Throughout his life, Cornelius Castoriadis displayed an unwavering commitment to democracy. He militated for it and developed concepts to elucidate its significance for human freedom. Yet are the concepts Castoriadis developed enough to explain the depth of his aforementioned commitment? In this essay, I try to imagine how Castoriadis would have addressed Roberto Michels’s ‘iron law of oligarchy’ thesis. I find that Castoriadis’s concepts can help us question the normative value Michels assigned to oligarchy, but they fail to explain how (...) he could have remained so committed to democracy when oligarchy seems ineluctable. Such a commitment, I argue, ultimately rests on an existential decision, the roots of which cannot be rationally explained. (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)

Der vorliegende Beitrag liefert eine Lektüre von Cornelius Castoriadis’ Denken sozialer Autonomie im Kontext seiner Gesellschaftstheorie. In Auseinandersetzung mit Castoriadis werden zunächst die wesentliche Kontingenz, Prozessualität und Dynamik gesellschaftlicher Relationen herausgestellt. Dabei wird gezeigt, inwiefern die Kontingenz gesellschaftlicher Prozesse und die Forderung nach Autonomie in ihrer realpolitischen Ausbuchstabierung in ein Spannungsverhältnis geraten, das bei Castoriadis bisweilen vorschnell zugunsten eines spezifischen Autonomieverständnisses aufgelöst wird. Der zentrale Fokus des Beitrags liegt auf Castoriadis’ Unterscheidung autonomer und heteronomer Gesellschaften im Hinblick auf die Frage (...) nach gerechten Institutionen. Im Anschluss an eine Rekonstruktion des argumentativen und begrifflichen Grundgerüsts von Castoriadis’ Gesellschaftskonzeption werden unter Bezug auf Emmanuel Levinas’ Alteritätsdenken einige kritische Rückfragen an Castoriadis’ normatives Autonomiekonzept gestellt. (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)

The work of Herbert Marcuse, unlike that of certain of his colleagues at the Institut für Sozialforschung, is most often maligned as being excessively positive and identitarian. His work on Freud, for example, is criticized for being grounded in a crude biological determinism which points towards an ultimate reconciliation of both psychic and social conflict. This essay will attempt to counter such readings by critically juxtaposing Marcuse’s concept of non-repressive sublimation with Cornelius Castoriadis’s understanding of psychic socialization. It will be (...) suggested that the affinities between Marcuse and Castoriadis’s appropriations of Freudian metapsychology reveals the degree to which the former can be read as a radical democratic thinker affirming the values of autonomy and creativity. This reading demonstrates that Marcuse has much to contribute to contemporary debates on the role of the aesthetic and the sensuous in democratic theory. (shrink)

In Luc Boltanski’s On Critique, various dimensions of democracy as a political regime and form of society are evident, but never explicitly conceptualized. There is, however, something to be gained by making the democratic dimension in Boltanski’s work more explicit: the normative and political standpoints become clearer, but also the real-life possibilities for and significance of critique in contemporary times. The paper will first discuss the (latent) democratic theory in On Critique by focusing on the differentiation between reality and the (...) world and the conceptualization of institutions. In a second step, I will relate a rather rudimentary democratic theory to the radical-democratic dimensions of the work of Claude Lefort and Cornelius Castoriadis in order to make its contours more explicit. In a third step, I will discuss a tension that exists between the radical-democratic dimension in On Critique and Boltanski’s portrayal of contemporary capitalist-democratic societies as largely immune to critique. (shrink)