In the reception of Josef Mitterer’s writings up to now, there are two predominant types of motifs: the radical constructivist background of his philosophy and the ontological and epistemological foundations and consequences of non-dualism. The critics are focused rather on some problematic consequences of non-dualism, ranging from the problem of infinite regress up to the thesis assuming that Mitterer’s philosophy presupposes a world reduced to descriptions. However, these two types of readings are founded on dualizing assumptions which are not coherent with non-dualism. \\Thus, in the present paper I interpret non-dualism in the frame of non-dual-ism, based on non-dualizing assumptions. I argue that non-dualism is a rhetorical project resulting in far-reaching consequences in the field of academic and scientific debates, poetics and practice of negotiations and deliberations, as well as in ordinary discourse. Non-dualism fulfills Richard Rorty’s dream of culture as a never-ending conversation in which the argument of power is successfully replaced by the power of argument. Mitterer makes transparent the rhetorical techniques performed in the dualizing discourse (not only in situations of conflict) in order to present an alternative – the non-dualizing mode of discourse. Mitterer’s philosophy – reread in the context of Rorty’s pragmatism, Foucault’s conception of discourses, Perelman’s new rhetoric – offers the new vocabulary (in Rorty’s meaning) which may change the practice of speaking

Key words: non-dualizing mode of speaking, description “so far” / “from now on, ” constructivism, rhetoric, discourse.

Through an analysis of some key theoretical texts of historical Surrealism, this article elucidates the connection between the theory and practice of artistic Surrealism and the Kellyan concept of reconstruction. Its main thesis is that Surrealism originates in a reconstruction of the most superordinate construct in both Western aesthetics and Western ontology—the construct real-unreal—and that the ultimate aim of Surrealist poetics is to provoke a similar reconstruction in the audience.

In this article an argument in favour of a constructivist approach to performativity is offered. As a point of departure Erika Fischer-Lichte’s approach to performative art as stated in Ästhetik des Performativen is analysed. It is argued that Fischer-Lichte’s position represents an ontological approach which is in fact based upon the poetics of the avant-garde. This position is juxtaposed by a constructivist approach developed with the help of concepts borrowed from Niklas Luhmann. As the notion of auto-poiesis plays an important role for both Fischer-Lichte and Luhmann the comparison of the two approaches is construed by evoking the crucial differences in the interpretation of auto-poiesis. For Fischer-Lichte, it indicates contingency and the lack of control in the performance event. For Luhmann, on the other hand, it refers to an operatively closed system based on a distinction drawn by the system itself. The Luhmannian direction is favoured for three reasons: 1) it leads to a pluralistic attitude and urges us to take an interest in different forms of presence; 2) it makes us see classical aesthetics as a possible poetics rather than a false and obsolete set of concepts to be dismissed; and 3) it allows us to become more experimental and open-eyed as analysts.

As a technology and an art form perceived to be capable of reproducing the world, it has long been thought that the cinema has a natural affinity with reality. In this essay I consider the Realist theory of film history out forward by Robert C. Allen and Douglas Gomery from the perspective of Radical Constructivism. I argue that such a Realist theory cannot provide us with a viable approach to film history as it presents a flawed description of the historian’s relationship to the past. Radical Constructivism offers an alternative model, which requires historians to rethink the nature of facts, the processes involved in constructing historical knowledge, and its relation to the past. Historical poetics, in the light of Radical Constructivism, is a basic model of research into cinema that uses concepts to construct theoretical statements in order to explain the nature, development, and effects of cinematic phenomena.

For some of us, the attraction of cybernetics is the very idea of it, the idea that the search for transdisciplinary truths is both possible and valuable. Many would accept that cybernetics has helped unify the first-order study of observed systems. In this paper, I explore ways in which second-order cybernetics may unify debates and discussions in the vast range of disciplines concerned with the observer, his experiences and his accounts of those experiences. The first part of the paper is deliberately first person and anecdotal, in the spirit of von Foerster’s dictum, life is studied in vivo not in vitro. The second part re-examines the classic cybernetic concepts of self-organisation and circular causality from the perspective of the constructivist epistemology of second order cybernetics and, by making the metaphorical status of the concepts explicit, shows how second order cybernetics may serve as a methodology for exploring modes of being. A major aim of the paper is to seek ways of navigating or building bridges between the praxes of rational science and the discourses of phenomenology and poetics.

Purpose: The purpose of this paper is to discuss the relevance of second-order cybernetics for a theory of architectural design and related discourse. Approach: First, the relation of architectural design to the concept of “poiesis” is clarified. Subsequently, selected findings of Gotthard Günther are revisited and related to an architectural poetics. The last part of the paper consists of revisiting ideas mentioned previously, however, on the level of a discourse that has incorporated the ideas and offers a poetic way of understanding them. Findings: Gotthard Günther’s conception of “You” is specifically valuable in reference to a theory of architectural design in the sense of an architectural poetics. Originality – The research furthers the field of architecture by contributing to it a new theory in the form of an architectural poetics. It addresses questions of design with a procedural framework in which critical engagement is an intrinsic principle, and offers an alternative to existing discourses through a poetry of architectonic order that is open to the future. Relevance: Second order approaches are at the center of discussion in this paper. The paper argues for a new theory of design based on second order approaches.

The article introduces the problematics of the classical two-valued logic on which Western thought is generally based, outlining that under the conditions of its logical assumptions the subject I is situated in a world that it cannot address. In this context, the article outlines a short history of cybernetics and the shift from first- to second-order cybernetics. The basic principles of Gordon Pask’s 1976 Conversation Theory are introduced. It is argued that this second-order theory grants agency to others through a re-conception of living beings as You logically transcending the I. The key principles of Conversation Theory are set in relation to the poetic forms of discourse that played a key role in art as well as philosophical thinking in China in the past. Second-order thinking, the article argues, is essentially poetic. It foregoes prediction in favour of the potentiality of encountering tomorrow’s delights.

Key words: china, conversation theory, aesthetics, art, poetics, second-order cybernetics

Since René Descartes famously separated the concepts of body and mind in the seventeenth century, western philosophy and theory have struggled to conceptualize the interconnectedness of minds, bodies, environments and cultures. While environmental psychology and the cognitive sciences have shown that spatial perception is ‘embodied’ and depends on the aforementioned concepts’ interconnectedness, architectural design practice, for example, has rarely incorporated these insights. The article presents research on the epistemological foundations that frame the communication between design theory and practice and juxtaposes it with scientific research on embodied experience. It further suggests that Asian aesthetics, with its long history in conceiving relations and art as interactive, could create a bridge between recent scientific insights and design practice. The article links Asian aesthetics to a discourse on ecologies in the post-Anthropocene, in dialogue with contemporary conceptions of time. It outlines an approach to the interconnectedness of minds, bodies, environments, the sciences and cultures, in favour of a future that is governed by creative wisdom rather than ‘smart’ efficiency.

Key words: china, ecology, embodied cognition, poetics, poiesis, second-order cybernetics