Thinking the origin in a radical way amounts to thinking the movement by which what does not proceed from something else - what does not have its origin elsewhere - comes to itself, has within itself precisely the ontological energy to detach itself from itself and to exist as origin. In its primordial sense, then, origin is self-origin: it is, becomes, and is known starting from itself. This self-presupposition of the origin constitutes the very advent of Being, its unmotivated and (...) permanent upsurge, which has to be thought in terms of creation. Human creation responds to this ontological genesis, to its indeterminacy and to its incompletion - and, consequently, to its temporality. At once individual and collective - that is, both psychical and social - human creation alone can give meaning to ontological genesis. (shrink)

This article critically considers Castoriadis’ central concept of creation ex nihilo. It does so in two ways. It first draws on recent research to suggest that the historical inauguration of the project of autonomy in ancient Greece - in both its political and philosophical aspects - was more complex and contextually anchored than Castoriadis acknowledges: it did not surge forth out of nothing. Second, it considers the idea of creation from a theoretical perspective. Here the idea of creation as contextual (...) rather than absolute is offered. Within this suggested qualification, two lines of discussion - drawn from the hermeneutical and phenomenological traditions - are broached. (shrink)

Castoriadis's interpretation of Freud centres on the idea of the radical imagination; the introduction of this concept into psychoanalysis has consequences which affect all levels of the Freudian project. As Castoriadis sees it, Freud's foundational insights are not in dispute, but the reference to the imagination makes it possible to articulate them in new ways and build new bridges between psychoanalysis and social theory. In its capacity as a source of representation and meaning, the radical imagination is - together with (...) the drives - a `co-foundation of the psyche'; further reflection along those lines leads Castoriadis to radicalise the concept of the unconscious and introduce the notion of the primal monad, but at the same time, his revised concept of sublimation links the psyche to the social-historical world. In all these regards, there are significant affinities between Castoriadis's work and the post-Lacanian currents in French psychoanalysis. (shrink)

Contemporary Anglo-American political thought is witnessing a revival of theories of deliberative democracy. The principle of public argumentation, according to which the legitimation of a general norm is predicated upon a rational and open dialog among all those affected by this norm, constitutes their common underlying assumption. This assumption is itself grounded in the metatheoretical claim that arguing is the defining activity of a demos of free and equal members. Habermas' well-known formulation of communicative or discursive democracy represents one of (...) the earliest, most discussed, and indeed most emblematic versions of the existing models of deliberative democracy. It is here, I believe, that Castoriadis' political theory can prove exceptionally important as it provides a starting point and a solid ground for articulating one of the most incisive and convincing critiques of the limits and flaws of communicative democracy. Although Castoriadis himself never directly discussed deliberative democracy as such, we can try to approximate from various parts of his work what he might have thought about, especially when it comes to Habermas' model. (shrink)

This paper examines the origin of phenomenology, and delineates several of its significant developments and refractions, in order to arrive at a renewed conception of phenomenological theory and practice: a future phenomenology that can, it is argued, articulate productively with certain grounds opened up by psychoanalysis. Indo-Pacific Journal of Phenomenology , Volume 8, Edition 1 May 2008.

This article criticizes Bourdieu's and Giddens's overintellectualizing accounts of human activity on the basis of Wittgenstein's insights into practical under standing. Part 1 describes these two theorists' conceptions of a homology between the organization of practices (spatial-temporal manifolds of action) and the governance of individual actions. Part 2 draws on Wittgenstein's discussions of linguistic definition and following a rule to criticize these conceptions for ascribing content to the practical understanding they claim governs action. Part 3 then suggests an alternative, Wittgensteinian (...) account of the homology between practices and actions that avoids this pitfall. (shrink)

Archaeology is currently bound to a series of metaphysical principles, one of which claims that reality is composed of a series of discrete objects. These discrete objects are fundamental metaphysical entities in archaeological science and posthumanist/new Materialist approaches and can be posited, assembled, counted, and consequently included in quantitative models (e.g. Big Data, Bayesian models) or network models (e.g. Actor-Network Theory). The work by Sørensen and Marila shows that archaeological reality is not that discrete, that some objects cannot be easily (...) identified, and that perhaps reality is not always necessarily composed of discrete objects. The aim of this article is to take Sørensen and Marila’s arguments to their ultimate logical consequences: most archaeological theory today operates under the illusion of a general metaphysics. This illusion dictates not only that all of reality is composed of discrete objects, but that since reality manifests in a certain way, there has to be a methodology that accurately represents that reality. A brief discussion on the notion of “conjecture,” as conceived in certain historical theories, is also presented. (shrink)

Cornelius Castoriadis made a significant and distinctive contribution to the development of the notion of the dialectic of control. In the first instance, Castoriadis formulated an important reconceptualization and restatement of the Marxist conception of the central contradiction of capitalism. He argued that capitalism depended on the creativity of workers while excluding them from effective control. Similarly, Castoriadis sought to extend the Marxist analysis of those tendencies present within the structuration of the labour process that may prefigure a socialist reorganization (...) of production. Castoriadis’s analyses of capitalism during the phase of his involvement with Socialism or Barbarism are likewise informed by his assessment of state socialist regimes. In particular, this assessment provided important insights into the modalities of control in modern society and the complications of transcending forms of institutional domination in modernity. It will be argued that some of the distinctive intentions of Castoriadis’s later elucidation of the social imaginary can be traced to his interpretation of bureaucratic capitalism and that this is evident in his subsequent accounts of the capitalist imaginary. In his later theory, Castoriadis interprets the problem of the dialectic of control in terms of the relationship between instituting and instituted society. Castoriadis’s analysis of capitalism during the period of Socialism or Barbarism will be situated in the wider debates over capitalism at that time. Similarly, Castoriadis’s departure from some of the philosophical sources that influenced the development of the notion of the dialectic of control will be explored. (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)

Social work is a contested tradition, torn between the demands of social governance and autonomy. Today, this struggle is reflected in the division between the dominant, neoliberal agenda of service provision and the resistance offered by various critical perspectives employed by disparate groups of practitioners serving diverse communities. Critical social work challenges oppressive conditions and discourses, in addition to addressing their consequences in individuals’ lives. However, very few recent critical theorists informing critical social work have advocated revolution. A challenging exception (...) can be found in the work of Cornelius Castoriadis (1922–97), whose explication of ontological underdetermination and creation evades the pitfalls of both structural determinism and post-structural relativism, enabling an understanding of society as the contested creation of collective imaginaries in action and a politics of radical transformation. On this basis, we argue that Castoriadis’s radical-democratic revisioning of revolutionary praxis can help in reimagining critical social work’s emancipatory potential. (shrink)

This study is inspired by the current debate between the traditional anarchist views, the post-left and post-anarchist understandings of anarchy. It claims that the depictions of anarchy by both sides are primarily negative and develops an original and positive definition of anarchy. In particular, it argues that anarchy is the concept that refers to a way of being with the cosmos and thus instead of being posterior to the political it is in fact prior to it. This is to say, (...) it is neither political nor ontological but can only be seen as metaphysical in the sense of what cannot be spoken of in terms of a primary cause or a founding principle. Methodologically, it follows Martin Heidegger’s understanding of anarchy as an-arché and his idea to look into pre-Socratic, as in non-teleological thought, to define anarchy. But it then adopts Emmanuel Levinas’ approach that anarchy refers to what escapes the thesis- antithesis dialectic. It draws mainly upon Ancient Greek philosophy and literature as this is where anarchy appears as a term for the first time. In particular, it criticizes the Aristotelian ontological and political thought, while it is mainly assisted by the thought of Democritus as the only pre-Socratic whose work escapes ontological thinking. Moreover, the development of a positive definition of anarchy ultimately leads this study to defend the communal nature of traditional anarchism while rejecting its association with the political. (shrink)

This is the first English translation of a remarkable two-part lecture given by Cornelius Castoriadis at the École des hautes etudes en sciences sociales in January 1992. The lecture features within a series on social transformation and the task of creative forms of labour. In this installment Castoriadis explores the significance of art through a creative reading of Aristotle's famous definition of tragedy in the Poetics. He rejects Aristotle's dependence on the mimetic tradition in search for a vision of art (...) as the unveiling of the creative resources that lie within the human being. Yet he retains Aristotle's vivid depiction of art as a form of production that is at once cognitive, emotive and social. Art, for Castoriadis, affects a transformation on the level of imagination that opens us anew to the fundamental questions of human being and doing. Through his extensive knowledge of western forms of artistic production Castoriadis draws lucid connections between Aristotle, Shakespeare, Kant, Hegel, Greek sculpture, renaissance painting, modern literature and folk music to explore the work of art as a ‘window into chaos’, a creative production that gives form to what cannot be formed: the ground of creativity at the heart of the imagination. (shrink)

The following article defines Castoriadis’ concepts of the radical imagination and the social imaginary as a platform for a discussion of some motifs important to Castoriadis: the nature of human subjectivity, the nature of ‘reality’, the role and scope of the human imagination, the importance of freedom, the question of whether or not we are free (i.e. how sick/diminished/vulnerable is the second epoch of autonomy that broke open in/as modernity), and the roles of science, politics and philosophy in human social (...) life. The central work on the radical imagination and the social imaginary is of course more than an arbitrary jumping-off point: this paper argues that understanding these concepts is vital if one is to understand the core elements of Castoriadis’ writings and his broader emancipatory project. (shrink)

Beginning with a consideration of Castoriadis’s elucidation of autonomous thinking, both by way of the contrast he draws with the inherited tradition and in relation to his account of the demands of the political project of autonomy, we compare Plato’s story of the Cave to suggest that Castoriadis overestimates the power of questioning and of creating new social forms. We then argue that Castoriadis and Plato emerge as two extremes: whereas the first favours the power of questioning to the exclusion (...) of receiving value, the second privileges the power of receiving over creation and creativity. (shrink)

In Merleau-Ponty's work there is an intimate and reciprocal involvement of socio-cultural and philosophical concerns, more profound and central than Merleau-Ponty himself acknowledged. This gives rise to productive tensions over the course of his works, between the paradigm of perception and an emerging, more culturalist paradigm: language, history, and culture penetrate to the heart of perception, and at the same time the historicity at the heart of perception offers us new ways of understanding the sense and dynamics of the social, (...) cultural and historical fields. The outcome is an outline of an ontology which allows us to think of both nature and culture in new ways and in new relationships. Particularly fruitful is Merleau-Ponty's development of the paradigms of perception and of the life world in the concept of the World, emerging as an original ontological figure, and offering a way of thinking about meaning from our first opening upon it to the cultural world horizon and beyond. (shrink)

This article presents the relationship between the notions of equality and freedom assumed by Castoriadis as necessary conditions for social autonomy project. The chiasmatic figure that Castoriadis establishes between equality and freedom will be approached with the aim of clarifying whether both notions should be addressed jointly or, on the contrary, they can be considered separately for an autonomy project as well. Once exposed the difficulties that appear in the representation that establishes a correspondence between both terms, attention will be (...) directed to the need of the figure of law as a legal element to guarantee the privileges that are granted to the members of the community in the Autonomy project that is equal participation. To conclude, the article will be directed to a silence in the work of Castoriadis; who can be considered a subject in the autonomy project, that is, who should participate in the formation of the new institutions. (shrink)