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Modes of Knowing: Resources from the Baroque John Law 17 MATTERING PRESS Mattering Press is an academic-led Open Access publisher that operates on a not-for-profit basis as a UK registered charity. It is committed to developing new publishing models that can widen the constituency of academic knowledge and provide authors with significant levels of support and feedback. All books are available to download for free or to purchase as hard copies. More at matteringpress.org. The Press’s work has been supported by: Centre for Invention and Social Process (Goldsmiths, University of London), Centre for Mobilities Research (Lancaster University), European Association for the Study of Science and Technology, Hybrid Publishing Lab, infostreams, Institute for Social Futures (Lancaster University), Open Humanities Press, and Tetragon. Making this book Mattering Press is keen to render more visible the unseen processes that go into the produc- tion of books. We would like to thank Endre Dányi, who acted as the Press’s coordinating editor for this book, the reviewers Anna Tsing and Margaret Wiener, Jenn Tomomitsu for the copy-editing, Tetragon for the production and typesetting, Sarah Terry for the proof- reading, and Ed Akerboom at infostreams for formatting the html versions of this book. Cover In 1693, the French Académie des Sciences introduced a new, supposedly more rational system for categorising letterforms and constructing them according to an underlying grid. This was employed in the design of Romain du Roi, a new typeface for Louis XIV’s royal printer. The grid-engraved plates, on which the ‘B’ on the cover is based, were produced to demonstrate the typeface’s geometrical construction at a time when letterforms were generally derived from stylised handwriting. The tight grid, however, would have been of little use to the type cutter having to sculpt type on a minuscule scale. So, it is said that the skilled hand of Philippe Grandjean, who spent half a century honing Romain du Roi, has altered and arguably improved its now only partially grid-determined shape. Type cutters already knew what Science and Technology Studies scholars have since established: that carving out scientifically precise inscriptions requires situated work, which is why letter- shapes are not easily captured solely by the material-semiotic net of a grid. Knowing this does not require a critical analyst. The committee announced publicly that ‘experience has shown us that it is in the harmony of parts that an agreeable letter consists, and that often enough it depends on an indefinable quality… that can be felt rather than defined’. The letter grid remains vibrant, involving different modes of knowing, some of which defy definition. This is what secures the place of the ‘B’ on the cover as a proto-baroque object, in the sense of this book. The cover design, and this cover note, draw inspiration mainly from Robin Kinross’s ‘Modern typography: an essay in critical history’ (1992, Hyphen Press). Mattering Press also thanks Łukasz Dziedzic and tyPoland for Lato, available under the free, libre and open source Open Font License. Cover art by Julien McHardy MODES OF KNOWING Resources from the Baroque edited by john law and evelyn ruppert First edition published by Mattering Press, Manchester. Copyright © John Law and Evelyn Ruppert; chapters by respective authors, 2016. Cover art © Julien McHardy, 2016. Text design, typesetting and eBook by Tetragon, London Freely available online at www.matteringpress.org/books/modes-of-knowing This is an open access book, and the text and cover art are licensed under a Creative Commons By Attribution Non-Commercial Share Alike licence. Under this licence, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy their work so long as the material is not used for commercial purposes and the authors and source are cited and resulting derivative works are licensed under the same or similar licence. No permission is required from the authors or the publisher. Statutory fair use and other rights are in no way affected by the above. Read more about the licence at creativecommons.org/licenses/by-nc-sa/4.0/ ISBN: 978-0-9931449-8-1 (pbk) ISBN: 978-0-9931449-9-8 (ebk) Mattering Press has made every effort to contact copyright holders and will be glad to rectify, in future editions, any errors or omissions brought to our notice. CONTENTS 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 the Baroque 6 · Baroque as Tension: Introducing Turmoil and Turbulence in the Academic Text Mattijs van de Port 165 Modes of Knowing 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 6 LIST OF FIGURES illustrations Fig. 1.1 Bernini, Ecstasy of Santa Teresa d’Ávila 23 Fig. 1.2 Bernini, Ecstasy of Santa Teresa d’Ávila, Angel (detail) 25 Fig. 1.3 Bernini, Ecstasy of Santa Teresa d’Ávila, Spear (detail) 25 Fig. 1.4 Bernini, Bust of Louis XIV 27 Fig. 1.5 Bernini, Ludovica Albertoni on her Deathbed 27 Fig. 1.6 Caravaggio, Doubting Thomas 28 Fig. 1.7 Bernini, Cappella Cornaro in Santa Maria della Vittoria, Rome 30 Fig. 1.8 Bernini, Ecstasy of Santa Teresa d’Ávila 31 Fig. 1.9 Bernini, Cappella Cornaro in Santa Maria della Vittoria (detail) 32 Fig. 1.10 Bernini, Fontana dei Quattro Fiumi, Rome 33 Fig. 1.11 Bernini, Ecstasy of Santa Teresa d’Ávila 35 Fig. 1.12 Bernini, Cappella Cornaro in Santa Maria della Vittoria (detail) 37 Fig. 1.13 Ceiling by Andra Pozzo, Sant’Ignazio, Rome 38 Fig. 3.1 Bach, horrified on the Wendy Carlos Synthesised-Bach disc 85 Fig. 3.2 Covers of Erato LP, including Albinoni’s Adagio by Jean- François Paillard 87 Fig. 3.3 Front and back covers of the book, in French and German. See, in particular, the more recent 2012 version from Buchet-Chastel which mentions ‘translated from German’ 90 7 Modes of Knowing Fig. 3.4 Sleeve of Menuhin’s recording: no mention that the score was not written by Mozart 92 Fig. 3.5 The first two images are fly-leaves of the score, published before and after Casadesus’ confession, without any change. The third is from a website which still sells it as a piece by Mozart, mentioning only that it was ‘edited’ (herausgegeben) by Casadesus 94 Fig. 3.6 Gounod’s Ave Maria on a 33 potpourri of Ave Maria (by Bach/Gounod), and one from the Marriage Airs (by C. Gounod alone) 96 Fig. 3.7 The first page of the original sheet music by Gounod, and a modern score 97 Fig. 3.8 Photograph of a ‘Baroque Music’ section from an outlet like Fnac or Virgin 100 Fig. 3.9 The cover of the sheet music forLes Indes galantes 101 Fig. 3.10 Covers of Les Indes galantes by Paillard at Erato, and by Malgoire at CBS 103 Fig. 4.1 Bivariate normal distribution produced by Gibbs sampling 119 Fig. 4.2 A variety of distributions 124 Fig. 4.3 Simulated distributions 127 Fig. 4.4 Metropolis-Hastings algorithm-generated normal distribution 128 Fig. 5.1 Network diagram by Martin Hawksey (2011) 149 Fig. 5.2 (x)trees by Agnes Chavez and Alessandro Saccoia (2012) 154 Fig. 6.1 Miracle Room in Candeias, Bahia 172 Fig. 6.2 Lapinhas 174 Fig. 6.3 Igreja de São Francisco, Salvador da Bahia 177 Fig. 6.4 Igreja da Matriz, Santo Amaro da Purificação, Bahia 179 Fig. 6.5 Gesú, Rome 179 Fig. 6.6 Igreja de São Domingos de Gusmão, Bahia 190 Fig. 7.1 Diagram of Innovation, reproduced from the draft report presented at the strategy meeting 201 Fig. 7.2 A diagram depicting funding sources for the various stages of the innovation process proposed in Fig. 7.1 204 8 List of figures Fig. 7.3 A baldachin or throne canopy woven in a tapestry workshop established with Flemish craftsmen in Helsingør, Denmark, in the late sixteenth century 216 Fig. 7.4 Detail of the central panel of the baldachin 217 Fig. 8.1 London Stone, 111 Cannon Street, exterior view 224 Fig. 8.2 City of London street map 226 Fig. 8.3 Copperplate Map, c. 1559, Copyright Museum of London 233 Fig. 8.4 Gaspare Landi, ‘Ulisse e Diomede rubano il Palladio’ (1783), Courtesy Galleria Nazionale di Parma 234 Fig. 8.5 London Stone, 111 Cannon Street, interior view 236 Fig. 8.6 John Aubrey, Monumenta Britannica, c. 1666 237 Fig. 8.7 E.O. Gordon, ‘Plan of the London Mounds (By Stanford)’, Courtesy The Covenant Publishing Company, Ltd. 238 equations Equ. 4.1 Gaussian probability density function 125 9 CONTRIBUTORS Mario BLaser is the Canada Research Chair in Aboriginal Studies at Memorial University of Newfoundland. He is the author of Storytelling Globalization from the Paraguayan Chaco and Beyond (Duke University Press, 2010), and co-editor of Indigenous Peoples and Autonomy: Insights for the Global Age (University of British Columbia Press, 2010), and In the Way of Development: Indigenous Peoples, Life Projects and Globalization (Zed, 2004). His current research examines how heterogeneous life projects fare under the shadow of the Anthropocene.
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