Modes of Knowing: Resources from the Baroque

 

1.  Modes of Knowing: Resources from the Baroque
John Law 

Part One: Reflection on the Baroque

2. On Exceeding Baroque Excess: An Exploration through a Participatory Community Workshop
Mario Blaser 

3. Fallacy of the Work, Truth of the Performance: What Makes Music Baroque: Historical Authenticity or Ontological Plurality?
Antoine Hennion

4.  Distributive Numbers: A Post-demographic Perspective on Probability
Adrian Mackenzie

5.  A Baroque Sensibility for Big Data Visualisations
Evelyn Ruppert 

Part Two: Experimenting with the Baroque

6. Baroque as Tension: Introducing Turmoil and Turbulence in the Academic Text
Mattijs van de Port

7.  Innovation with Words and Visuals: A Baroque Sensibility
Helen Verran and Brit Ross Winthereik 

8. London Stone Redux
Hugh Raffles 

9.  Clafoutis as a Composite: On Hanging Together Felicitously
Annemarie Mol 

pdf @ https://www.matteringpress.org/books/modes-of-knowing

4 responses to “Modes of Knowing: Resources from the Baroque

  1. Really cool shit and part of the lapidary curatorial attention to the baroque in any context here at CynthNull. One suspects the a vicarious MFA in short story construction guides these posts. Only familiar with first and last names on the pdf John Law and Annemarie Mol. Viddyied Dr. Strange — the only superhero with a not so formula fascist origin story — the other day and struck by how baroque the visual reference appeared — the multitude of references to Escher, Vedic culture, Virology, etc. — all baroque in their inward folding. Starting in medias res with Bernini and the conceptualization of detail. Hope its discusses Vision of Constantin (the Horse). So will see if this post enhances the looking inward at the particles view of life

  2. Thank you for being so solicitous.

    Hanion’s music piece was not what I had hoped.

    Blaser’s multi-part adoration of Bernini advances a scalar view of subjectivity which I find cogent with the work of both Sloterdijk and world’s coolest law professor Andreass Philippopoulos-Mihalopoulos. Then, like Feurbach inverting Hegel, it tells you in a trendy spatial turn that binarys are not what they seem:

    “So this is a second stylistic technique of baroque artwork. Its artifices elide the division between inside and outside. They resist the perspectival picture framings of the Renaissance and include the subject. You never stand outside and watch. If you engage with them at all, you are drawn inside. You cannot do what feminist Donna Haraway calls ‘the God trick’ of pretending that you can see it all from nowhere in particular. Instead you are entangled. You are asked to; you’re required to submit and to participate.”

    I would take some issue with the quote and argue that the baroque can gaze upon itself in adoration in terms of the multi-dimensional it evokes. Art as vibrant and embodied consciousness should be able to do the “god trick” because it ignores the limitations and time and space. The art is not Bernini’s sculpture, but Bernini’s idea sometimes embodied in the sculpture. This idea can contemplate itself, outside of itself as, say, St. Theresa gazing from her heaven or other special place, and interact with other consciousness. Reductivelly, can one engage in a dialogue with art? If you are alive, you can. I know this suggests all sort of Walter Benjamin/Jane Bennett/OOO magickal thinkin’ but there you go.

    Will get back to to this. Must walk the dog.

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