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Always More Than One by Erin Manning

By Erin Manning

In Always greater than One, the thinker, visible artist, and dancer Erin Manning explores the idea that of the "more than human" within the context of flow, conception, and event. operating from Whitehead's procedure philosophy and Simondon's thought of individuation, she extends the ideas of stream and relation built in her past paintings towards the inspiration of "choreographic thinking." right here, she makes use of choreographic considering to discover a method of notion sooner than the settling of expertise into demonstrated different types. Manning connects this to the concept that of "autistic perception," defined via autistics because the understanding of a relational box sooner than the so-called neurotypical tendency to "chunk" adventure into predetermined topics and gadgets. Autistics clarify that, instead of instantly distinguishing objects—such as chairs and tables and humans—from each other on getting into a given atmosphere, they adventure the surroundings as progressively taking shape. Manning continues that this mode of understanding underlies all notion. What we understand is rarely first a subject matter or an item, yet an ecology. From this vantage element, she proposes that we examine an ecological politics the place circulate and relation take priority over predefined different types, resembling the neurotypical and the neurodiverse, or the human and the nonhuman. What would it not suggest to include an ecological politics of collective individuation?

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Each one present[ing] a different vitality affect” (1985, 56). Vitality affects function in the associated milieu of relation: they merge with experience’s tendings-toward feeling and emerge as the feeling of the event. Stern writes: “The social world experienced by the infant is primarily one of vitality affects before it is a world of formal acts” (1985, 57). Vitality affects color immanent events. Not yet experienced as such, immanent events are the nexus through which experience begins to form.

Extrude the body, as William Forsythe would say, to find this movement in the more-than, to find the movement-moving coursing through actual movement. There are an infinity of ways of touching on the more-than that is movement-moving. Dance is one example. What dance gives us are techniques for distilling from the weave of total movement a quality that composes a bodying in motion. This quality is a vibration that exists as a movement of thought. Not a thinking that is outside, beyond movement-moving, but a thinking that composes-with movement, with-body-in-the-making.

Lures for feeling do not achieve form per se. They generate attunements, tendencies, force of form. This is why Whitehead speaks of “subjective form” more than of form itself. What an occasion ultimately achieves is strictly speaking not a form but a tending, a mobile ecology. An occasion is less an object or a body than a node of relation expressing itself momentarily as this or that—an edging into object, a swerving into body. The how or the expressivity of this relational node is the occasion’s subjective form.

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