The development of cybernetics has never stopped, and the emergence of second-order cybernetics is a profound rethinking of this discipline. It not only focuses on how the observed object operates, but also places special emphasis on the influence of the observer himself on the research, which is often overlooked in traditional Western science. This new perspective has prompted the scientific community to redefine its role in the knowledge production process and has triggered considerations of scientific ethics and self-participation.
Second-order cybernetics, or "cybernetics of cybernetics," is the process of reflexively applying the principles of cybernetics to oneself. Developed by Heinz von Foerster and others in the late 1960s and mid-1970s. Foster once mentioned that "control of control and transfer of transfer" is the core idea of the second-order cybernetics. He defines first-order cybernetics as "cybernetics of the observing system" and second-order cybernetics as "cybernetics of the observer."
“This approach challenges traditional notions of objectivity by making the role of the observer explicit.”
In second-order cybernetics, observers and other participants are considered part of the system rather than just observers. This challenges the objective attitude of maintaining distance in traditional science and emphasizes the importance of participation. For example, Ranulph Glanville has suggested that the term “observer” should be replaced with “composer” to better reflect this active, participatory role.
Second-order cybernetic criticism of objectivity raises a number of ethical questions. Foster's position in this regard can be described as an "ethics of inspiration", emphasizing the importance of retaining ethical choices in action. This view has sparked a deeper discussion on moral responsibility, prompting scientists and researchers to consider the social consequences when exploring complex systems.
The relationship between first-order and second-order cybernetics can be likened to the theories of Newton and Einstein. In some cases, first-order cybernetics are still applicable and effective. However, the emergence of second-order cybernetics is an extension of the first order, focusing more on the interactivity and participation of the system. This change has enabled researchers to no longer focus solely on the transmission of data, but rather on dialogue and interaction within the system.
The influence of Second Order Cybernetics has spread to the creative arts. In fields such as theatre studies and music theory, many art practitioners and designers are beginning to incorporate the principles of second-order cybernetics into their work. Prominent among them were Roy Ascott and Herbert Brün.
With the advancement of technology and changes in social structure, the idea of second-order cybernetics continues to evolve. Many argue that there is a need to further define third-order and higher cybernetics so that they can be better embedded in broader social and ecological contexts. However, Forster himself has reservations about this division, believing that the distinction between the first and second order should be understood in an inclusive rather than exclusive way.
In this context, cybernetics is no longer just a technical discipline, but a broad field covering social, philosophical and ethical thinking. This poses a new challenge to the definition of science: What kind of answer will we get if we re-examine the nature of science?