-23, 7> ! 54>
241, 288, 291, 301, 303, 315, 366n8
Bacon, Francis, 198
Barel, Yves, 33
Baroque, 81,117,184, 238 Bateson, Gregory, 26,118 Baudelaire, Charles, 324042 Bauhaus, 167
and self-programming, 203-7,
>
240, 246; and history, 204-5, 303-4; and autonomy, 207ft 303; and evolution, 216; and difference, 294; and self-reference, 297; and astonishment, 300
Artificiality, 44, 56, 67ft 117,150-51 Ashby, W. Ross, 298, 366n5
Assmann, Jan, 227
Astonishment, 40, 50, 68,14if, 145,147,
2 2 2f 2 150, 208, 246, 257ft ^ > >5> *>9>
300, 352n26
Asymmetry, 28, 4if, 43, 64ft H9f, i86ff
Atmosphere, 112, 345M4
Audience, 17, 79, 200, 239, 260, 262
Aura, 159
Austen, Jane, 328n74
Austin, John, 175
Authenticity, 74, 82, 88-90, 93, 209, 212
Author, 26, 32, 68, -j6i, 122, 259 ll
Autonomy, 66,144,149,153ft 56> 74> 279-80, 305; and art history, 43; and
>
Baumgarten, Alexander Gottlieb, 15, 39, 248, 2721", 277, 301, 311, 3221125, 39111117, 393ni42
Beauty: and aesthetics, 15, 70, 97,179, 190, 232, 235, 247, 272, 279, 311;
and purpose of art, 23,142,192;
and difference, 29; and pleasure,
70; and artworks, 88,190-92, 269; and imitation, 92,190, 220, 232, 312; and theory of art, 97,162; and unity, 97,190,192, 219, 232f, 254, 279, 368n24; and medium, n o ; and ornament, i2if, 219-20, 346-47040; and symbolic art, 169; and illusion, 170; and idealism, 176, 305; and art system, 179, 233, 269; and coding, 186,189-93, ! 95> 202, 275, 278; and novelty, 200; and religion, 232; and truth, 258, 266f; and nature, 274, 277; and social system, 300
Belatedness, ioof
Belting, Hans, 159
Benjamin, Walter, 53, 397M78 Bentham, Jeremy, 189
Berkeley, George, 274
Bifurcation, 13,20,no,141,166,201,
231, 288
Blind spot, 29, 32, 40, 57, 98
Blue Rider group, 167
Body, 38,108-9,127, 228 Bohm-Bawerk, Eugen von, 57 Boileau, Nicolas, 89, 369^7 Borromeo, Carlo, 255
Boucher, Francois, 240
Boundary, 56, 86, 89,112-13,148,157,
248f, 326063; and form, 27-30, 32f, 45f 66,117-18,120,124, 222, 314; and artworks, 45-46,117-18,180; and signification, 113; and coding, 1941; and imagination, 203; and style, 210; and art system, 244, 306; and disegno, 263-64; and self-reference, 298; and avant-garde, 301
Bourdieu, Pierre, 19, 323^6 Bourgeoisie, 145,161, 36imi9
Brain, 5ft 8, i n , 3 1 9 ^ . See also Nervous system
Brooks, Cleanth, 125
Brown, George Spencer, 9, 30-31, 33,
37, 41, 58f, 72,117,148,156,186, 264, 266, 293, 326n63, 327n70, 329^5, 33on9i, 335n26, 36311135. 395nI59
Brunelleschi, Filippo, 154 Burgin, Victor, 40on2i7
Cage, John, 71, 295
Canon, artistic, 208
Capitalism, 163
Cardano, Geronimo, 254
Causality, 76,151
Ceremony, 267
Cervantes, Miguel de, 87, 239, 258, 265 Chance, 27,105, 207, 215, 315
Chaos, 41, 55,104, 221
China, 323^9, 379-8on78
Classicism, 81, i3if, 240
Closure, 5, 29f, 33-34, 48, 54, iigf, i23f
See also Operative closure
Coding, 63, 66,140,143,185-95^ 201-2,
204, 206, 227, 275, 278, 338n5i,
352nn, 366n8
Cognition, 15-16, 78,197, 203f, 250,
268, 277f, 280, 301, 311, 36mii9 Colbert, Jean-Baptiste, 268 Coleridge, Samuel Taylor, 72 Combination, formal, 168,176,178,
216, 228, 305
Comedy, 147, 397ni8o Communication: and operative closure,
if, 12, 46, 48; and autopoiesis, 2, 9-iof, 16,18, 40, 51, 68, 286; and consciousness, 3,12-13,16, 2of, 40,
6-7,10,
Index 4 0 7
47-48, in; and perception,
13-16,18, 22-23, 39. 45^ 47 48, 99, 109, i4if, 313; and information, 8,11, 18, 39-40, 50, 52, 300; and meaning, 9,139; and artworks, 10,12,14, 22- 2-3. 34-35, 45>> 52-53. 78f, 157. 2. 86, 297, 306, 313, 349040; nonverbal, 10,18-19; and Spirit, 10; verbal, 10,
_
4o8 Index
16,18, 21, 25, 93,141; and hetero- reference, 11, 2if; and indeterminacy, 11-12; and recursivity, 11, 28, 47, 49; and self-reference, 11,13, 22; and ab- straction, 12; and externalization, 12; and inferiority, 12; and reception of art, 13, 2of, 22-23, 26, 39, 43f, 53; and subjectivity, 13;and cognition, 15-16; and reflexivity, 16; and signification, 16; and temporality, 16, 2of, 28; and art criticism, 17, 22; oral, 17,19, 284; and function of art, 18,19-20, 25-26, 40, 48, 51-53, 67-68, 78-80,139, i42f, 150; indirect, 19-20; and simul- taneity, 21; and purpose of art, 23-24, 48, 78; and art system, 40, 49-53, 79-80,128,141,166, 313ft and social system, 51, 79-80, 99,128,134f, 141, 249, 313; and second-order observa- tion, 68, 95ft and object orientation, 75; and complexity, 172; and roman- ticism, 280, 284-856 and autonomy, 284ft 2,87
Complexity, 35, 61ft 95,148,172,175, 187, 203, 306; and evolution, 50, 157-58,178, 213ft 2^5. 246
Conceptual art, 5, 298, 314, 40on2i7 Concetto, 259-61, 303
Condensation, 156ft 196 Confirmation, 156,196 Connectivity, 21, 32, 42ft 48ft 59, 73,
193, 222
Connoisseurship, 81-82,164,166, 260,
270, 276, 3241142
Connotation, 25,124
Consciousness: and communication,
J
3,12-13, 6, 20ft 40, 47-48, in; and
externalization, 5fft 9, 40,141; and inside/outside, 5, 9; and perception, 5-8,12,16, 22-23, 39, 46,141,150; and imagination, 7,12; and intu- ition, 7,12; and hetero-reference, 8-9; and nervous system, 8~9ft and self-reference, 8-9,13; and operative closure, 9ft 12, 46, 48; and social
system, 10; and practice of art, 20, 73; and temporality, 20; and recep- tion of art, 21, 40, 49; and function of art, 48, 51; and measurement,
in; and language, 125; and meaning, 139
Consensus, 74-76, 93, 95,141,144, 283, 286
Constant, Benjamin, 284
Constraint, 34-35, 43, 48, 75,129,144,
203, 207, 210, 246, 248, 306 Constructivism, 7, 60, 84,176, 226,
244, 274
Content, 66,193,196
Context, 31,124ft J59> l9& Contexture, 33, 306-7
Contingency, 89-90, 92, 94,104,112,
120,122,126,194, 206, 245, 288, 304,
309
Copernicus, Nicolaus, 258 Cosmology, 178ft 181, 232, 250, 253ft
257, 262f
Coupling, 8,11, 50, 52, i n , 141, 240,
243, 313, 377n50; and function of art, 20, 22, 44, 46, 48, 52, 69; and reception of art, 49; and autopoiesis, 51; and second-order observation, 56, 60, 6% and medium, i03-4ff, 115,123,129,132,156; and form, 104,106,115,117,123,129,132; and artworks, 130
Courdy art, 160-61,174,182, 237, 253, 266f
Creativity, 31,173, 209 Criticism. See Art, criticism of
Crossing, 35-36,187ft 39511159
222
>> 32. 91185,
Culture, 132, 211-13, 241, 247 Culture industry, 141 Cybernetics, 27, 58, 98, 298 Cyberspace, 151
Da Vinci, Leonardo, 263
Dance, 21,in, H5-i6f, 228, 363ni38 Dante Alighieri, 307
Danto, Arthur C , 34,144, 202, 336ml, 37on5i
Darwin, Charles, 214, 230
Darwinism, 213, 235, 3771149
de Man, Paul, 98, 300, 328077, 337^8,
3630132
De Piles, Roger, 262,3620127, 38m86 Deception, 257-58^ 264, 266, 310 Deconstruction, 98-99, i5of, 175,193,
296, 302, 306, 3630137 Decontextualization, 127
Decorum, 184, 234
Defoe, Daniel, 87,122
Deleuze, Gilles, 27
Democracy, 201, 309 Democratization, 2, 64
Denotation, 25, 123-24
Derrick, Jacques, 32! ", 57, 62, 74, 98,
100,157,175,193, 301, 3i9n2, 39inii3 Descartes, Rene\ 146,168, 265, 36onioo,
389^2
Deviation, 131,198, 20of, 208, 228f, 234,
241, 256, 262, 265, 297 Dialectics, 29, 36, 61, 64,197, 248,
290~9if
Diderot, Denis, n o , 222, 240, 3920131,
396ni72
Differance, 62, 74,157
Difference: and reception of art, 21;
and meaning, 24-25,139; and form, 25-29, 34, 36, 46, 48,118, 210; and practice of art, 26; and marked/ unmarked space, 30, 54, 74; and imitation, 43,114; and critique, 100; and atmosphere, 112; and informa- tion, 118; and function of art, I45f; and signification, 176-77; and style, 210; and artworks, 294; and self- description, 302; and art system, 312-13
Differentiation: functional, 1-4, 69, 99, 133-37,139-40,161,166, 200, 234, 249, 251-52; aod art system, 31", 36, 49>> 65, 69, 81,132,134,136-37,140, 151, i56ff, i66ff, i78-8if, 189, 215, 218,
231-32, 237, 249, 269, 299, 302, 312,
314; and form, 17,135-36; and inter-
pretation, 40; and social system, 65,
-_
69. i33 36,139 40. 158. 181,191. 234.
237, 249, 25if, 309; and evolution,
J
33> 136,158, 231-32, 234; and history,
133ft and systems theory, 133-34,158; and complexity, 158; and patronage, 161; and imitation, 181,198; and self- organization, 185; and coding, 187; aod art history, 212; and geore, 231; aod literature, 231; and space/time, 231; and self-description, 251-52
Difficulty, 128, 348-49064
Dilthey, Wilhelm, 212
Disegno, 218-21, 263~64f
Dissent, 75/, 144, 286
Distinction: and form, 27-36, 41, 45,
52, 54-55, 61, 65-67, 96f, 102-8,129, 206, 301, 314, 335n26; aod operation, 3if, 37ft 4iff, 54,128, 248,300;and paradox, 32f, 41-43, 97,104,130,
197, 265, 286, 301; and unity, 32, 36, 41-42, 59, 72, 91-92, 94, 97,141,
205, 224, 248, 265, 300ft 304; and contexture, 33; and indication, 36, 38, 41, 52, 55, 58-61, 65,118,128; and first-order observation, 37ff, 41, 51, 54-55. 66-67; and practice of art, 38; and autopoiesis, 40; and marked/ unmarked space, 54ft 65, yi6\\6y, and second-order observation, 56, 58-61, 72, 91, 99ft 207, 289, 309;
and coding, 66,186-90,193; and inside/outside, 91, 271; and theory of art, 96; and deconstruction, 98-99; and art system, 102ft 189, 302ff, 314; and hierarchy, 102,121; and medium, 102-8; and artworks, 117-181! , 123, 130-31,186,189, 206-7, 215-16; and poetry, 123; and hetero-reference, 128, 206; and self-reference, 128,
206; and self-description, 248-49, 302; and visibility/invisibility, 250; and being/appearance, 266
Index
409
4io
Index
Donatello, 154
Donne, John, 119, 259, 265 Doppelganger, 287
Double closure, 5, 29, 319^
Double framing, n o , 257
Doubling, of reality, 142-43,185, 243,
250, 266, 312
Drawing, 218-21, 263-64
Dreams, 6,143
Dryden, John, 221, 260, 3541136, 376035 Duchamp, Marcel, 34, 71, 293
Dtirer, Albrecht, 254
Durkheim, Emile, 94
Eco, Umberto, 77, 3320114, 354037, 399i"98
Economic system, 63-64, 95,113,140, 159, i63ff, 166, 231, 243, 251. See also Market relations
Education, 159,166, 200, 233, 252-53, 255, 268f, 306, 394ni53
Eigenvalues, 6,15, 55, 57, 92
Einstein, Albert, 84
Emergence, 9, 24, 73, 80, 90,105,126,
128,187, 214, 236
Empiricism, 274
Empson, William, 125
England, 163, 255, 270, 276, 36mii9 Enlightenment, 15, 75, 268, 274, 278 Entropy, 49, 55, 402n243 Environment, 50,135,157^ 188-89,
195, 215, 231-32, 237, 246, 299, 301,
3H
Epic, 182, 231
Epistemology, 7, 56, 58, 83-84,176,
220, 271
Erasmus, Desiderius, 266
Escher, M. C , 119
Essence, 204,231, 244-45,25? Estrangement, 124
Ediics, 2, 267. See also Morality Eurocentrism, 236-37, 249, 379-8(^78 Evolution: and complexity, 50,157-58,
178, 213ft 225, 246; and autopoiesis, 51,157, 214, 229, 236, 302, 377049,
379072; and second-order observa-
tion, 57, 6j; and medium/form, 105, n_
106-7, 4 i5; and language, 106, 216; and art system, 122,128, 216, 230, 232, 236-43, 302; and differenti- ation, 133,136,158, 231-32, 234; and systems theory, 133^ 214, 224-26, 379072; and social system, 138, 213, 2151", 225-26, 236, 251, 379n72; and function of art, 146; and autonomy, 158, 242, 302; and art history, 159; and recognizability, 196; and style, 208, 210, 230, 234; and culture, 213; and Darwinism, 213-14, 230-31, 235; and history, 213; and social science, 213-14; and improbability, 214, 223, 236, 242; and paradox, 214, 223;
and artworks, 216; and ornament, 216-22; and genius, 223-24; and individuality, 223; and selection, 223-25, 229-30, 234fF, 238, 240, 379n72; and variation, 223-25^ 229, 234, 236, 238, 24of; and stability, 224, 232, 234ff; and operation, 225f, 228-29; and genre, 231
Excluded third, 193,199
Exclusion, 34, 37, 47, 54, 83,113,197,
206, 248, 264, 286, 2941", 300, 304,
314, 328n74, 36on97
Exhibitions, art, 307-8
Expert knowledge, 17, 82, i63ff Expressionism, 147
Externalization, 12, 27, 39, 70, 304; and
consciousness, 56? , 9, 40,141
Failure, artistic, 194, 202, 206, 300 Fantastic art, 127, 375n29, 398ni92 Fictionality, 55,122,142ft 146,149,175,
179,185, 256, 266, 274, 282-83, 290,
313 Film, 231
Fine arts, 65, 81,160, 235, 247, 273, 310 Fish, Stanley, 329^0
Flaubert, Gustave, 122,145
Focillon, Henri, 38, 344019, 346^4
Foerster, Heinz von, 47, 58
Folk art, 249
Form: and externalization, 7, 27; and
first-order observation, 15, 31-32, 37, 421", 66, 71; and differentiation, 17, 135-36; and play, 17, 21, 33, 45,109, 118,121, 202, 217; and information, 24-25, 27; and intentionality, 24; and purpose of art, 24-25; and difference, 25-29, 34, 36, 46, 48,118, 210; and boundary, 27-30, 32ft 45ft 66,117-18, 120,124, 222, 314; and distinction, 27-36, 41, 46, 52, 54-55, 61, 65-67, 96,102-8,129, 206, 301, 314, 335n26; and Gestalt, 27; and meaning, 27-28, 107-8, H9f, 157; and operation, ijf, 37, 48, 65,147,193, 300; and unity, 27ff, 36, 96f, 109; and asymmetry, 28, 41, 43, ii9f, 186; and paradox, 28, 3i-32f, 44f, 93, 96ft 104,119, 301; and self-reference, 28, 54, 66,128,149; and signification, 28, 36, 41, 291; and closure, 29, 54; and frame, 29-30, 36, 119; and marked/unmarked space, 29-35, 45f> 65,105,117-18; and open flank, 30, 36; and temporality, 30, 105-6,118,129,132, 288, 315; and novelty, 31; and visibility/invisibility, 33f; and constraint, 34-35, 43, 246; and exclusion, 34, 37, 54, 300, 314; and law of crossing, 35-36; and theory of art, 36, 66, 96; and art- works, 37-38, 52,109,117-21,123,
144, 205, 301, 308, 3i3f; and medium,
II _I
37,102-9, 5 7> 118-19,123,125,
1I_2
126-29, 3 3 . 156, 228, 342n4;
and systems theory, 38,103; and imaginary space, 45-46; and identity, 48; and hetero-reference, 54, 66,128, 156; and second-order observation, 61, 67, 69-701", 75,168; and binary code, 66; and content, 66; and contingency, 92, 304; and coupling, 104,106,115,117,123,129,132; and evolution, 105,106-7; and memory,
105; and perception, 109,115; and space/time, 111-12; and artificiality, 117; and indication, n8f, 147; and ornament, i2of, 220; and repetition, 120; and art system, 122,127,129, 314; and poetry, 124; and improbabil- ity, 126, 260; and history, 127; and romanticism, 127; and complexity, 148; and combination, 168,176,178, 216, 228, 305; and self-programming, 205; and style, 210; and autopoiesis, 295; and postmodernism, 305
Formalization, 58
Forster, Georg, 285
Fragment, 284-85
Frame, 29-30, 36, 86, 90, no, 119,154^
203, 23of, 249, 258, 270, 295, 307 France, 81, 89,164, 240, 276. See also
French Revolution
Free play, 7, 203
Freedom, 35, 48, i n , 113,117,141,144,
2 2 2 159,173, 203-4, 07. 53. 76, 284,
287, 303, 309, 37in55
French Revolution, 280, 283, 288 Freud, Sigmund, 6
Functional analysis: of art system, 3f,
69,134,136-37,140, 306, 308; of social system, 133-36,139-40, 234, 237, 249, 251; of art reception, 136- 37; of art
history, 140
Functional differentiation, 1-4, 69, 99,
1
133-37, 39~4? > 161,166, 200, 234,
249, 251-52
Galilei, Galileo, 146, 238, 258 Gehlen, Arnold, 22, 294, 302 Genius, 38, 43,126,128,165, 223-24,
261, 263, 270, 287, 332nn8, 376n44,
394I1I50
Genre, 109, in, ii4-i6f, 136,161,178-81,
196, 208, 231, 272, 299, 332-33ni2i Geology, 273
Germany, 94, 97,165-66,176,182,192,
249, 276, 278, 305
Index 4 1 1
412.
Index
Gestalt, 27
Ghiberti, Lorenzo, 154
Giddens, Anthony, 34<jn66
Giotto di Bondone, 307
Godel, Kurt, 293, 304
Goethe, Johann Wolfgang von, 285ff,
307
Goffman, Erving, 154
Gombrich, Ernst H. , 121
Goodman, Nelson, 82, 304 Gottsched, Johann Christoph, 189 Gracian y Morales, Baltasar, 97, n o ,
240, 258f, 280, 343ni4, 386nn49~5i,
388nn70~7i
Greece, ancient, 80,140, i43f, 148, i96f,
39inn8
Giinther, Gotthard, 33, 58, 78,192, 307,
366n4
Harmony, 21, 72,148,162,178, 232, 250, 2541", 262
Haskell, Francis, 359n89
Hegel, Georg Wilhelm Friedrich, 29,
41, 64, 84,146,149,166,170,192, 235, 248, 258, 287, 301, 311, 327^1, 33inioi, 353n32, 3 6 0 ^ 7 , 402n243
Heidegger, Martin, 94,100
Heider, Fritz, 34204
Herbst, Philip G. , 34in86
Herder, Johann Gottfried von, 190, 220,
364x1140, 374x127
Hermeneutics, 3,308
Hermeticism, 178 Hetero-observation, 62-63 Hetero-reference: and consciousness,
8-9; and self-reference, 8-9,14, 22,
66,128,149,155,167-68,176,188,
205, 274, 281, 283, 287^ 292, 297,
299, 30i-2f, 305; and communica-
tion, 11, 2if; and perception, 14; and
practice of art, 26,155; and form, 54,
66,128,156; and poetry, 124; and dis-
tinction, 128, 206; and improbability,
m
vation, 151, 205; and utility, 152,155; and artworks, 155, 205, 303; and shift from symbol to sign, 168,172, 176; and recognition, 173; and self- programming, 205; and visibility/ invisibility, 205; and marked/ unmarked space, 206, 288
Heydenreich, Karl, 235
Hierarchy, 5, 70,102,114,121,136,154,
166, i8of, 187, 233, 268, 37in55,
39imi3
Historicism, 101, 311
History: and art system, 3-4, 49,127,
158; and practice of art, 18, 44, 144-45; and relativism, 18, 275; and theory of art, 23,145-46; and first- order observation, 43-44; and novelty, 44; and critique, 100; and form, 127; and medium, 127; and style, i3if; and differentiation, i33f;
Hocke, Gustav Rene\ 221 Hoffmann, E. T. A. , 283, 348^3,
395M63
Hofmann, Werner, 294
Hogarth, William, 220, 222, 276,
337H39. 349n64, 3671117. 3701150, 374IV26
Holbein, Hans, 257
Holderlin, Friedrich, 288, 348^3 Holland, 353^2, 358n8o, 380^8 Horace, 178, 363ni40
Horkheimer, Max, 141
Humanism, 94,146,152, 253, 260,
346n40
Hume, David, 175, 274
Husserl, Edmund, 10, 33, 55, 92,139,
32ini4, 33on92, 338n47, 344x116,
353H3I
Hutcheson, Francis, 219-20, 232f
147; and function of art, 149ft and system, 151; and second-order obser-
and artworks, 204-5,
and culture, 211; and evolution, 213; and social system, 215; and poetry, 256; and romanticism, 287-88; and postmodernism, 288, 298
2I2 _
> 3? 3 4;
Idealism, 94, 97,176,192, 278, 282, 305, 3411192, 39511157
Identity, 48,100,120,130, 287, 311 Ideology, 83, 223, 294
Illusion, 7, n o , 115,143,150,170, 259,
262, 266, 301, 312
Imaginary reality, 142-45
Imaginary space, 45-46, 54-55,113,115,
120, 227, 265, 277
Imagination, 7,12, 26, 45, 55,113, 203,
286
Imitation: and illusion, 7, 262; and
practice of art, 17, 43, 68,155,162, 174,178, 255, 260-63, 276; and na- ture, 23, 73, 84, 92,162,173, 233, 250, 260, 263, 273, 310; and difference, 43,114; and beauty, 92,190, 220, 232, 312; and reality, 143; and philosophy, 144; and purpose of art, 179,197;
and differentiation, 181,198; and recognizability, 184, 261; and religion, 261; and originality, 262; and recep- tion of art, 262; and romanticism, 263; and inside/outside, 271; and rep- resentation, 310; and music, 387n65
Immediacy, 8,17
Impressionism, 289
Improbability, 62, 67, 83,126-29, ! 45>
22 2 147,150,153-54. 214-15. 3> 36,
242, 260
Indeterminacy, n-12,106, 293, 315,
39mii3
India, 379n78
Indication, 10, 43, 46, 65; and distinc-
tion, 36, 38, 41, 52, 55, 58-61, 65,118,
128; and first-order
observation, 38, 41, 61, 66; and second-
order
observation, 57-61; and artworks, 118,
22
7 ; and form, u8f, 147; and self-description, 248
Indirect communication, 19-20 Individualism, 223, 258, 280 Individuality, 93-94,122, 223, 239, 271,
273, 284
413
Infinity, 108,167,193, 286
Influence, 208, 212
Information: and communication, 8,
11,18, 23-26, 39-40, 50, 52, 300; and perception, 13-14, 26, 39-40; distin- guished from utterance, 23-25, 3 9 - 40, 79, 284, 288, 298, 300; and func- tion of art, 23-25, 52;and form, 24- 25, 27; and poetry, 25,126; and prac- tice of art, 26, 40; and reception of art, 26, 39,105; and artworks, 39, 50, 70,105,118,130,154,173; and exter- nalization, 39; and operative closure, 50; and second-order observation, 62; and pleasure, 70; and difference, 118; and ornament, 121
Ingarden, Roman, 76-77, 338^7, 352n23
Innovation. See Novelty Inside/outside, 5, 9,13, 70, 91, 271, 281 Inspiration, 31,43,80,296
Institutions, 154, 245
Integration, 48-49
Intentionality, 24, 68
Interest, 69,234
Interiority, I2f, 289
Interpretation, 12, 40, 76, 94, 98, 203,
246, 256, 283, 289 Intersubjectivity, 13, 39,176, 285,
3:i4n4i
Intertextuality, 216, 245, 290 Intuition, 7,12, 22, 25, 38, 48, 55,116 Invisibility. See Visibility/invisibility Irony, 222, 284, 286, 291, 362M23,
372n68, 397ni8o
Italy, 137,154,160, i62f, 254, 259, 270,
358n8o
James, William, 139
Japan, 323M9
Jonson, Ben, 30, 260
Joyce, James, 77,125
Judgment, 22, 43, 55, 74-75, 80-81,129,
164,175, i9if, 200, 240, 273, 275-76, 280,286
123,154-55,
Index
414
Index
Kandinsky, Wassily, 27
Kant, Immanuel, 22, 39, 72, 84, ioo,
141,166,175,189,198, 203, 205, 215, 223, 263, 268, 271, 273, 276ff, 280, 3241141, 36211128, 3681122, 3761144, 39311137, 394ni50
Kitsch, 184, 249
Knowledge, 96, 2iif, 252, 256ft 263,
272, 301; expert, 17, 82, i63ff, 280;
sociology of, 84
Kristeva, Julia, 92,126, 170ft 186,
36on98,16311134, 402n246
Labor, division of, 133,138
Lamarck, Jean-Baptiste, 214 Language: and perception, 6f, 10,16,
141; art's circumvention of, 19-20, 22, 25, 48, 52; as artistic medium, 25-26,109,116,123-26; and evolu- tion, 106, 216; and consciousness, 125; and doubling, 142-43; and science, 155
Latency, 84, 86, 89, 213
Lee, Rensselaer W. , 363-64ni40 Legal system, 65ft 251, 306, 394x1153 Leibniz, Gottfried Wilhelm, 148,189,
220
Leopardi, Giacomo, 340n82 Lessing, Gotthold Ephraim, 30,127,
190, 285, 345n27, 364ni40 Literary criticism, 98,125-26, 308,
363ni37
Literature, 14,17, j6i, 86-87,
Magritte, Rend, 119
Mallarme\ Stdphane, 35,125
Manet, Edouard, 289
Mannerism, 180,183, 200, 220, 252,
256, 38on78
Marcuse, Herbert, 300 Marked/unmarked space, 42, 45ff, 54ft
72, 304, 326n63; and form, 29-35, 45ft 65,105,117-18; and difference, 30, 54, 74; and artworks, 34-35, 117-18; and distinction, 54ft 65;
and first-order observation, 54; and second-order observation, 61, 91; and practice of art, 117; and function of art, 148; and hetero-reference, 206, 288; and unity, 206; and style, 210; and self-description, 248-49, 286 Market relations, 81-82, 87,145,151,
I
160,162-65, ^4, 243, 256, 270,
357n77> 358n8o, 359^0
Marquard, Odo, 302 Marx, Karl, 402^43 Marxism, 291 Masaccio, 154
Mass media, 65, 307, 309, 40in230 Mathematics, 168,178, 232, 251, 254ft
257ft 273. 293. 314
Maturana, Humberto, 58
Mead, George Herbert, 46-47, 93 Meaning: and communication, 9,
139; and difference, 24-25,139; and poetry, 25-26, 40,121,123-24, 250; and form, 27-28,107-8,119ft 157; and closure, 34,120; and first-order observation, 37; and operation, 37, 139; and second-order observation, 60, 239; and unity, 97,139; and actuality, 107-8,139; and medium, 107-8,129,139; and paradox, 107ft 119; and temporality, 107,139; and autopoiesis, 108; and ornament, 120ft and social system, 134; and consciousness, 139; and coding, 186
Measurement, i n
Medium: world as, n; print as, 17; and
>, H5? 154-55,179, 231, 238, 285. See also
Novels; Poetry
Locke, John, 198, 274
Lomazzo, Giovanni Paolo, 367ni3 Longinus, 89
Lukacs, Georg, 222, 362ni23
Lull, Ramon, 254
Lyotard, Jean-Francois, 323^8 Lyric, 14, 25ft nsf, 119,182, 231
Machiavelli, Niccolo, 64 Magic, 159,169,182, 289
Ilf
translation, 24; language as, 25-26, 53,109,116,123-26; and first-order observation, 37; and form, 37,102-9,
I_
115-17,118-19,123,125,126-29, ! 3 32,156, 228, 342114; and operation, 37; and distinction, 102-8; and coupling, K>3-4ff, 115,123,129,132, 156; and systems theory, 103; and contingency, 104,126; and memory, I04f; and paradox, 104; and tempo- rality, 104,105-6,129; and evolution,
n_Ian< 105,106-7, 4 5 ! l meaning,
107-8,129,139; and artworks, 109, 113-15,118,123; and genre, 109, 114-15; and perception, 109,115-16, 123,132, 231, 247; and unity, 109,
116, 286; and frame, n o ; and illusion, no; and space/time, m-15,141; and freedom, 117; and poetry, 123-26;
art
and improbability, 126-29; and system, i27ff; and history, 127; and romanticism, 127
Memory, 13, 22, 1041", 124,182,188, 235, 245-46, 292, 303, 343<<ii2
Metaform, 72
Metaphysics, 57, 94, 97ft 106,198, 203,
278, 284
Meyer, Eva,33
Michelangelo, 183, 307, 365ni55 Middle Ages, 17, 80, n o , 159,169,178,
182,198, 200, 237, 250, 252 Minimalism, 178
Modernism, 230, 243, 244-45, 9? > 94>
298f, 363M37
Modernity, 31, 44, 69, 80,149,198, 241,
261, 303, 309
Modernization, 2, 94
Morality, 70, 88, 95,122,136,155-56,
164,179,189, 220, 247, 267, 282 More, Thomas, 266
Moritz, Karl Philipp, 220, 222, 278,
325043, 347nn, 355<<42. . 3 6 m n 6 Morphogenesis, 148
Multiplicity, 73,104,197, 232 Munch, Edvard, 185
Museums, i3if, 154, 208, 303, 355052 Music, 21, ii4f, 130,178,180,183, 228f,
232-33, 262, 290, 295, 328n75,
372n68, 387n65 Mussil, Stephan, 3261165 Myth, 106,182, 284
Narrative, 17, 32, 88,106,114, n6f, 121-22,171,174,177,196, 221-22, 258, 293
Nature, 29, 43, 68, 73, 85, 90, 94, i73f, 176, 232f, 273? 277, 285, 37on44; and imitation, 23, 73, 84, 92,162,173, 233, 250, 260, 263, 273, 310
Necessity, 113,120,194,197, 204, 309 Negation, 36, 55, 66, 83, i86f, 191, 283,
290, 292-94, 296-97, 302, 305 Negativity, 36, 83,144, 292f, 302 Neoclassicism, 276, 372n64 Nervous system, ${, 8-91", 150 Newton, Isaac, 146
Nicholas of Cusa, 108,150
Nietzsche, Friedrich, 100 Nonidentity, 120,130, 238
Nonverbal communication, io, 18-19 Norms, 2, 95,129,193, 276
Novalis (Friedrich von Hardenberg), 14, 18,288
Novels, 86-87ff, njf, 122,136-37,143, 171,179, 206, 231, 282, 294, 362ni23
Novelty, 31, 44, 50, 68, 70,154,199-201, 2o8f, 218, 229, 240, 265, 269, 297, 303, 335030
Object, art, 46-47, 55, 74-75, 85,102-3, III-I2, 145, 147, 400n220
Objectivity, 192, 269, 271 Observation, first-order: and form, 15,
31-32, 37, 42f, 66, 71; and temporal- ity, 21, 43; and intentionality, 24; and paradox, 31-32, 41-42; and artworks, 37-38, 42f, 50, 67, 71, 80, 207; and distinction, 37ff, 41, 51, 54-55, 66-67; and exclusion, 37f; and meaning, 37; and medium, 37; and operation,
22
Index
415
416 Index
37~39> 43; and indication, 38, 41, 61, 66; and practice of art, 38, 40, 52, 228-29; and reception of art, 38-39, 43; and repetition, 38-39, 45; and systems theory, 38, 43; and unity, 42f; and history, 43-44; and marked/ unmarked space, 54; and probability, 62; and science, 63; and mass media, 65; and visibility/invisibility, 91
Observation, second-order: and art- works, 52, 67, 69-72, 88, 204, 206; and practice of art, 52, 69-71; and reception of art, 52, 72f, 77; and coupling, 56, 60, 69; and distinction, 56, 58-61, 72, 91, 99f, 207, 289, 309; and operation, 56-59, 62, 99,151,
245ft and subjectivity, 56; and evolu- tion, 57, 67; and indication, 57-61; and paradox, 57, 96; and interdisci- plinary research, 58; and recursivity, 58f, 92ft and connectivity, 59; and unity, 59, 7if, 83, 91, 96,117, 289; and constructivism, 60; and meaning,
60, 239; and self-organization, 60,
69; and complexity, 6if, 95; and form, 61, 6j, 69--joi, 75,169; and marked/unmarked space, 61, 91;
and hetero-observation, 62-63; and improbability, 62, 67, 83; and infor- mation, 62; and self-observation, 62-63, 91; and economic system, 63-64; and reflexivity, 63; and sci- ence, 63; and political system, 64-65; and public opinion, 64-65; and arti- ficiality, 67; and communication, 68, 95ft and functional differentiation, 69; and purpose of art, 70; and art system, 74,129,132,134, 244; and perception, 74; and theory of art, 76; and operative closure, 78; and quality of art, 8if; and temporality, 81,188; and exclusion, 83; and negativity, 83; and latency, 84, 86, 89; and perspec- tive, 85-86,198; and beauty, 88; and authenticity, 89f; and contingency,
89-90, 92; and inside/outside, 91; and visibility/invisibility, 91; and individuality, 93; and systems theory, 93, 99; and toxicity, 95-96; and knowledge, 96; and deconstruction, 98-99; and critique, 100-101; and hetero-reference, 151, 205; and tech- nique, 198; and freedom, 207; and culture, 211-12; and self-description, 245; and originality, 270
Ontology, 28, 51, 94, 96, 98, i02f, 146, 169,199, 256ft 264, 278ff, 283f
Open flank, 30, 36
Opera, 328^5
Operation: and form, 27ft 37, 48, 65,
147,193, 300; and distinction, 3if, 371", 4iff, 54,128, 248, 300; and exclu- sion, 33,37,193,300; and first-order observation, 37-39, 43; and meaning, 37,139; and medium, 37; and prac- tice of art, 38, 73,156, 228-29; and reception of art, 43,156; and systems theory, 49; and autopoiesis, 50, 79ft 185, 214, 236; and second-order ob- servation, 56-59, 62, 99,151, 245ft and formalization, 58; and improba- bility, 62; and reproduction, 130; and self-organization, 185; and coding, 188,193-95; and programming, 207; and evolution, 225ft 228-29; and self- reference, 245f
Operative closure: and communication, if, 12, 46, 48; and externalization, 7; and consciousness, 9ft 12, 46, 48; and nervous system, 9ft 150; and social system, 10, 69,135; and autopoiesis, 13, 79ft 215, 218, 251; and informa- tion, 50; and second-order observa-
l tion, 78; and art system, 134ft 5&>
253, 309, 312, 314; and function of art, 149; and perception, 150; and autonomy, 157, 218, 251; and self- organization, 185
Oral communication, 17,19, 284 Order, i46-48fft 194,196, 315
Originality, 262, 270, 297 Ornament, 115,120-22,124-25,140,
159,162,192, 216-22, 227-28^ 250, 345n29, 346-471140, 373-741U1, 376n42, 38on78
Other, 47, 79, 287
Pacioli, Luca, 255
Painting, 21, 32, 38, 69, 85ff, 115,117,
144,160,165,173,178,180, 218, 228, 252, 254, 256, 289-90, 307-8; and perspective, n o , 114,121; and propor- tion, 255
Palladio, Andrea, 254, 307 Paradox: and theory of art, 23; and
form, 28, 31-321", 44f, 93, 96ft 104, 119, 301; and first-order observation, 31-32, 41-42; and distinction, 32f, 41-43, 97,104,130,197, 265, 286, 301; and practice of art, 33, 40, 73f, 259, 265; and artworks, 42, 45,119, 152, 296, 301; and visibility/invisibil- ity, 42,149; and second-order obser- vation, 57, 96; and critique, 100; and medium, 104; and meaning, 1071", 119; of the comedian, no; and litera- ture, 119,125, 238, 241, 259, 301; and astonishment/recognition, 141;and utility, 153; and symbol, 170; and signification, 177; and beauty, 190, 192; and coding, 190; and novelty, 201; and self-programming, 205,
207; and evolution, 214, 223; and improbability, 214-15, 223; and fic- tionality, 266; and romanticism,
279, 301; and painting, 290, 364ni40; and self-description, 302; and contin- gency, 309
Parsons, Talcott, 2, y6, 94,128-29,165, 302, 350n3-4, 401^225
Pasolini, Pier Paolo, 385~86n47 Patronage, 160-64,182, 252ft 260,
357n77. 358n8o
Paul, Jean, 18,116,165, 280, 284, 286,
328n74, 368n26, 394ni5i, 397ni8o
417
Pears, Iain, 359n86
Peirce, Charles S. , 176
Pellegrini, Matteo, 260
Perception: and artworks, 5,10,14, 20,
22-23, 38, 45. 68,113,142, 33on97; and consciousness, 5-8,12,16, 22-23, 39, 47-48,141,150; and externaliza- tion, 5ff; hierarchical valuation of, 5; and inside/outside, 5; and nervous system, 5ft 8,150; and self-reference, 5-6,14; and autopoiesis, 6, 8,16; and communication, 6-7,10,13-16,18,
_
22-23, 39. 45ft 47 48. 99. 109. ! 4if.
313; and language, 6f, 10,16,141;
and constructivism, 7; and intuition, 7, 22; phenomenology of, 7; and practice of art, 7,18, 256 and repre- sentation, 7; and theory of art, 7; and immediacy, 8; and self-observa- tion, 8; and signification, 8-9,15; and pleasure, 10; and physics, 12;
and information, 13-14, 26, 39-40; and reception of art, I3f, 20, 22-23, 26, 39, 52; and redundancy, 13,141; and hetero-reference, 14; and litera- ture, 14,125; and reflexivity, 14; and visual art, 14, 289-90; and cognition, 15-16; and art criticism, 17; and temporality, 20-21; and purpose,
22; and intersubjectivity, 39; and second-order observation, 74; and perspective, 85; and individuality, 93-94; and form, 109,115; and medium, 109,115-16,123,132, 231, 247; and astonishment, I4i;and function of art, L4if, 150; and recognition, 141; and variety, 141; and repetition, 142; and artificiality, 150-51; and operative closure, 150
Performance art, 21
Perspective, 84-86, n o , 114,121,198,
206, 253
Phenomenology, 7, 33, j6, 306, 32ini4 Physics, 12, 44, 901", 104, 273
Picasso, Pablo, 291
Index
4 1 8
Plato, 152,197,199, 250, 259, 261, 263,
375*129
Play, 24ft143, 243, 279; free, 7, 203;
formal, 17, 21, 33, 45,109,118,121,
202, 217
Pleasure, 10, 69-70,141-44,152,173,
197, 200-201, 265, 27of, 3361132 Poetry: lyric, 14, 25? ii5f, 119,182; and
perception, 14,125; and oral commu- nication, 17; and temporality, 21;
and connotation, 25,124; and infor- mation, 25,126; and meaning, 25- 26, 40,121,123-24, 250; and self- reference, 26,125; and frame, 30;
and self-reflection, 91; and paradox, 119,125, 241, 259, 301; and distinc- tion, 123; and medium, 123-26; and closure, 124; and context, 1241; and form, 124; and hetero-reference, 124; and memory, 124; and ornament, 124-2$, 219, 228, 3761142; and unity, 124; and autopoiesis, 125; and im- probability, 126,145; and social stratification, 136ft and romanticism, 146, 206, 263, 284; and patronage, i6of, 165; and market relations, 165; and esoterism, 178; and visual art, 178, 247, 262, 374n27; and science, 180; courdy, 182; epic, 182; and reli-
2
gion, 182-83, 55~56f; and universal-
ity, 197; and novelty, 199-200; and history, 246; and harmony, 254; and truth, 254, 258; and astonishment, 262; and knowledge, 263; and nature, 285; and irony, 348n53
Political system, 64-65,136,140,160, 166,172-73,182,184, 201, 231, 233, 238, 259, 266f, 309
Poly-contexturality, 186,190, 243, 300, 306, 309
Postmodernism, 127, 209f, 243, 288, 297ff, 303, 305, 3iif, 398ni87
Poststructuralism, 308
Pre-Raphaelites, 167
Print medium, 17,161,182,199, 266,
268
Private sphere, 273
Probability, 62, 257 Programming, i85f, i9of, 193,196,
201-7, 216, 229, 234
Proportion, 255, 262 Pseudo-Dionysius, 250
Psychoanalysis, 83, 308
Public opinion, 64-65, 75,161, 270-71 Public sphere, 270, 273
Purpose. SeeArt, purpose of; Teleology
Quantum mechanics, 12, 48
Quasi object, 47, 74
Quevedo y Villegas, Francisco Gomez
de, 266
Raphael, 307
Rationalism, 1451", 267^ 278, 36mii9 Rationality, 42,100,144,197, 226, 238f,
275
Reading, 14,17, 21, 25, 32, 38, 55, 98f,
122,125, 239, 293, 322n2i
Realism, 282, 290, 297, 39$m$7 Reality, 10, 46-47, 55, 91,142-47,149,
175. 239> 304fi doubling of, 142-43, 185, 243, 250, 266, 312; and romanti- cism, 281-83
Reception theory, 308, 329^0 Recognition, 141,173,196, 245ft 261,
299
Recursivity, 15, 28, 33, 47fft 157, 228; and
communication, 11, 28, 47, 49; and
practice of art, 20; and temporality,
22
20; and art system, 49, 245ft 53>> ^ 4 ,
315; and reception of art, 49; and sys- tems theory, 49,129; and artworks, 53,148, 245; and second-order obser- vation, 58f, 92ft and ornament, 120; and coding, 188,194-95
Index
Redundancy, 27, 31,105,112, ii4f, 120, 2 22I 2 2f 2
125ft H > ft 55> >i, 97> 376n44; and perception, 13,141; and artworks, 154,173; and art system, 155, 290, 315
Reentry, 277, 301
Reflexivity, 14,16, 63,132, 212
Relativity: physical, 12, 84; historical, 18,
275; cultural, 247-48
Religion, 34, 65, 90, 94, n o , 140,159,
166,182-84,196, 211; and inspiration, 43, 80; and political system, 136,183, 259; distinguished from art, i42ff, 170,177. 199. 2. 37f. 253, 255-56, 267; and symbolic art, 1691", I76f, 25of;
2
? o ; and poetry, 182-83, 55 56f; and beauty,
232; and imitation, 261
Renaissance, 3, 80, 85,115,137,140,144,
154,178,182,190,197, 200, 232, 237,
260, 280, 301
Repetition, 38-39, 43, 45, 49-50,120,
130,142,157, 228, 261, 297 Representation, 7,17, 89,115,159,171,
173,1900? , 196, 238, 247, 267, 290,
310
Reproduction: systemic, 5of, 69, 99,
129, 224, 246; technical, 122 Restoration, of artworks, 82 Reusability, 49,188
Richardson, Jonathan, 270, 322n24,
324n42, 362ni27, 37on47, 374n26 Richardson, Samuel, 87,156,174 Ritter, Johann Wilhelm, 396ni70 Roberts, David, 309
Rococo, 276, 372n64
Roman republic, 137
Romanticism, 12,18, 88ff, 127,1766
i9if, 221, 241, 278ff, 289, 301, 303, 305, 3761144. 39inii3, 398ni87; and art criticism, 53,164,166, 205, 285- 87, 292; and poetry, 146, 206, 263, 284; and autonomy, 166-6J, 284; and communication, 280, 284-85^ and reality, 281-83, 312; and history, 287-88
Rubens, Peter Paul, 162
Rules, 155,198-99, 201-2, 204, 207, 233,
240
Sartre, Jean-Paul, 93
Saussure, Ferdinand de, 9, i75f Schelling, Friedrich Wilhelm Joseph
von, 29, 288, 373n9, 394ni50 Schiller, Friedrich von, 152, 203, 211, 278f, 286, 34in92, 353^4, 355n46,
368n24, 394ni50
Schlegel, August Wilhelm, 89^ 247,
283, 34on82, 363ni38, 368n25,
372n66, 385^6
Schlegel, Friedrich, 190, 222, 284, 287,
329n84, 35on73, 367-68ni9, 373ml,
395ni57, 396ni70, 397TM74 Schonberg, Arnold, 290 Schopenhauer, Arthur, 235
Science, 63, 90-91,140,155,180-81,
226, 251, 253ft distinguished from art,
145ft 173, 237ft 256, 258, 266f, 273 Sculpture, 21, 45, 84, ii4ff, 117,126,
228f, 252, 254, 256
Selection, evolutionary, 223-25, 229-30,
2346? , 238, 240, 379n72 Self-description: and art system, 23, 235,
237, 241, 243, 246, 248, 251, 253, 267-68, 271, 273, 278, 286, 291-93, 2986? , 302ff, 3o8fF, 312; and practice of art, 26; and artworks, 45,123, 241, 297; and social system, 134; and contingency, 245; and second-order observation, 245; and distinction, 248-49, 302; and exclusion, 248; and marked/unmarked space, 248-49, 286; and autonomy, 251, 280, 291; and differentiation, 251-52; and art theory, 285; and postmodernism, 288; and negation, 292, 302; and differ- ence, 302; and paradox, 302; and art criticism, 308
Self-observation: and information, 8; and perception, 8; and second-order observation, 62-63, 91; and science, 90-91; and subjectivity, 90; and indi- viduality, 93-94; and function of art, 146; and religion, 146
Self-organization: and second-order ob- servation, 60, 6% and differentiation,
and innovation, 182-83,
2_
Index 419
4 2 0 Index
185; and operative closure, 185; and coding, 187,193,195; and complexity, 187; and supplement, 193; and art sys- tem, 195, 309; and autonomy, 280
Smith, Adam, 133,189
Social system: and stratification, 1-2, 95,
_
135ft ! J3 54> 161, 208, 251; and con-
sciousness, 10; and operative closure, 10, 69,135; and reception of art, 17, 70-71,136-37; and function of art, 48,134,136-37; and art system, 49, 71, 79-80, 99,128, 208, 231-32, 237, 308-9, 314; and communication, 51,
x2T 79-80, 99,128,134ft 4! > 49> 3 3;
and differentiation, 65, 69,133-36, 139-40,158,181,191, 234, 237, 249, 251ft 309; and consensus, 75, 95; and unity, 94-95,136; and autopoiesis, 95,135; functional analysis of, 133-36, 139-40, 234, 237, 249, 251; and mean- ing, 134; and self-description, 134; and evolution, 138, 213, 215ft 225-26, 236, 251, 379n72; and practice of art, 144-45; and history, 215; and mod- ernism, 290, 294; and beauty, 300
Sociology, 133,143,159, 213-14, 300, 302, 312, 315
Solger, Karl Wilhelm Ferdinand, 97, 152,172, 34in92
Soviet Union, 182
Space/time, m-15,141, 231
Spain, 259
Spencer, Herbert, 213
Spirit, 10, 29, 60ft 84, 90,175, 249, 274,
277, 311, yvjvqi, 33inioi, 3600. 97 Sprat, Thomas, 3691137
Stability, 113ft 129,188, 224, 233-37
passim
Sterne, Lawrence, 328n74 Stichweh, Rudolf, 252 Stratification, social, 1-2, 95,135ft
153-54,161, 208, 239, 251 Stravinsky, Igor, 290, 372n68 Structuralism, 194, 308, 3491166 Style, 122,130-32,136,184, 208-10,
221ft 230, 234, 241, 246, 268, 276,
297-300
Subjectivity, 13, 46, 56, 90,128, 258, 271,
282, 2846? , 363ni32
Self-programming, 203-7, 240, 246
2I
o, 229,
Self-reference: and perception, 5-6,14; and consciousness, 8-9,13; and het- ero-reference, 8-9,14, 22, 66,128, 149,155,167-68,176,188, 205, 274, 281, 283, 287ft 292> 297> 299> 3or-2f, 305; and communication, n , 13, 22; and literature, 26,116,125,142; and practice of art, 26, 43,155; and form, 28, 66,128,149; and connectivity, 43; and function of art, 43, 54,149; and critique, 99-100; and closure, 119; and distinction, 128, 206; and cod- ing, i87ff; and self-programming, 205; and operation, 245ft- and auton- omy, 288; and artworks, 297; and boundary, 298; and postmodernism, 299; and style, 299; and art system, 309
Semiotics, 28, 36, 40ft 58
Sense perception. See Perception Serres, Michel, 47,193
Seyssel, Claude de, 266 Shaftesbury, Antiiony, Earl of,
330-3in99, 359^0, 38in90 Shakespeare, William, 265, 282, 307 Sidney, Philip, 198, 262, 335^0 Signification: and perception, 8-9,15;
and communication, 16; and form, 28, 36, 41, 291; and boundary, 113; and repetition, 157; and shift from symbol to sign, 168-77; and differ- ence, 176-77; and unity, 176-77; and paradox, 177
Simmel, Georg, 93
Simon, Joseph, 363*03. 9
Simultaneity, 21,113,129
Skepticism, 99,146, 255
Skill, 160,162,173,198, 2i7fft 229, 256ft
263-64, 272
Sublime, 89,190, 234, 286, 289, 312 SuppUment, 193
Suspense, 221-22
Symbol, 76,168-77, 35> 5? ft 9 >
36of, 363
Symmetry, 28, 41, H9f, 181
Synergy, 178
Systems theory: and artworks, 3; and
first-order observation, 38; and form, 38,103; and autopoiesis, 49, 51,157, 236; and connectivity, 49; and opera- tion, 49; and recursivity, 49,129,157; and coupling, 50; and second-order observation, 93, 99; and deconstruc- tion, 99; and medium, 103; and dif-
x
ferentiation, 133-34, 58; and evolu-
tion, i33f, 214, 224-26, 379n72; and art system, 134,157; and function of art, 137-40; and complexity, 157-58; and repetition, 157; and coding, 185-89; and stability, 224
Tasso, Torquato, 182, 219, 349n64, 354n36, 37on45, 375^4
Taste, 80-81,100,162, i64f, 174,
200-20lf, 223-24, 240-41, 265, 269,
275-77, 376044, 38mn86-88, 90
2I
105-6,129; and meaning, 107,139; and space/time, m-15; and style, 130-32; and novelty, 20of; and art system, 268f, 305; and subjectivity, 363ni32
Testelin, Henri, 136, 353^6 Teubner, Gunther, 236
Text, 25-26, 98ft 300
Theater, 21, 32, 86, 88,109f, 116,127,
170-71,173, 206, 231, 255-56, 257-58,
266f
Theology, 14, 57, 65, 92,169ft 2<>4, 3? 6>>
375*129, 394M53
Tieck, Ludwig, 136,165, 276, 3 4 0 ^ 4 ,
396ni68
Time. SeeTemporality Totalitarianism, 182 Tragedy, 147 Translation, 24
Truth, 254-59, 266f
Unconscious, 88, 379n74
Unity: and differentiation, 2; and com-
munication, 11; and practice of art, 26; and form, 27ff, 36, 96ft 109; and world, 28ft 57,149,169, 206, 254, 328n77; and distinction, 32, 36, 41-42, 59, 72, 91-92, 94, 97,141, 205, 224, 248, 265, 300ft 304; and artworks, 42,114,190; and first-order observation, 42ft and object, 46; and second-order observation, 59, 71ft 83, 91, 96,117, 289; and art system, 71, 128,132,178-79,181, 233, 271-72, 310, 311-12; and temporality, 72;
and perspective, 86,114,121; and visibility/invisibility, 91; and social system, 94-95,136; and beauty, 97, 190,192, 219, 232ft 254, 279, 368n24; and meaning, 97,139; and medium, 109,116, 286; and poetry, 124; and art criticism, 126; and symbol, i68f; and signification, 176-77; and coding, 187ft and excluded third, 193; and marked/unmarked space, 206; and
Technique, 197ft
Technology, 145, 253, 299
Teleology, 40, 68,138,192, 263, 373n9 Temporality: and reception of art, 14,
20-22, 43; and communication, 16, 2of, 28; and artworks, 20-21, 30, 72, 114; and autopoiesis, 20; and con- sciousness, 20; and perception, 20- 21; and practice of art, 20, 72ft and recursivity, 20; and first-order obser- vation, 21, 43; and music, 21; and performance art, 21; and poetry, 21; and reading, 21; and simultaneity, 21, 113; and visual art, 21; and writing, 21; and form, 30,105-6,118,129,132, 288, 315; and abstraction, 43; and unity, 72; and second-order obser- vation, 81,188; and medium, 104,
7
2( 2 2:
Index 4 2 1
42. 2 Index
narrative, 22if; and science, 254; and
romanticism, 289
Universality, 34,197, 211, 291, 303 Unmarked space. See Marked/
unmarked space
Utility, 150,152-53,155, 2i7f, 255, 308 Utterance, 11,18, 40, 67, 96,106;
distinguished from information,
_
23 25. 39-40. 79. 284, 288, 298,
300
Valeiy, Paul, 3 8 2 ^
Value, 235, 250, 280, 300
Variation, evolutionary, 223-25^ 229,
234, 236, 238, 24of
Variety, 105, ii4f, 120,125,141,148, 22if,
255, 297, 299, 315, 376n44
Vasari, Giorgio, 258
Verbal communication, 10,16,18, 21,
25. 93. 141
Veronese, Paolo, 162, 212
Vico, Giambattista, 198
Virtual reality,151 Visibility/invisibility: and form, 33ft of
world, 33,42,54,57,61,67,74, 91- 92f, 96,119, 294, 305; and paradox, 42,149; and first-order observation, 91; and second-order observation, 91, 205; and unity, 91; and space/time,
112; and symbol, i69ff, 177; and hetero-reference, 205; and style, 210; and distinction, 250; and boundary, 264; and art criticism, 286
Visual art, 14,17, 21, 69, 77,130,159, 182, 247, 289-90, 310. See also Drawing; Painting; Sculpture
V oltaire, 189
Warhol, Andy, 293
Wasserman, Earl R.