{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,8,2]],"date-time":"2025-08-02T17:26:24Z","timestamp":1754155584346,"version":"3.41.2"},"reference-count":22,"publisher":"Emerald","issue":"9\/10","license":[{"start":{"date-parts":[[2013,11,11]],"date-time":"2013-11-11T00:00:00Z","timestamp":1384128000000},"content-version":"tdm","delay-in-days":0,"URL":"https:\/\/www.emerald.com\/insight\/site-policies"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":[],"published-print":{"date-parts":[[2013,11,11]]},"abstract":"\n Purpose<\/jats:title>\n \u2013 The purpose of this paper is to discuss Stockhausen's comment that the destruction of the twin towers in New York in September 11, 2001 was \u201cthe greatest work of art that ever existed\u201d \u2013 a comment that raises crucial questions about the relationship between art and politics, art and ethics, also on the very concept of \u201cartwork\u201d. <\/jats:p>\n <\/jats:sec>\n \n Design\/methodology\/approach<\/jats:title>\n \u2013 Focus on art as a system of communication according to a sociocybernetic approach. <\/jats:p>\n <\/jats:sec>\n \n Findings<\/jats:title>\n \u2013 The paper argues that Stockhausen's concept of artwork, which radicalizes the \u201corganic metaphor\u201d, culminates by 1950 in the ideal of a self-produced work of music (very similar avant la lettre to the concept of autopoiesis). Although produced by human labour, the artwork should emerge and act as if it was self-produced. Such reification of art has its counterpart in the Western hegemonic paradigm of artistic communication, which also aims, by means of illusionist devices, to conceal the production process that gives rise to the artwork. Both forms of aestheticism could be described in terms of \u201cphantasmagoria\u201d (similarly to Marx's commodity fetishism). <\/jats:p>\n <\/jats:sec>\n \n Originality\/value<\/jats:title>\n \u2013 By discussing critical alternatives to aestheticism, the paper characterizes them as an attempt, from within autonomous art, to operate the re-entry into the system of communication of the distinction art\/life-world. Autonomous art becomes in this way self-critical of its own autonomy.<\/jats:p>\n <\/jats:sec>","DOI":"10.1108\/k-10-2012-0072","type":"journal-article","created":{"date-parts":[[2013,12,3]],"date-time":"2013-12-03T04:10:46Z","timestamp":1386043846000},"page":"1367-1373","source":"Crossref","is-referenced-by-count":2,"title":["Art as \u201cphantasmagoria\u201d: between illusion and reification"],"prefix":"10.1108","volume":"42","author":[{"given":"M\u00e1rio","family":"Vieira de Carvalho","sequence":"first","affiliation":[]}],"member":"140","reference":[{"key":"key2022012920005218900_b2","unstructured":"Adorno, T.W.\n (1997), Aesthetic Theory, Continuum, London."},{"key":"key2022012920005218900_b1","unstructured":"Adorno, T.W.\n (2005), In Search of Wagner, Verso, London."},{"key":"key2022012920005218900_b3","unstructured":"Baecker, D.\n (2007), Form und Formen der Kommunikation, Suhrkamp, Frankfurt a. M."},{"key":"key2022012920005218900_b4","doi-asserted-by":"crossref","unstructured":"Bateson, G.\n (1999), Steps to an Ecology of Mind, University of Chicago Press, Chicago, IL.","DOI":"10.7208\/chicago\/9780226924601.001.0001"},{"key":"key2022012920005218900_b5","unstructured":"Becker, H.S.\n (2006), \u201cThe work itself\u201d, in \n Becker, H.S.\n , \n Faulkner, R.R.\n and \n Kirshenblatt-Gimblett, B.\n (Eds), Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, University of Chicago Press, Chicago, IL, pp. 21-27."},{"key":"key2022012920005218900_b6","unstructured":"Benjamin, W.\n (1992), Illuminations, Fontana Press, London."},{"key":"key2022012920005218900_b7","unstructured":"Bloch, E.\n (1985), Werkausgabe, Vol. III and V, Suhrkamp, Frankfurt a. M."},{"key":"key2022012920005218900_b8","unstructured":"Brecht, B.\n (1967), Gesammelte Werke, Vol. 15, Suhrkamp, Frankfurt a. M."},{"key":"key2022012920005218900_b9","unstructured":"Buck-Morss, S.\n (1996), \u201c\u00c4sthetik und An\u00e4sthetik\u201d, in \n Kolleritsch, O.\n (Ed.), Das aufgesprengte Kontinuum, Universal Edition, Vienna, pp. 30-74."},{"key":"key2022012920005218900_b10","doi-asserted-by":"crossref","unstructured":"Finscher, L.\n (1994), \u201cDie Entstehung des Komponisten\u201d, IRAMDA, Vol. 25 Nos 1\/2, pp. 149-164.","DOI":"10.2307\/836940"},{"key":"key2022012920005218900_b11","unstructured":"Habermas, J.\n (1985), Theorie des kommunikativen Handelns, Vol. 2, Suhrkamp, Frankfurt a. M.."},{"key":"key2022012920005218900_b12","unstructured":"Harries-Jones, P.\n (2005), \u201cGregory Bateson, heterarchies, and the topology of recursion\u201d, Cybernetics and Human Knowing, Vol. 12 Nos 1\/2, pp. 168-174."},{"key":"key2022012920005218900_b13","unstructured":"Kaden, C.\n (1984), Musiksoziologie, Verlag Neue Musik, Berlin."},{"key":"key2022012920005218900_b14","unstructured":"Luhmann, N.\n (1985), Die Kunst der Gesellschaft, Suhrkamp, Frankfurt a. M."},{"key":"key2022012920005218900_b15","unstructured":"Luhmann, N.\n (1987), Soziale Systeme. Grundri\u00df einer allgemeinen Theorie, Suhrkamp, Frankfurt a. M."},{"key":"key2022012920005218900_b16","doi-asserted-by":"crossref","unstructured":"Martin, P.J.\n (2007), Music and the Sociological Gaze: Art Worlds and Cultural Production, Manchester University Press, Manchester.","DOI":"10.7228\/manchester\/9780719072161.001.0001"},{"key":"key2022012920005218900_b17","doi-asserted-by":"crossref","unstructured":"Orsini, G.N.G.\n (1969), \u201cThe organic concepts in aesthetics\u201d, Comparative Literature, Vol. 21 No. 1, pp. 1-30.","DOI":"10.2307\/1769367"},{"key":"key2022012920005218900_b18","unstructured":"Ranci\u00e8re, J.\n (2010), The Aesthetic Unconscious, Polity Press, Cambridge."},{"key":"key2022012920005218900_b19","unstructured":"Rebentisch, J.\n (2012), Die Kunst der Freiheit. Zur Dialektik demokratischer Existenz, Suhrkamp, Frankfurt a. M."},{"key":"key2022012920005218900_b20","unstructured":"Uexk\u00fcll, J.V.\n and \n Kriszat, G.\n (1956), Streifz\u00fcge durch Umwelten von Tieren und Menschen. Ein Bilderbuch unsichtbarer Welten. Bedeutungslehre, Rowohlt, Hamburg."},{"key":"key2022012920005218900_b21","unstructured":"Vieira de Carvalho, M.\n (2001), \u201cArt as autopoiesis? A critical approach beginning with the European musical avant-garde in the early 1950s\u201d, Journal of Sociocybernetics, Vol. 2 No. 1, pp. 33-40."},{"key":"key2022012920005218900_b22","unstructured":"Webern, A.\n (1960), Der Weg zur neuen Musik, Universal Edition, Vienna."}],"container-title":["Kybernetes"],"original-title":[],"language":"en","link":[{"URL":"http:\/\/www.emeraldinsight.com\/doi\/full-xml\/10.1108\/K-10-2012-0072","content-type":"unspecified","content-version":"vor","intended-application":"text-mining"},{"URL":"https:\/\/www.emerald.com\/insight\/content\/doi\/10.1108\/K-10-2012-0072\/full\/xml","content-type":"application\/xml","content-version":"vor","intended-application":"text-mining"},{"URL":"https:\/\/www.emerald.com\/insight\/content\/doi\/10.1108\/K-10-2012-0072\/full\/html","content-type":"unspecified","content-version":"vor","intended-application":"similarity-checking"}],"deposited":{"date-parts":[[2025,7,24]],"date-time":"2025-07-24T21:50:24Z","timestamp":1753393824000},"score":1,"resource":{"primary":{"URL":"http:\/\/www.emerald.com\/k\/article\/42\/9-10\/1367-1373\/450435"}},"subtitle":[],"editor":[{"given":"Prof","family":"Ranulph Glanville, Prof David Griffiths","sequence":"first","affiliation":[]}],"short-title":[],"issued":{"date-parts":[[2013,11,11]]},"references-count":22,"journal-issue":{"issue":"9\/10","published-print":{"date-parts":[[2013,11,11]]}},"alternative-id":["10.1108\/K-10-2012-0072"],"URL":"https:\/\/doi.org\/10.1108\/k-10-2012-0072","relation":{},"ISSN":["0368-492X"],"issn-type":[{"type":"print","value":"0368-492X"}],"subject":[],"published":{"date-parts":[[2013,11,11]]}}}