In this wide-ranging and probing book Erin Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture. The minor gesture, although it may pass almost unperceived, transforms the field of relations. More than a chance variation, less than a volition, it requires rethinking common assumptions about human agency and political action. To embrace the minor gesture's power to fashion relations, its capacity to open new modes of experience and manners of expression, is to (...) challenge the ways in which the neurotypical image of the human devalues alternative ways of being moved by and moving through the world—in particular what Manning terms "autistic perception." Drawing on Deleuze and Guattari's schizoanalysis and Whitehead's speculative pragmatism, Manning's far-reaching analyses range from fashion to depression to the writings of autistics, in each case affirming the neurodiversity of the minor and the alternative politics it gestures toward. (shrink)

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

With _Relationscapes_, Erin Manning offers a new philosophy of movement challenging the idea that movement is simple displacement in space, knowable only in terms of the actual. Exploring the relation between sensation and thought through the prisms of dance, cinema, art, and new media, Manning argues for the intensity of movement. From this idea of intensity--the incipiency at the heart of movement--Manning develops the concept of preacceleration, which makes palpable how movement creates relational intervals out of which displacements take form. (...) Discussing her theory of incipient movement in terms of dance and relational movement, Manning describes choreographic practices that work to develop with a body in movement rather than simply stabilizing that body into patterns of displacement. She examines the movement-images of Leni Riefenstahl, Étienne-Jules Marey, and Norman McLaren, and explores the dot-paintings of contemporary Australian Aboriginal artists. Turning to language, Manning proposes a theory of prearticulation claiming that language's affective force depends on a concept of thought in motion. _Relationscapes_ takes a "Whiteheadian perspective," recognizing Whitehead's importance and his influence on process philosophers of the late twentieth century--Deleuze and Guattari in particular. It will be of special interest to scholars in new media, philosophy, dance studies, film theory, and art history. (shrink)

Prelude -- What moves as a body returns as a movement of thought -- Introduction: Events of relation : concepts in the making -- Incipient action : the dance of the not-yet -- The elasticity of the almost -- A mover's guide to standing still -- Taking the next step -- Dancing the technogenetic body -- Perceptions in folding -- Grace taking form : Marey's movement machines -- Animation's dance -- From biopolitics to the biogram, or, how Leni Riefenstahl moves (...) through fascism -- Of force fields and rhythm contours -- Relationscapes : how contemporary Aboriginal art moves beyond the map -- Constituting facts : Dorothy Napangardi dances the dreaming -- Cornering a beginning -- Conclusion: Propositions for thought in motion. (shrink)

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In _Always More Than One_, the philosopher, visual artist, and dancer Erin Manning explores the concept of the "more than human" in the context of movement, perception, and experience. Working from Whitehead's process philosophy and Simondon's theory of individuation, she extends the concepts of movement and relation developed in her earlier work toward the notion of "choreographic thinking." Here, she uses choreographic thinking to explore a mode of perception prior to the settling of experience into established categories. Manning connects this (...) to the concept of "autistic perception," described by autistics as the awareness of a relational field prior to the so-called neurotypical tendency to "chunk" experience into predetermined subjects and objects. Autistics explain that, rather than immediately distinguishing objects—such as chairs and tables and humans—from one another on entering a given environment, they experience the environment as gradually taking form. Manning maintains that this mode of awareness underlies all perception. What we perceive is never first a subject or an object, but an ecology. From this vantage point, she proposes that we consider an ecological politics where movement and relation take precedence over predefined categories, such as the neurotypical and the neurodiverse, or the human and the nonhuman. What would it mean to embrace an ecological politics of collective individuation? (shrink)

Turning to the moment when phenomenology (Maurice Merleau-Ponty) meets process philosophy (Alfred North Whitehead), this article turns around three questions: (a) How does movement produce a body? (b) What kind of subject is introduced in the thought of Merleau-Ponty and how does this subject engage with or interfere with the activity here considered as ‘body’? (c) What happens when phenomenology (Merleau-Ponty) meets process philosophy (Alfred North Whitehead)? and builds around three propositions (a) There is never a body as such: what (...) we know are edgings and contourings, forces and intensities: a body is its movement (b) Movement is not to be reduced to displacement (c) A philosophy of the body never begins with the body: it bodies. (shrink)

This article explores the idea that affect is collective. By emphasizing that affect does not rest in the individual, a theory of affect is foregrounded that is in conversation with Gilbert Simondon’s concept of individuation, and, more specifically, the concept of the preindividual. The preindividual, in Simondon, is aligned with what Gilles Deleuze calls ‘a life’ — the force of living beyond life itself. This force of life, I suggest, is the resonant field of life’s outside, the more-than of human (...) life where the body is but one verging surface on the field of experience, where the body is always more than One. The more-than-Oneness of the body is always already collective, cutting as it does between life-welling and life-living. It is here, at this virtual-actual juncture, that the force of affect resides, activating the body-becoming. (shrink)

What has a use in the future, unforeseeably, is radically useless now. What has an effect now is not necessarily useful if it falls through the gaps. In _For a Pragmatics of the Useless_ Erin Manning examines what falls outside the purview of already-known functions and established standards of value, not for want of potential but for carrying an excess of it. The figures are various: the infrathin, the artful, proprioceptive tactility, neurodiversity, black life. It is around the latter two (...) that a central refrain echoes: "All black life is neurodiverse life." This is not an equation, but an "approximation of proximity." Manning shows how neurotypicality and whiteness combine to form a normative baseline for existence. Blackness and neurodiversity "schizz" around the baseline, uselessly, pragmatically, figuring a more-than of life living. Manning, in dialogue with Félix Guattari and drawing on the black radical tradition's accounts of black life and the aesthetics of black sociality, proposes a "schizoanalysis" of the more-than, charting a panoply of techniques for other ways of living and learning. (shrink)

In Esther Bick’s psychoanalytic theory, the infant’s relation to the world is mediated by the skin’s capacity to serve as a container for experience. As the infant develops, containment increasingly expresses cohesion of self, as fostered by the continued interaction with the caretaker. Through an emphasis on particular forms of interaction — forms that specifically involve skin-to-skin touch — an infant is given the receptacle necessary for eventual interactive self-sufficiency. But what if the skin were not a container? What if (...) the skin were not a limit at which self begins and ends? What if the skin were a porous, topological surfacing of myriad potential strata that field the relation between different milieus, each of them a multiplicity of insides and outsides? This article explores these questions through Daniel Stern’s account of infancy. (shrink)

Marcel Duchamp describes the infrathin as “the most minute of intervals, or the slightest of differences.” Working through Duchamp’s proposition, and taking him at his work that the infrathin cannot be defined as such—“One can only give examples of it”—this article explores how the infrathin comes to expression and asks what a politics of the infrathin might look like. Key to the exploration is the question of how else value can be defined and how this rethinking of the concept of (...) value might compose with the concept of a pragmatics of the useless. (shrink)

Learn to find the opportunities and make money with your digitalcamera Most digital photo buffs have thought about turning their hobbyinto a side business, but building a successful business takes morethan passion and photographic skill. Erin Manning knows how, andshe shares her expertise in this nuts-and-bolts guide. Manning, host of the DIY Network’s The WholePicture, shows you how to identify and act on opportunities,make a business plan, and manage your business from day to day.Make Money with Your Digital Photography is (...) also full oftips to help you improve your product. Shows how to find opportunities to get paid for yourphotography and how to follow up on them Helps photographers identify and prepare for pitfalls andproblems they may confront Packed with advice from the author's own experience in startingand building her own photography business Explores popular genres, including wedding photography,shooting children's sports, and taking family portraits Includes tips and tricks for improving your photos Written by a successful photographer and host of DIYNetwork’s The Whole Picture If you've considered turning your digital photography hobby intoa money-making venture, Make Money with Your DigitalPhotography shows you how to get there. (shrink)

Erin Manning, DIY Network host of The Whole Picture, tells aspiring photographers how to take outstanding photos of people in this full-color book filled with great images Helps readers gain the skills and confidence to successfully use the ...