生存:控制论的持久性

IF 0.8 2区 文学 0 LITERATURE New Literary History Pub Date : 2023-03-01 DOI:10.1353/nlh.2023.a907174
Bruce Clarke
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That is, they are self-producing, hence internally generated, and in key regards, autonomous, systems: that's what makes them neocybernetic. Even while such systems are open with regard to energy flow, their organizations close upon themselves in processual distinction from the environments that afford them—as in the paradigmatic case of the living cell.3 While both of these theories range well beyond literary application, the idea of literary cybernetics admirably pursued in this NLH forum necessarily turns on the fundamental category of system. And the concept of system—as abstracted from the specific range of technological, biological, psychic, and social instantiations developed in NST—is coupled to a coconstitutive metaconcept of the environment. The environments of NST are themselves potentially suffused with systems, but they are not—they are to be distinguished from—systems per se. As defined in this discourse, an environment is unbounded and, as such, too complex to be systematized. Environments are the mediums out of which systems achieve their forms, the resources from which the productive closures of systems emerge. In any event, this is the theory-form I've taken in my own work in literary cybernetics—literary NST if you will. It pivots from Heinz von Foerster's discourse of recursion and self-reference in second-order cybernetics, to Humberto Maturana and Francisco Varela's coupling of autopoiesis and cognition, to the uptake of George Spencer-Brown's Laws of Form in both Varela and Niklas Luhmann's social systems [End Page 1281] theory.4 This cluster of work was the Stanford school in systems theory as I came upon this material at the end of the 1990s: Luhmann and Friedrich Kittler, and thus von Foerster and Claude Shannon, mediated through David Wellbery, Hans Ulrich Gumbrecht, Tim Lenoir, and Stanford University Press's Writing Science series. But cybernetics itself, as Heather Love and Lea Pao develop the topic, is larger than this particular line of elaboration. In their introduction, \"Literary Cybernetics: History, Theory, Post-Disciplinarity,\" Love and Pao note the robust interdisciplinary mix at the fabled Macy Conferences on Cybernetics, which ran between 1946-53, but they also observe that these gatherings were thin with regard to representatives from the arts and humanities. It would appear that the British reception of the first cybernetics, from the \"Cybernetic Serendipity\" of Gordon Pask to the conceptual practice of Roy Ascott, was rather more festive.5 Whatever the case, art historians such as Charissa Terranova have been excavating major, broadly international artistic engagements with the conceptual fecundity and liberatory potential of \"fuzzy cybernetics\" pretty much since its inception.6 And Love and Pao also note the rich roster of documentation and critical work on \"concepts like recursion, self-reference, self-organization, the feedback loop, entropy, entanglement, and emergence\" (3) developed over recent decades in the history of science and with the rise of scholarship in literature and science, science and technology studies (STS), and media studies. In fact, \"cybernetics\" contains so many multitudes that it has become, according to Pao, a \"fuzzy\" concept. This is hard to deny. To begin with, it contains what is now denominated as first-order cybernetics: the classical discourse around feedback mechanisms and circular operations in biological and social systems that informed the Macy Conferences variously peopled by Norbert Weiner, Claude Shannon, Warren Mc-Culloch, W...","PeriodicalId":19150,"journal":{"name":"New Literary History","volume":"100 1","pages":"0"},"PeriodicalIF":0.8000,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Staying Alive: Cybernetic Persistence\",\"authors\":\"Bruce Clarke\",\"doi\":\"10.1353/nlh.2023.a907174\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Staying Alive:Cybernetic Persistence Bruce Clarke (bio) In some recent writings I ventured to describe what I've called neocybernetic systems theory.1 One way I've approached this description is by drawing a contrast with Bruno Latour's actor-network theory, or ANT.2 A sympathetic colleague remarked that if Latour could own ANT, I should lay claim to my own acronym—NST. Thus, a key difference between these theories is that ANT is built around the concept of network, whereas NST is built around the concept of system. The crucial difference between these two forms is that a network is an unbounded structure—in this respect, it offers an environment open for nodal ramification by its actors, but no internally generated dynamics of its own. In contrast, the specific systems at the fore of NST are, in my formulation, autopoietic systems. That is, they are self-producing, hence internally generated, and in key regards, autonomous, systems: that's what makes them neocybernetic. Even while such systems are open with regard to energy flow, their organizations close upon themselves in processual distinction from the environments that afford them—as in the paradigmatic case of the living cell.3 While both of these theories range well beyond literary application, the idea of literary cybernetics admirably pursued in this NLH forum necessarily turns on the fundamental category of system. And the concept of system—as abstracted from the specific range of technological, biological, psychic, and social instantiations developed in NST—is coupled to a coconstitutive metaconcept of the environment. The environments of NST are themselves potentially suffused with systems, but they are not—they are to be distinguished from—systems per se. As defined in this discourse, an environment is unbounded and, as such, too complex to be systematized. Environments are the mediums out of which systems achieve their forms, the resources from which the productive closures of systems emerge. In any event, this is the theory-form I've taken in my own work in literary cybernetics—literary NST if you will. It pivots from Heinz von Foerster's discourse of recursion and self-reference in second-order cybernetics, to Humberto Maturana and Francisco Varela's coupling of autopoiesis and cognition, to the uptake of George Spencer-Brown's Laws of Form in both Varela and Niklas Luhmann's social systems [End Page 1281] theory.4 This cluster of work was the Stanford school in systems theory as I came upon this material at the end of the 1990s: Luhmann and Friedrich Kittler, and thus von Foerster and Claude Shannon, mediated through David Wellbery, Hans Ulrich Gumbrecht, Tim Lenoir, and Stanford University Press's Writing Science series. But cybernetics itself, as Heather Love and Lea Pao develop the topic, is larger than this particular line of elaboration. In their introduction, \\\"Literary Cybernetics: History, Theory, Post-Disciplinarity,\\\" Love and Pao note the robust interdisciplinary mix at the fabled Macy Conferences on Cybernetics, which ran between 1946-53, but they also observe that these gatherings were thin with regard to representatives from the arts and humanities. It would appear that the British reception of the first cybernetics, from the \\\"Cybernetic Serendipity\\\" of Gordon Pask to the conceptual practice of Roy Ascott, was rather more festive.5 Whatever the case, art historians such as Charissa Terranova have been excavating major, broadly international artistic engagements with the conceptual fecundity and liberatory potential of \\\"fuzzy cybernetics\\\" pretty much since its inception.6 And Love and Pao also note the rich roster of documentation and critical work on \\\"concepts like recursion, self-reference, self-organization, the feedback loop, entropy, entanglement, and emergence\\\" (3) developed over recent decades in the history of science and with the rise of scholarship in literature and science, science and technology studies (STS), and media studies. In fact, \\\"cybernetics\\\" contains so many multitudes that it has become, according to Pao, a \\\"fuzzy\\\" concept. This is hard to deny. 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引用次数: 0

摘要

在最近的一些文章中,我大胆地描述了我所谓的新控制论系统理论我对这一描述的一种解释是,将其与布鲁诺•拉图尔(Bruno Latour)的行动者网络理论(actor-network theory,简称ANT)进行对比。一位同情我的同事评论说,如果拉图尔能拥有ANT,我也应该宣称拥有我自己的缩写——nst。因此,这些理论之间的关键区别在于ANT是围绕网络概念构建的,而NST是围绕系统概念构建的。这两种形式之间的关键区别在于,网络是一个无界结构——在这方面,它为参与者的节点分支提供了一个开放的环境,但没有自己的内部生成动态。相比之下,在NST的前面的特定系统,在我的表述中,是自创生系统。也就是说,它们是自我生产的,因此是内部产生的,在关键方面,它们是自主的系统:这就是它们成为新控制论的原因。即使这样的系统在能量流方面是开放的,它们的组织在过程上也与提供它们的环境相区别——就像活细胞的典型例子一样虽然这两种理论都远远超出了文学应用的范围,但在NLH论坛上令人钦佩地追求的文学控制论思想必然会转向系统的基本范畴。系统的概念——从nst中开发的技术、生物、心理和社会实例的特定范围中抽象出来——与环境的构成元概念相结合。NST的环境本身可能充满了系统,但它们不是系统本身,它们与系统是有区别的。正如本文所定义的那样,环境是无界的,因此太复杂而无法系统化。环境是系统实现其形式的媒介,是系统产生生产性闭包的资源。无论如何,这是我在自己的文学控制论——文学NST研究中采用的理论形式。它从Heinz von Foerster在二阶控制论中关于递归和自我参照的论述,到Humberto Maturana和Francisco Varela对自生和认知的耦合,再到Varela和Niklas Luhmann的社会系统理论中对George Spencer-Brown的形式法则的吸收当我在90年代末看到这些材料时,这一组工作是斯坦福系统理论学派:Luhmann和Friedrich Kittler,因此是von Foerster和Claude Shannon,通过David Wellbery, Hans Ulrich Gumbrecht, Tim Lenoir,和斯坦福大学出版社的写作科学系列。但控制论本身,正如希瑟·洛夫(Heather Love)和李·鲍康如(Lea Pao)所发展的主题,比这条特定的阐述线要大得多。在他们的引言《文学控制论:历史、理论、后学科性》中,洛夫和鲍康如注意到,在1946年至1953年间举行的传说中的梅西控制论会议(Macy Conferences on Cybernetics)上,存在着强大的跨学科混合,但他们也注意到,这些会议在艺术和人文学科方面的代表很少。从戈登·帕斯克(Gordon Pask)的“控制论的意外发现”(Cybernetic Serendipity)到罗伊·雅诗阁(Roy Ascott)的概念实践,英国人对第一批控制论的接受似乎更为乐观无论如何,像Charissa Terranova这样的艺术史学家,从“模糊控制论”的概念繁殖和解放潜力开始,就一直在挖掘重大的、广泛的国际艺术合作洛夫和鲍康如还注意到,在近几十年的科学史上,随着文学和科学、科学技术研究(STS)和媒体研究的兴起,关于“递归、自我参照、自我组织、反馈回路、熵、纠缠和涌现”等概念的丰富文献和批判性工作(3)得到了发展。事实上,根据Pao的说法,“控制论”包含了如此多的群体,以至于它已经成为一个“模糊”的概念。这很难否认。首先,它包含了现在被称为一阶控制论的东西:关于生物和社会系统中反馈机制和循环操作的经典论述,它为诺伯特·韦纳、克劳德·香农、沃伦·麦卡洛克、W·W·库洛克等人参加的梅西会议提供了信息。
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Staying Alive: Cybernetic Persistence
Staying Alive:Cybernetic Persistence Bruce Clarke (bio) In some recent writings I ventured to describe what I've called neocybernetic systems theory.1 One way I've approached this description is by drawing a contrast with Bruno Latour's actor-network theory, or ANT.2 A sympathetic colleague remarked that if Latour could own ANT, I should lay claim to my own acronym—NST. Thus, a key difference between these theories is that ANT is built around the concept of network, whereas NST is built around the concept of system. The crucial difference between these two forms is that a network is an unbounded structure—in this respect, it offers an environment open for nodal ramification by its actors, but no internally generated dynamics of its own. In contrast, the specific systems at the fore of NST are, in my formulation, autopoietic systems. That is, they are self-producing, hence internally generated, and in key regards, autonomous, systems: that's what makes them neocybernetic. Even while such systems are open with regard to energy flow, their organizations close upon themselves in processual distinction from the environments that afford them—as in the paradigmatic case of the living cell.3 While both of these theories range well beyond literary application, the idea of literary cybernetics admirably pursued in this NLH forum necessarily turns on the fundamental category of system. And the concept of system—as abstracted from the specific range of technological, biological, psychic, and social instantiations developed in NST—is coupled to a coconstitutive metaconcept of the environment. The environments of NST are themselves potentially suffused with systems, but they are not—they are to be distinguished from—systems per se. As defined in this discourse, an environment is unbounded and, as such, too complex to be systematized. Environments are the mediums out of which systems achieve their forms, the resources from which the productive closures of systems emerge. In any event, this is the theory-form I've taken in my own work in literary cybernetics—literary NST if you will. It pivots from Heinz von Foerster's discourse of recursion and self-reference in second-order cybernetics, to Humberto Maturana and Francisco Varela's coupling of autopoiesis and cognition, to the uptake of George Spencer-Brown's Laws of Form in both Varela and Niklas Luhmann's social systems [End Page 1281] theory.4 This cluster of work was the Stanford school in systems theory as I came upon this material at the end of the 1990s: Luhmann and Friedrich Kittler, and thus von Foerster and Claude Shannon, mediated through David Wellbery, Hans Ulrich Gumbrecht, Tim Lenoir, and Stanford University Press's Writing Science series. But cybernetics itself, as Heather Love and Lea Pao develop the topic, is larger than this particular line of elaboration. In their introduction, "Literary Cybernetics: History, Theory, Post-Disciplinarity," Love and Pao note the robust interdisciplinary mix at the fabled Macy Conferences on Cybernetics, which ran between 1946-53, but they also observe that these gatherings were thin with regard to representatives from the arts and humanities. It would appear that the British reception of the first cybernetics, from the "Cybernetic Serendipity" of Gordon Pask to the conceptual practice of Roy Ascott, was rather more festive.5 Whatever the case, art historians such as Charissa Terranova have been excavating major, broadly international artistic engagements with the conceptual fecundity and liberatory potential of "fuzzy cybernetics" pretty much since its inception.6 And Love and Pao also note the rich roster of documentation and critical work on "concepts like recursion, self-reference, self-organization, the feedback loop, entropy, entanglement, and emergence" (3) developed over recent decades in the history of science and with the rise of scholarship in literature and science, science and technology studies (STS), and media studies. In fact, "cybernetics" contains so many multitudes that it has become, according to Pao, a "fuzzy" concept. This is hard to deny. To begin with, it contains what is now denominated as first-order cybernetics: the classical discourse around feedback mechanisms and circular operations in biological and social systems that informed the Macy Conferences variously peopled by Norbert Weiner, Claude Shannon, Warren Mc-Culloch, W...
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New Literary History
New Literary History LITERATURE-
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期刊介绍: New Literary History focuses on questions of theory, method, interpretation, and literary history. Rather than espousing a single ideology or intellectual framework, it canvasses a wide range of scholarly concerns. By examining the bases of criticism, the journal provokes debate on the relations between literary and cultural texts and present needs. A major international forum for scholarly exchange, New Literary History has received six awards from the Council of Editors of Learned Journals.
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