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Παράθυρο στο χάος
Mucho antes de que se abra el debate acerca de "la crisis del arte contemporáneo", el autor, con una agudeza particular, había planteado la cuestión del sentido y del futuro de la creación artística y cultural. Su diagnóstico era sombrío. El desmoronamiento presente de la creación grava el pasado y el futuro en igual medida. Nada vino a invalidar ese diagnóstico. La crisis de la creación cultural en el mundo occidental no es más que una de las manifestaciones del desmoronamiento de la autoerrepresentación de la sociedad.
- GenresSociology
182 pages, Paperback
First published January 11, 2007
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About the author
Cornelius Castoriadis
174 books170 followersCornelius Castoriadis (Greek: Κορνήλιος Καστοριάδης) was a Greek philosopher, social critic, economist, psychoanalyst, author of The Imaginary Institution of Society, and co-founder of the Socialisme ou Barbarie group.
Edgar Morin proposed that Castoriadis' work will be remembered for its remarkable continuity and coherence as well as for its extraordinary breadth which was "encyclopaedic" in the original Greek sense, for it offered us a "paideia," or education, that brought full circle our cycle of otherwise compartmentalized knowledge in the arts and sciences. Castoriadis wrote essays on mathematics, physics, biology, anthropology, psychoanalysis, linguistics, society, economics, politics, philosophy, and art.
One of Castoriadis' many important contributions to social theory was the idea that social change involves radical discontinuities that cannot be understood in terms of any determinate causes or presented as a sequence of events. Change emerges through the social imaginary without determinations, but in order to be socially recognized must be instituted as revolution. Any knowledge of society and social change “can exist only by referring to, or by positing, singular entities…which figure and presentify social imaginary significations.”
Castoriadis used traditional terms as much as possible, though consistently redefining them. Further, some of his terminology changed throughout the later part of his career, with the terms gaining greater consistency but breaking from their traditional meaning (neologisms). When reading Castoriadis, it is helpful to understand what he means by the terms he uses, since he does not redefine the terms in every piece where he employs them.
Castoriadis has influenced European (especially continental) thought in important ways. His interventions in sociological and political theory have resulted in some of the most well-known writing to emerge from the continent (especially in the figure of Jürgen Habermas, who often can be seen to be writing against Castoriadis). Hans Joas published a number of articles in American journals in order to highlight the importance of Castoriadis' work to a North American sociological audience, and the enduring importance of Johann P. Arnason, both for his critical engagement with Castoriadis' thought, but also for his sustained efforts to introduce Castoriadis' thought to the English speaking public (especially during his editorship of the journal Thesis Eleven) must also be noted. In the last few years, there has been growing interest in Castoriadis’s thought, including the publication of two monographs authored by Arnason's former students: Jeff Klooger's Castoriadis: Psyche, Society, Autonomy (Brill), and Suzi Adams's Castoriadis's Ontology: Being and Creation (Fordham University Press).
Edgar Morin proposed that Castoriadis' work will be remembered for its remarkable continuity and coherence as well as for its extraordinary breadth which was "encyclopaedic" in the original Greek sense, for it offered us a "paideia," or education, that brought full circle our cycle of otherwise compartmentalized knowledge in the arts and sciences. Castoriadis wrote essays on mathematics, physics, biology, anthropology, psychoanalysis, linguistics, society, economics, politics, philosophy, and art.
One of Castoriadis' many important contributions to social theory was the idea that social change involves radical discontinuities that cannot be understood in terms of any determinate causes or presented as a sequence of events. Change emerges through the social imaginary without determinations, but in order to be socially recognized must be instituted as revolution. Any knowledge of society and social change “can exist only by referring to, or by positing, singular entities…which figure and presentify social imaginary significations.”
Castoriadis used traditional terms as much as possible, though consistently redefining them. Further, some of his terminology changed throughout the later part of his career, with the terms gaining greater consistency but breaking from their traditional meaning (neologisms). When reading Castoriadis, it is helpful to understand what he means by the terms he uses, since he does not redefine the terms in every piece where he employs them.
Castoriadis has influenced European (especially continental) thought in important ways. His interventions in sociological and political theory have resulted in some of the most well-known writing to emerge from the continent (especially in the figure of Jürgen Habermas, who often can be seen to be writing against Castoriadis). Hans Joas published a number of articles in American journals in order to highlight the importance of Castoriadis' work to a North American sociological audience, and the enduring importance of Johann P. Arnason, both for his critical engagement with Castoriadis' thought, but also for his sustained efforts to introduce Castoriadis' thought to the English speaking public (especially during his editorship of the journal Thesis Eleven) must also be noted. In the last few years, there has been growing interest in Castoriadis’s thought, including the publication of two monographs authored by Arnason's former students: Jeff Klooger's Castoriadis: Psyche, Society, Autonomy (Brill), and Suzi Adams's Castoriadis's Ontology: Being and Creation (Fordham University Press).
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Displaying 1 - 3 of 3 reviews
February 17, 2025
VENTANA AL CAOS (2007) Del filósofo griego Cornelius Castoriadis es un librazo que reúne una serie de intervenciones, entrevistas, reflexiones y grabaciones alrededor de los temas que lo preocupaban e interesaban en esa época. Los años que abarca son entre 1979 y 1992.
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El primero de los textos me partió la cabeza, quiero destacarlo porque me pareció muy interesante, mucho más que el que da nombre al libro. El texto en cuestión es "Transformación social y creación cultural" en el cual Castoriadis se pregunta y se responde a por qué ya para 1979 no se producen obras de arte con la relevancia que tuvieron las grandes obras que marcaron el rumbo de la humanidad. Para Castoriadis la respuesta es sencilla: la cultura tal cual la concebimos esta agonizando. Sí, no es muy alentador, pero en una reflexión lúcida y bastante pesimista Castoriadis arroja una reflexión crucial para entender su pensamiento: vivimos de las sobras, las ruinas, de un mundo que fue mejor, y nuestra perspectiva es alumbrar una época nueva o fenecer culturalmente y volvernos cada día más idiotas.
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En textos como "La música deja abolido el mundo" (1982) o "El escritor y la democracia" (1989) lo que también encontramos son reflexiones que cruzan la música y la política (Mozart con Lenin, Schumann con Platón) o también una reflexión sobre por qué tenemos esa necesidad de registrar con palabras este mundo que habitamos. Destaco también estos dos artículos entre los otros porque me parece interesante la posición de Castoriadis y el despliegue de su erudición a la hora de reflexionar sobre arte, cultura, función social, reproducción técnica...todo desde una perspectiva a veces criticada por cerrada, pero muy bien iluminada por el cultivo de una vida de estudios.
.
El primero de los textos me partió la cabeza, quiero destacarlo porque me pareció muy interesante, mucho más que el que da nombre al libro. El texto en cuestión es "Transformación social y creación cultural" en el cual Castoriadis se pregunta y se responde a por qué ya para 1979 no se producen obras de arte con la relevancia que tuvieron las grandes obras que marcaron el rumbo de la humanidad. Para Castoriadis la respuesta es sencilla: la cultura tal cual la concebimos esta agonizando. Sí, no es muy alentador, pero en una reflexión lúcida y bastante pesimista Castoriadis arroja una reflexión crucial para entender su pensamiento: vivimos de las sobras, las ruinas, de un mundo que fue mejor, y nuestra perspectiva es alumbrar una época nueva o fenecer culturalmente y volvernos cada día más idiotas.
.
En textos como "La música deja abolido el mundo" (1982) o "El escritor y la democracia" (1989) lo que también encontramos son reflexiones que cruzan la música y la política (Mozart con Lenin, Schumann con Platón) o también una reflexión sobre por qué tenemos esa necesidad de registrar con palabras este mundo que habitamos. Destaco también estos dos artículos entre los otros porque me parece interesante la posición de Castoriadis y el despliegue de su erudición a la hora de reflexionar sobre arte, cultura, función social, reproducción técnica...todo desde una perspectiva a veces criticada por cerrada, pero muy bien iluminada por el cultivo de una vida de estudios.
February 25, 2020
En las primeras 30 páginas ya sabia que lo re-leería muchas veces (aunque no estoy de acuerdo con el autor al 100% es más a veces siento que estoy completamente en contra de lo que expresa, pero se expresa tan bien que hay que leerle).
December 4, 2020
Zaubertrauer
Displaying 1 - 3 of 3 reviews