Purpose: Complexity is the real beast that baffles everybody. Though there are increasing inter-disciplinary discussions on it, yet it is scantly explored. The purpose of this paper is to bring a new and unique dimension to the discourse assimilating the important ideas of two towering scientists of their time, Newton and Heinz von Foerster. In the tradition of Foersterian second-order cybernetics the paper attempts to build a bridge from a cause-effect thinking to a thinking oriented towards “understanding understanding” and in the process presents a model of “Cybernetics of Simplification” indicating a path to simplicity from complexity. Design/methodology/approach – The design of research in the paper is exploratory and the paper takes a multidisciplinary approach. The model presented in the paper builds on analytics and systemics at the same time. Findings: Simplicity can be seen in complex systems or situations if one can construct the reality (be that the current one that is being experienced or perceived or the future one that is being desired or envisaged) through the Cybernetics of Simplification model, establishing the effect-cause-and-effect and simultaneously following the frame of iterate and infer as a circular feedback loop; in the tradition of cybernetics of cybernetics. Research limitations/implications – It is yet to be applied. Practical implications: The model in the paper seems to have far reaching implications for complex problem solving and enhancing understanding of complex situations and systems. Social implications – The paper has potential to provoke new ideas and new thinking among scholars of complexity. Originality/value – The paper presents an original idea in terms of Cybernetics of Simplification building on the cybernetics of the self-observing system. The value lies in the unique perspective that it brings to the cybernetics discussions on complexity and simplification.

Key words: causality, complexity, second-order cybernetics, cybernetics of simplification, self-observing system, simplification

In this paper two swarm intelligence algorithms are used, the first leading the “attention” of the swarm and the latter responsible for the tracing mechanism. The attention mechanism is coordinated by agents of Stochastic Diffusion Search where they selectively attend to areas of a digital canvas (with line drawings) which contains (sharper) corners. Once the swarm’s attention is drawn to the line of interest with a sharp corner, the corresponding line segment is fed into the tracing algorithm, Dispersive Flies Optimisation which “consumes” the input in order to generate a “swarmic sketch” of the input line. The sketching process is the result of the “flies” leaving traces of their movements on the digital canvas which are then revisited repeatedly in an attempt to re-sketch the traces they left. This cyclic process is then introduced in the context of autopoiesis, where the philosophical aspects of the autopoietic artist are discussed. The autopoetic artist is described in two modalities: gluttonous and contented. In the Gluttonous Autopoietic Artist mode, by iteratively focussing on areas-of-rich-complexity, as the decoding process of the input sketch unfolds, it leads to a less complex structure which ultimately results in an empty canvas; therein reifying the artwork’s “death”. In the Contented Autopoietic Artist mode, by refocussing the autopoietic artist’s reflections on “meaning” onto different constitutive elements, and modifying her reconstitution, different behaviours of autopoietic creativity can be induced and therefore, the autopoietic processes become less likely to fade away and more open-ended in their creative endeavour.

Key words: creativity, autopoiesis, stochastic diffusion search, dispersive flies optimisation, generative art.

The contemporary use of the term ‘complexity’ frequently indicates that it is considered a unified concept. This may lead to a neglect of the range of different theories that deal with the implications related to the notion of complexity. This paper, integrating both the English and the Latin traditions of research associated with this notion, suggests a more nuanced use of the term, thereby avoiding simplification of the concept to some of its dominant expressions only. The paper further explores the etymology of ‘complexity’ and offers a chronological presentation of three generations of theories that have shaped its uses; the epistemic and socio-cultural roots of these theories are also introduced. From an epistemological point of view, this reflection sheds light on the competing interpretations underlying the definition of what is considered as complex. Also, from an anthropological perspective it considers both the emancipatory as well as the alienating dimensions of complexity. Based on the highlighted ambiguities, the paper suggests in conclusion that contributions grounded in contemporary theories related to complexity, as well as critical appraisals of their epistemological and ethical legitimacy, need to follow the recursive feedback loops and dynamics that they constitute. In doing so, researchers and practitioners in education should consider their own practice as a learning process that does not require the reduction of the antagonisms and the complementarities that shape its own complexity.

The aim of this paper is to question the way one conceives the use of a specific theoretical approach (i.e., theories associated with the concept of complexity) in order to promote changes in educational practices and theories. The position I am adopting translates the conviction that any reform of thought has to be conceived in conjunction with a reflection about the idea of reform itself (Morin, 1999). It is therefore assumed that the use of the notion of complexity, to be critical and to bring significant changes, supposes not only to use a specific theoretical vocabulary, but also and above all to change the way scientific activity itself is conceived in order to bring about such a transformation. Following Edgar Morin’s constructivist and non-dualistic contribution, this paper discusses concepts such as program, strategy, prescription, interpretation, monoreferentiality and multireferentiality, in order to discuss researchers’ implication and the way they manage the relationships between the conditions of production of scientific discourses and the ″realities″ to which they are referring.

This paper is inspired by Edgar Morin’s paradigm of complexity and his constructivist and non-dualistic critique of scientific and philosophical forms of reductionism. It aims to challenge the fragmentation and the reduction framing the understanding of the notion of “critique” in educational sciences, and more broadly in the academia. Based on a review of the literature identified in French-speaking and English-speaking critical traditions in education, several factors determining the way the idea of critique is reduced are highlighted. Stressing the tacit character of those variables challenges the limits of traditional conceptions of critique in contemporary education. According to the constructivist, complex and non-dualistic position adopted, this paper illustrates the relevance of an epistemological framework integrating more systematically the conditions of emergence, the limitations, as well as the antagonistic, complementary and contradictory relationships, that connect educational theories of critique to one another. Based on this position, this paper finally suggests that a distinction be made between “hypocritique” and “hypercritique” as a semantic artifact, stressing the importance of challenging educational research and theories according to the level of complexity that one may attribute to them.

In order to illustrate what is at stake in the definition and in the development of a complex and constructivist epistemology of transformative learning, this chapter introduces Edgar Morin’s paradigm of complexity and explores six challenges that appear particularly illustrative with regards to the advance of research and practices related to transformative learning.

This paper defines a theoretical framework aiming to support the actions and reflections of researchers looking for a “method” in order to critically conceive the complexity of a scientific process of research. First, it starts with a brief overview of the core assumptions framing Morin’s “paradigm of complexity” and Le Moigne’s “general system theory.” Distinguishing “methodology” and “method,” the framework is conceived based on three moments, which represent recurring stages of the spiraling development of research. The first moment focuses on the definition of the research process and its sub-systems (author, system of ideas, object of study and method) understood as a complex form of organization finalized in a specific environment. The second moment introduces a matrix aiming to model the research process and nine core methodological issues, according to a programmatic and critical approach. Using the matrix previously modeled, the third moment suggests conceiving of the research process following a strategic mindset that focuses on contingencies, in order to locate, share and communicate the path followed throughout the inquiry. Relevance: This paper provides the readers with a constructivist methodology of research inspired by Morin’s paradigm of complexity and Le Moigne’s general system theory.

Excerpt: Ecology is an eminently practical discipline, but the practical dilemmas of the ecological movement – and arguably of the environmental crisis itself – are the consequences of our failure to comprehend the complexity and unity of nature theoretically. The ecological crisis is first and foremost an epistemological crisis. 1 As Thomas Kuhn has taught us, such crises are potentially revolutionary episodes out of which new paradigms can emerge. 2 We have also learned from Kuhn that paradigm shifts are rarely sudden events; usually they unfold over decades or even centuries. So it has been with the search for a new paradigm that was inaugurated by Goethe’s scientific work. 3 As a practicing scientist and as a philosopher of science, Goethe both foresaw the crisis of mechanistic explanation and laid foundations for a new paradigm that might replace it. 4 In doing so, he also laid foundations for a future, alternative science of ecology. Although the term “ecology” did not exist until Ernst Haeckel coined it in 1866, Goethe was a profound ecologist in principle and practice if not yet in name. 5 This essay on four major “Goethean ecologists” seeks to add a brief chapter to the history of the reception of Goethe’s scientific work6 and also to Donald Worster’s now standard history of ecology, 7 which barely mentions Goethe in passing.

Semiotics has itself thrived in a generative atmosphere of specialization and synthesis. Now, in an expanding intellectual universe, we converge with several other strains of scholarship. In this brief paper, we not only acknowledge this convergence and complementarity, but actively welcome the emerging rapprochement, which we interpret as representing a radical shift in scientific paradigm. This conceptual revolution transcends a dichotomous Cartesian, analytic view of the world, in the direction of a view embracing the whole, respecting complexity, and fostering synthesis.

Key words: natural selection, dissipative structure, human language, annual international conference, competitive unit.

This paper attempts to establish a systems-semiotic framework explaining creativity in the design process, where the design process is considered to have as its basis the cognitive process. The design process is considered as the interaction between two or more cognitive systems resulting in a purposeful and ongoing transformation of their already complex representational structures and the production of newer ones, in order to ful?ll an ill-defined goal. Creativity is considered as the result of an emergence of organizational complexity in each cognitive system participating in the design process, while it is trying to purposefully incorporate new constraints in its meaning structures. The meanings generated in each system are identi?ed as the contingent and anticipatory content of its representations, and where self-organization is the dominant process in which they are continuously involved. Furthermore, Peircean semiotic processes appear to provide the functionality needed by the emergent representational structures in order to complete the cycle of a creative design process. Creativity originates in the abductive stage of the semiotic process, the fallible nature of which is maintained in the proposed framework by the fact that the respective emergent representations can be mis?ts. The nodal points of the framework are identified and analyzed showing that a cognitive system needs the whole interactive anticipatory cycle in order to engage in a creative design process.

Key words: Anticipations, Creativity, Emergent Representations, Peircean Semiotic Processes, Self-organization