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urn:uuid:e1af2b0d-06a2-4c79-8b11-7a1e08e5f41e 03 15 9780993144981 00 EB E101 10 01 01 Modes of Knowing Resources from the Baroque 1 B01 John Law John Law is Emeritus Professor in Sociology at the Open University and Honorary Professor in Sociology in the Centre for Science Studies at Lancaster University. His publications have worked through empirical case studies in a range of areas including large technological projects, nature and culture, and postcolonial knowledge relations to develop STS theory and methods in material semiotics. His publications include After Method, Aircraft Stories, and Organising Modernity. 2 B01 Evelyn Ruppert Evelyn Ruppert is Professor of Sociology at Goldsmiths, University of London. She works on questions of method, data, and digital life, and is currently leading a project funded by an ERC Consolidator grant, ‘Peopling Europe: How Data make a People’ (ARITHMUS; 2014–19). Evelyn is the founder and editor-inchief of a SAGE open access journal, Big Data & Society. Her book, Being Digital Citizens (with Engin Isin) was published in April 2015. 01 eng 00 268 03 10 ART015090 10 SOC019000 10 SOC026000 01 06 03 00 How 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. 04 00 List of Figures 7 Contributors 11 Acknowledgements 15 ____ 1 · Modes of Knowing: Resources from the Baroque. John Law, 17 PART ONE: REFLECTION ON THE BAROQUE 2 · On Exceeding Baroque Excess: An Exploration through a Participatory Community Workshop. Mario Blaser, 59 3 · Fallacy of the Work, Truth of the Performance: What Makes Music Baroque: Historical Authenticity or Ontological Plurality? Antoine Hennion, 84 4 · Distributive Numbers: A Post-demographic Perspective on Probability. Adrian Mackenzie, 115 5 · A Baroque Sensibility for Big Data Visualisations. Evelyn Ruppert, 136 PART TWO: EXPERIMENTING WITH BAROQUE 6 · Baroque as Tension: Introducing Turmoil and Turbulence in the Academic Text. Mattijs van de Port, 165 7 · Innovation with Words and Visuals: A Baroque Sensibility. Helen Verran and Brit Ross Winthereik, 197 8 · London Stone Redux. Hugh Raffles, 224 9 · Clafoutis as a Composite: On Hanging Together Felicitously. Annemarie Mol, 242 Mattering Press 01 Mattering Press 04 01 20160725 02 WORLD 06 15 9780993144981 06 15 9780993144998 WORLD 09 Mattering Press 20 01