"The second-order cybernetics worked out by Heinz von Foerster is rightly held to be a constructivist theory, if not an a manifesto for operational constructivism. The reverse doesn't apply, however. Constructivist epistemologies do not necessarily have the rigor of a cybernetics of cybernetics. One can observe cognitions as constructions of an observer, without linking with this the theory that the observing observer observes himself or herself as an observer."

“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.”

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

“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.”

“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.”

“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.”

“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?”