Niklas Luhmann
Niklas Luhmann was a German sociologist, and a prominent thinker in systems theory, who is increasingly recognized as one of the most important social theorists of the 20th century.
Luhmann wrote prolifically, with more than 70 books and nearly 400 scholarly articles published on a variety of subjects, including law, economy, politics, art, religion, ecology, mass media, and love. While his theories have yet to make a major mark in American sociology, his theory is currently well known and popular in German sociology and has also been rather intensively received in Japan and Eastern Europe, including Russia. His relatively low profile elsewhere is partly due to the fact that translating his work is a difficult task, since his writing presents a challenge even to readers of German, including many sociologists. (p. xxvii Social System 1995)
Much of Luhmann's work directly deals with the operations of the legal system and his autopoietic theory of law is regarded as one of the more influential contributions to the sociology of law and socio-legal studies.
Luhmann is probably best known to North Americans for his debate with the critical theorist Jürgen Habermas over the potential of social systems theory. Like his one-time mentor Talcott Parsons, Luhmann is an advocate of "grand theory," although neither in the sense of philosophical foundationalism nor in the sense of "meta-narrative" as often invoked in the critical works of post-modernist writers. Rather, Luhmann's work tracks closer to complexity theory broadly speaking, in that it aims to address any aspect of social life within a universal theoretical framework - of which the diversity of subjects he wrote about is an indication. Luhmann's theory is sometimes dismissed as highly abstract and complex, particularly within the Anglophone world, whereas his work has had a more lasting influence on scholars from German-speaking countries, Scandinavia and Italy.
Luhmann himself described his theory as "labyrinth-like" or "non-linear" and claimed he was deliberately keeping his prose enigmatic to prevent it from being understood "too quickly", which would only produce simplistic misunderstandings.
“[...] Menschen können nicht kommunizieren, nicht einmal ihre Gehirne können kommunizieren, nicht einmal das Bewußtsein kann kommunizieren. Nur die Kommunikation kann kommunizieren.”
“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? … No ordinary object insists on being taken for an ordinary thing, but a work that does so betrays itself by this very effort. The function of art in such a case is to reproduce the difference of art. But the mere fact that art seeks to cancel this difference and fails in its effort to do so perhaps says more about art than could any excuse or critique.”
“Humans cannot communicate; not even their brains can communicate; not even their conscious minds can communicate. Only communication can communicate.”
“Was wir über unsere Gesellschaft, ja über die Welt, in der wir leben, wissen, wissen wir durch die Massenmedien”