The Communicational Construction of Reality 35 So, these three questions modulate these changing times. Coupled with them, there is in the 19th century an equally fundamental change. Three changes, which are: man loses his privileged position in culture; the concept of immortality becomes relative; a new world emerges, a new reality, which is the reality of the world created by technologies, which is a second world, an imaginary world. Well, going into Braga’s text a little, he talks about the conflict between Habermas and Marcuse. But I think this was not the main German conflict of the 20th century, but the conflict between Habermas and Luhmann because Luhmann brings another light to the issue of communication. Luhmann comes from another theoretical school, which is based on the studies of contemporary theories, which he calls communication, but is not our communication, and this way of seeing is new because it relies on cybernetics, second-order cybernetics, which says that communication, in principle, does not exist. Neither does infor- mation. That these do not exist as fixed and stable data but as relations. I mean, we can constitute it or not, depending on the relationship we make with others. So, a new interpretation of communicability was cre- ated, although based on the non-existence of communication. And this new communication more or less excludes, it prevents the old interpretations of communication. And what we have is a repercussion of what was done in Europe at the beginning of the last century, a concept that is built during the process of com- municability itself. So what I mean is that communication as metaphysics does not exist. Metaphysics, in the classical sense, one that said that communication is transport, transference, of something when, in fact, it is nothing of the sort. There is no transfer of anything. There are only attempts or possibilities to talk to the oth- er, and the other will understand as he wants; so that the worlds, the minds, remain separate. That was, in principle, what I wanted in this exhibition where I am here arranging ideas, without a script, just trying to recompose the map of what I exposed in the recorded text. ***
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