The Baroque as Empirical Sensibility:
Workaround: In current version of Panels 3.8, it seems this body field needs to be populated in order for title above to appear. This note is hidden by custom CSS style. Jack Latimer.
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Monday, June 13, 2011 - 14:00 - Wednesday, June 15, 2011 - 12:30Kanaris Theatre-Manchester Museum
The baroque may be understood as a set of styles in architecture, music and the fine arts associated with the seventeenth and eighteenth century. It may be understood as a complaint about features of that large and diverse body of work. Alternatively, it may be understood as a set of procedures or sensibilities that refuses representation and seeks to know, appreciate, trouble, and/or redeem the world allegorically through the fractured and endlessly recombined play of separating and joining (Hills: 2007).
Informed by this last concern – the baroque as an empirical sensibility – this workshop will use empirical examples and case studies to explore what this might mean for practical research in the social sciences and the humanities.
Thus though some participants will have written on the baroque, or used it as a trope in their own thinking, many will not have done so. To be explicit, this means we are not necessarily looking for expertise on the historical baroque, or indeed on the baroque as philosophical tendency. We are looking for empirically-informed thinking that reflects what we are calling a ‘baroque sensibility’.
Workshop details
The workshop is by invitation, and will be held
- at The Kanaris Lecture Theatre, Manchester Museum, University of Manchester, Oxford Road, Manchester M13 PL
- from June 13th (14.00) to June 15th (12.30) 2011.
- The academic contact person is John Law (j.law@open.ac.uk); and for practical arrangements, Stacey Vigars (stacey.vigars@manchester.ac.uk).
Workshop Participant Web Page
Papers and other information for workshop participants (sorry, this page is password protected)
References
Bal, Mieke (1991), Reading Rembrandt: Beyond the Word-Image Opposition, Cambridge: Cambridge University Press.
Benjamin, Walter (1992), Illuminations, translated by Harry Zohn, London: Fontana.
Candea, Mattei (2010), The Social after Gabriel Tarde: Debates and Assessments, London: Routledge.
Deleuze, Gilles (1993), The Fold: Leibniz and the Baroque, London: The Athlone Press.
Foucault, Michel (1970), The Order of Things: an Archaeology of the Human Sciences, London: Tavistock.
Hills, Helen (2007), 'The Baroque: Beads in a Rosary or Folds in Time', Fabrications: The Journal of the Society of Architectural Historians, Australia and New Zealand, 17: (2), 48-71.
Kwa, Chunglin (2002), 'Romantic and Baroque Conceptions of Complex Wholes in the Sciences', pages 23-52 in John Law and Annemarie Mol (eds), Complexities: Social Studies of Knowledge Practices, Durham, N.Ca and London: Duke University Press.
Latour, Bruno (1999), 'Pourquoi Viens-tu Si Tarde?', La Recherche, (45).
Law, John (2002), 'On Hidden Heterogeneities: Complexity, Formalism and Aircraft Design', pages 116-141 in John Law and Annemarie Mol (eds), Complexities: Social Studies of Knowledge Practices, Durham, North Carolina: Duke University Press.
Leibniz, Gottfried Wilhelm (1973), 'Monadology', pages 179-194 in Philosophical Writings, London: J.M.Dent.
Stengers, Isabelle (1997), Power and Invention: Situating Science, Minneapolis and London: University of Minnesota Press.
Tarde, Gabriel de (2009), Social Laws: An Outline of Sociology, Charleston: BiblioBazaar.
Whitehead, Alfred North (1978), Process and Reality, Free Press: New York.
More information
If you would like more information about this then please contact the CRESC Secretary, Stacey Vigars at stacey.vigars@manchester.ac.uk
