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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 circulate, conception, and adventure. operating from Whitehead's procedure philosophy and Simondon's thought of individuation, she extends the suggestions of circulation and relation constructed in her past paintings towards the inspiration of "choreographic thinking." the following, she makes use of choreographic pondering to discover a style of notion ahead of the settling of expertise into proven different types. Manning connects this to the concept that of "autistic perception," defined via autistics because the knowledge of a relational box ahead of the so-called neurotypical tendency to "chunk" event into predetermined topics and items. Autistics clarify that, instead of instantly distinguishing objects—such as chairs and tables and humans—from each other on getting into a given setting, they event the surroundings as steadily taking shape. Manning keeps that this mode of wisdom underlies all conception. What we understand isn't first a topic or an item, yet an ecology. From this vantage aspect, she proposes that we think of an ecological politics the place stream and relation take priority over predefined different types, comparable to the neurotypical and the neurodiverse, or the human and the nonhuman. What wouldn't it suggest to include an ecological politics of collective individuation?

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Extra resources for Always More Than One

Sample text

And yet we inevitably use the concept as shorthand—how else to talk about issues of agency, of identity, of territoriality? Relation is the quick answer, with “the body” as a certain version of an endpoint, or, better said, a transition point. The body, here defined, is what comes-to-be under specific and singular conditions. 1 If the body isn’t the starting point, what is? According to Gilbert Simondon, the body is a relative fact, a phase of being. Every phase of being is coconstituted by two commingling dimensions of process: individuation and the preindividual.

This is why each actual occasion is more-than what it seems. It is more-than because it carries in its dephasing a quality of a surplus that cannot be contained by the occasion. The occasion is implicitly multiple—collective—in the sense that its emergence involves not only its definiteness as this or that, but its complexity as a field of relation that co- combines with the nexus of which it has been/will have been part. An occasion cannot undo itself of the tensile weave of which it is made. Any occasion is at once the absoluteness of it-self in the moment of its concrescence and the will-have-become of its tendencies, attunements, and appetitions, both past and future.

Individuation happens at the surface not of the skin,but through a surfacing multiplicity, “a smooth, amorphous space . . constituted by an accumulation of proximities, . . each accumulation [defining] a zone of indiscernability proper to ‘becoming’ (more than a line and less than a surface; less than a volume and more than a surface)” (Deleuze and Guattari 1987, 488). When the skin becomes not a container but a multidimensioned topological surface that folds in, through, and across spacetimes of experience, what emerges is not a self but the dynamic form of a worlding that refuses categorization.

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