The physis and nomos controversy first emerged in ancient Greek thought. This article explores Castoriadis' reactivation of the issues concerned; in particular, his radicalization of Aristotle's conception of physis and nomos. It suggests that nomos appears as multifaceted in his work. However, three key variations may be identified: empirical nomos, normative nomos and generic nomos. Empirical nomos signifies the human creation of laws. It challenges the notion, long held in western philosophy, that Being = being determined. Although all laws are (...) by humans created and thus in one sense autonomous, Castoriadis further distinguishes normatively between those societies which embrace their self-creating and self-transformative capacity and those which obscure it. Normative nomos, then, refers to the autonomous or heteronomous institution of society. The third sense of nomos refers to the creation of form. In this generic sense, it is argued that the debate shifts from the human to the non-human realm; that nomos also manifests itself in the realm of physis. (shrink)

Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity (...) within a larger educational and societal context of conflicting trajectories that run through (a) Modernity and (b) Education. Then, I revisit the issue of educational value of improvising and composing through creating conceptual links between the process of music-making through improvisation and composition and the project of political autonomy as conceived by Castoriadis. By foregrounding instituting imaginary over instituted imaginary, improvising and composing become active processes of positing new legitimacies, and of creating a music-making context that searches for its own foundations. It is in and through creative musical praxis that we can think about issues of hierarchies, musical values, social dimensions of different music-making processes, our relationship to past values and to historical dimensions of music. By arguing that improvisation and composition might be seen as ways of positing the issue of political autonomy in musical terms, this paper emphasises the role of improvisation and composition as a mode of potentially transformative educational practice that may foster the development of critical consciousness, linking music education to a larger project of re-discovering and at the same time re-defining democracy. (shrink)

Plato’s simile of the cave has for over two millennia been the model for a particular understanding of the limitated nature of human knowledge. Castoriadis’s understanding of human knowledge differs from Plato’s in that the artificiality of knowledge, and by extension of culture and society in general, is seen not as a barrier to true knowledge but as a necessary precondition for any knowledge whatsoever. Plato dreams of leaving the cave and encountering the world in the clear light of day; (...) Castoriadis contends that the labyrinth of human creation is our only means of encountering the real. Plato tries to use philosophy to design a way out of the traps humans find themselves in, traps they build for themselves. Castoriadis seeks no such escape and believes that to make such an ultimate escape the business of philosophy or politics is misguided, if not dangerous. (shrink)

In the context of nationalizing, secularizing or Kemalist states, analyses of Islamist movements are often thrown back on notions of traditionalism or atavism. In a related vein, for certain social theorists writing on modernity, the uniqueness of the West is clarified through an imaginative [mis]interpretation of other cultures or civilizations. Too often, however, the apparent gains in Western self-insight reflect an ‘inability to constitute oneself without excluding the other’ (Cornelius Castoriadis). Ironically Castoriadis himself, in a project we might term an (...) ethnography of the West (see his writings on ecology, capitalism, rationality, contemporary culture, racism, Greek philosophy/history, and the environment) is prone to the same vice, especially in his identification of the West as the sole autonomous society. This article argues that in the shariainstitution of a legal autonomy, Islam and Islamism alike demonstrate an affinity with modernity as defined by Castoriadis. In the light of this Islamist autonomy, it concludes that Castoriadis’ vision of modernity as a struggle between opposed imaginaries of autonomy and rational mastery needs reformulating. (shrink)

Cornelius Castoriadis’ The Imaginary Institution of Society and Ernesto Laclau and Chantal Mouffe's Hegemony and Socialist Strategy are two cornerstones of contemporary political philosophy. Insufficient consideration has been given to the fact that both works show important theoretical coincidences in terms of structure and content. The first part of this article explores the possibility of reading Castoriadis’ work in post-foundational terms, following Oliver Marchart's approach. In addition, the respective political ontologies of Castoriadis and Laclau and Mouffe are presented as ‘ontologies (...) of signification’ in which the imaginary/discursive component is central. Finally, the contributions of the three authors to the emancipatory project through the notions of ‘autonomy’ (Castoriadis) and ‘radical democracy’ (Laclau and Mouffe) are considered, highlighting both their common features and their divergences. The latter had to do mainly with their antagonistic conceptions of political representation and its relation to democracy. (shrink)