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.
The philosopher, visual artist, and dancer Erin Manning explores the concept of the "more than human" in the context of movement, perception, and experience.
A new philosophy of movement that explores the active relation between sensation and thought through the prisms of dance, cinema, art, and new media. 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 (drawing on Bergson's idea of duration), 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.
“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.
Learn to find the opportunities and make money with your digital camera Most digital photo buffs have thought about turning their hobby into a side business, but building a successful business takes more than passion and photographic skill. Erin Manning knows how, and she shares her expertise in this nuts-and-bolts guide. Manning, host of the DIY Network’s The Whole Picture, 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 of tips to help you improve your product. Shows how to find opportunities to get paid for your photography and how to follow up on them Helps photographers identify and prepare for pitfalls and problems they may confront Packed with advice from the author's own experience in starting and 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 DIY Network’s The Whole Picture If you've considered turning your digital photography hobby into a money-making venture, Make Money with Your Digital Photography shows you how to get there.
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.
What does it mean to be at home? In a critical engagement with notions of territory, identity, racial difference, separatism, multiculturalism, and homelessness, this book delves into the question of what it means to belong--in particular, what it means to be at home in Canada. Ephemeral Territories weaves together many narratives and representations of Canadian identity--from political philosophy and cultural theory to art and films such as Srinivas Krishna's Lulu, Clement Virgo's Rude, and Charles Biname's Eldorado--to develop and complicate familiar views of identity and selfhood. Canadian identity has historically been linked to a dual notion of culture traceable to the French and English strains of Canada's colonial past. Erin Managing subverts this binary through readings that shift our attention from nationalist constructions of identity and territory to a more radical and pluralizing understanding of the political. As she brings together issues specific to Canada (such as Quebec separatism and Canadian landscape painting) and concerns that are more transnational (such as globalization and immigration), Manning emphasizes the truly cross-cultural nature of the problems of racism, gender discrimination, and homelessness. Thus this impassioned reading of Canadian texts also makes an important contribution to philosophical, cultural, and political discourses across the globe.
In 1994, at the age of twenty-five, when the "terrible brokenness that comes with sexual assault" was folded deep within her body and thoughts of suicide were always close by, Erin Manning wrote The Perfect Mango at an almost feverish pitch: nineteen chapters in nineteen days, a sort of self-rescue operation, where writing became a form of making (and feeling) life otherwise. Throughout those nineteen days, and although not able to fully articulate it to herself at the time, Manning wrote her way into a "composition that asks how else life might be lived." And in the rhythms of that composition, which was also a living, Manning was, and is, able to refuse the category and norm and stillness of "victim" (while still understanding the inheritances of violence) in order to follow instead the more-than-I as well as the joy of the "more-than of experience in the making." Twenty-five years later, Manning allows these earlier writings to find their way back into the world, which is also a way of giving "voice to those moments of messy survival" while also asking us, who share in (and help to bear) those moments as readers, to consider "other ways of listening to the urgency that is living." To (re)publish the book now is to give it a place in the world in a way that honors its force as something that is always beyond anyone's claim to it, even Manning's. In this sense, The Perfect Mango invites us, with Manning, to be in excess of ourselves, and also to consider, in Manning's words, "how to create conditions for living beyond humanism's fierce belief that we, the privileged, the neurotypicals, the as-yet-unscathed, the able-bodied, hold the key to all perspectives in the theatre of living." Ultimately, The Perfect Mango and Manning's reflections on its composition ask us to consider living "in the fierce celebration of a world invented by those modes of life which tear at the colonial, white, neurotypical fabric of life as we know it." "The Perfect Mango is a book about the body, about learning to see it as an entity that has no end, something that is never permanently marked by the violence of history, that can swim into a new skin. The sexual trauma that haunts this book is being painted and purged across its pages, and the young woman who refuses to remain caught in the capture of trauma is also learning to feed herself, to become a body-being that will endure in new forms and through new forms of mutual making. I know this girl, for she is many. I love this girl, as I love us all-we misfits whose hurt provokes us to live through other styles and modes of becoming-together." (Julietta Singh, "Afterward," The Perfect Mango) "How to confront victimization, while refusing the role of the victim? How, after trauma and abuse, can one regain a sense of life's possibilities and plunge headlong into their pursuit, without defensively hardening the boundaries of the self? Without immunizing it against the outside, knowing that it is in the great outside of the world's roil and commotion that potential radically resides - tooth-to-jowl with continued danger? How to grapple with the horrors of the past, without paradoxically binding oneself to them in a Sisyphian attempt to exorcize them through feats of memory and analysis (terminable or interminable)? How, not to own the past, but repossess the future of that past? In The Perfect Mango, Erin Manning charts a path of resistance, resilience, and journeying toward health that is starkly different from the currently dominant identity-based strategies. She writes survival, in what can best be described as a fabulatory autobiography that is rooted in real events but opens them up to each other, and out to a different future. The path is signposted with a motto, implicit here, subsequently expressed in the title of one of her works of philosophy: always more than one. If this is me ... what else? If this is life ... once more!" (Brian Massumi)
The latest tips and tricks for capturing high-quality photos Taking great "people pictures" isn't a matter of luck. The secret is in observing your subjects and connecting with them, and then using your camera to its best advantage. This new edition uses full-color photos to demonstrate how to work with lighting, location, angle, composition, physical characteristics, and environment in either portrait or candid situations. Professional photographer and veteran author Erin Manning offers invaluable advice for handling the unique challenges of photographing babies, large and small groups, and action. Assignments at the end of each chapter encourage you to test your newfound skills, while visiting pwsbooks.com allows you to post your work and benefit from feedback and constructive criticism. Explains how to study your subjects in their natural habitat, while you observe how they react and interact Features invaluable advice from veteran author Erin Manning that shares simple techniques for improving photos of babies and children Zeroes in on how to best capture facial expressions Highlights ways to tell a story with a series of candid photos Helps you add interest to large-group shots When you apply the techniques featured on the pages of Portrait and Candid Photography Photo Workshop, 2nd Edition, you'll watch your subjects come to life.
He's been alone for as long as he can remember. But Smijj dreams of escaping the ugly space station that's never been a real home and starting life over. Surely there's adventure waiting in the galaxy for a thief who can teleport...except that Smijj's teleporting skills are almost as bad as his attempts at stealing things. And when he accidentally teleports aboard a small cargo ship, Smijj finds out how dangerous it is in the galaxy for people with his kind of gift.
Smijj is a Telmaj, which means he can travel vast distances and even move spaceships across the galaxy just by wishing. But Smijj is the most gifted Telmaj anyone has ever seen, and because of him the Telmaj people are finally taking a stand against the Unified Government and Telmaj slavery. He wants to take part in the fight for freedom. Instead, he has to deal with boredom, overprotective friends and this thing called school... Smijj realizes that his people are on the brink of war, and he believes he can help, if only the adults will let him. When a chance encounter with an escaped slave holds the promise of an exciting new adventure, Smijj is off and running...but soon he and his friends, both old and new, are running for their lives from the one place in the galaxy Smijj hoped he'd never set foot on again.
All "media-tion" stages and distributes real, embodied - that is, immediate, events. The concept of immediation entails that cultural, technical, aesthetic objects, subjects, and events can no longer be abstracted from the ways in which they contribute to and are changed by broader ecologies. Immediation I and II seek to engage the entwined questions of relation, event and ecology from outside already claimed territories, nomenclature and calls to action. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
All "media-tion" stages and distributes real, embodied - that is, immediate, events. The concept of immediation entails that cultural, technical, aesthetic objects, subjects, and events can no longer be abstracted from the ways in which they contribute to and are changed by broader ecologies. Immediation I and II seek to engage the entwined questions of relation, event and ecology from outside already claimed territories, nomenclature and calls to action. This work was published by Saint Philip Street Press pursuant to a Creative Commons license permitting commercial use. All rights not granted by the work's license are retained by the author or authors.
Sam Oldfield is a powerful Enchanter in one world and an ordinary seventh-grader in another. He wants to get back to the magic world of Ebdyrza to stop the evil Paragons from taking over. But he needs time to learn to fight such deadly foes if he hopes to defeat them. When evil Enchanters from Ebdyrza show up in Sam's ordinary world to bring the fight to Sam, he isn't prepared for the lengths they'll go to get what they want. To draw his enemies away from Fairview, Sam must cross the Divide into Ebdyrza again and face this final battle, ready or not.
It started at Glumgate. The school for wizard losers with useless magic. My new school. I'm no loser. Back home in Ragvale I led all the most successful pranks. My plan: use my talent for making mischief to fight our wicked principal. Nothing could go wrong-or so I thought. Until my real magic showed up. And with it, the people who know who I really am-the ones who want me dead."Rogan Brandle doesn't know which is worse: having a loser magic gift, or having to go to Glumgate School to learn how to use his useless power. But things aren't at they seem either at Glumgate or in Rogan's life. Family secrets and mysterious powers collide, with Rogan in the midst of the chaos he helped create. Can he discover the truth about his magic and his identity in time to escape what he has set in motion and survive an attack from hidden enemies he never knew existed? One thing is sure: his safe, happy life in a quiet village is gone for good.
Les 22 et 23 janvier 2011, Anne Teresa De Keersmaeker a interprété son solo Violin Phase au MoMA (The Museum of Modern Art) de New York. Violin Phase est l'un des quatre volets de Fase, four movements to the Music of Steve Reich, une pièce créée en 1981. Anne Teresa De Keersmaeker a dansé cette chorégraphie dans le sable, traçant ainsi progressivement un grand motif circulaire sur le sol du Marron Atrium. Les représentations ont cadré dans l'exposition On Line : Drawing through the Twentieth Century, organisée par Connie Butler et Catherine de Zegher. L’ouvrage permet d’immortaliser cette performance en offrant une série de photos exceptionnelles qui saisissent les mouvements de la danseuse et la composition construite par sa danse, le tout introduit par une présentation écrite de Catherine de Zegher et Erin Manning.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.