=LDR  04167nam  22003972  4500
=001  e1af2b0d-06a2-4c79-8b11-7a1e08e5f41e
=006  m\\\\\o\\d\\\\\\\\
=007  cr\\n\\\\\\\\\
=008  250514t20162016\\\\\\\\ob\\\\000\0\eng\d
=020  \\$z9780993144981$q(Paperback)
=020  \\$a9780993144998$q(PDF)
=024  7\$a10.28938/9780993144981$2doi
=040  \\$aUkCbTOM$beng$elocal
=072   7$aART015090$2bisacsh
=072   7$aSOC019000$2bisacsh
=072   7$aSOC026000$2bisacsh
=245  00$aModes of Knowing :$bResources from the Baroque /$cedited by John Law, Evelyn Ruppert.
=264  \1$aManchester, UK :$bMattering Press,$c2016.
=264  \4$c©2016
=300  \\$a1 online resource (268 pages): $b46 illustrations.
=336  \\$atext$btxt$2rdacontent
=337  \\$acomputer$bc$2rdamedia
=338  \\$aonline resource$bcr$2rdacarrier
=500  \\$aAvailable through Mattering Press.
=505  0\$aList of Figures 7Contributors 11Acknowledgements 15____1 · Modes of Knowing: Resources from the Baroque. John Law, 17PART ONE: REFLECTION ON THE BAROQUE2 · On Exceeding Baroque Excess: An Exploration through a Participatory Community Workshop. Mario Blaser, 593 · Fallacy of the Work, Truth of the Performance: What Makes Music Baroque: Historical Authenticity or Ontological Plurality? Antoine Hennion, 844 · Distributive Numbers: A Post-demographic Perspective on Probability. Adrian Mackenzie, 1155 · A Baroque Sensibility for Big Data Visualisations. Evelyn Ruppert, 136PART TWO: EXPERIMENTING WITH BAROQUE6 · Baroque as Tension: Introducing Turmoil and Turbulence in the Academic Text. Mattijs van de Port, 1657 · Innovation with Words and Visuals: A Baroque Sensibility. Helen Verran and Brit Ross Winthereik, 1978 · London Stone Redux. Hugh Raffles, 2249 · Clafoutis as a Composite: On Hanging Together Felicitously. Annemarie Mol, 242
=506  0\$aOpen Access$fUnrestricted online access$2star
=520  \\$aHow might we think differently? This book is an attempt to respond to this question. Its contributors are all interested in non-standard modes of knowing. They are all more or less uneasy with the restrictions or the agendas implied by academic modes of knowing, and they have chosen to do this by working with, through, or against one important Western alternative — that of the baroque.Why the baroque? One answer is that the baroque made space for and fostered many forms of otherness. It involved knowing things differently, extravagantly, excessively, and in materially heterogeneous ways, and it apprehended that which is other and could not be caught in a cognitive or symbolic net. It also involved knowing in ways that did not gather into a single point and knew itself to be performative. As part of a great Western division between rationalist and non-rationalist modes of knowing, the baroque is therefore a possible resource for creating ways of knowing differently — a storehouse of possible alternative techniques. To say this is not to say that it is the right mode of knowing. The book’s authors do not seek to create a ‘baroque social science’ whatever that might be, but instead work in a range of ways to explore how drawing on the ‘resources of the baroque’ can help us to think differently.
=538  \\$aMode of access: World Wide Web.
=540  \\$aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). For more detailed information consult the publisher's website.$uhttps://creativecommons.org/licenses/by-nc-sa/4.0/
=588  0\$aMetadata licensed under CC0 Public Domain Dedication.
=700  1\$aLaw, John,$eeditor.$uThe Open University.
=700  1\$aRuppert, Evelyn,$eeditor.$uGoldsmiths University of London.$0(orcid)0000000177811491$1https://orcid.org/0000-0001-7781-1491
=710  2\$aMattering Press,$epublisher.
=856  40$uhttps://doi.org/10.28938/9780993144981$zConnect to e-book
=856  42$uhttps://www.matteringpress.org/wp-content/uploads/2018/04/Modes_of_knowing_hr.jpg$zConnect to cover image
=856  42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License