Erin Manning is an artist and researcher whose work explores the intersections of art practice and philosophy through the lens of the sensing body in movement. Her artistic practice bridges painting, dance, fabric, and sculpture, focusing on the profound connections between experience, thought, and politics. Her writing delves into the senses and political dimensions, often within a transdisciplinary framework that integrates dance, new technologies, and performance art. She emphasizes the micropolitics of sensation and the contemporary convergence of cinematic and media forms.
In this wide-ranging and probing book Erin Manning develops the concept of the minor gesture to rethink common assumptions about human agency, the ways we experience the everyday world, and the possibilities for new political praxis.
The philosopher, visual artist, and dancer Erin Manning explores the concept of the more than human in the context of movement, perception, and experience.
Drawing on the radical black tradition, process philosophy, and Felix Guattari's schizoanalysis, Erin Manning explores the links between neurotypicality, whiteness, and black life.
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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.
Texture is a minor concept in the fields of art, philosophy, and design. Many writings and artistic/design works explore the texture of something, but in itself texture receives less attention. 'Texturing Space' draws a cartography of texture and practices of texturing across different spaces and modes of thinking and making. Comprising approaches from art, urban and interaction design, cultural and media theory, philosophy, and sociology, the contributions to this volume provide nuanced understandings of texture and its potential value for creative experimentation. Building on practice-based experiences in Zurich and Hong Kong, the book explores translocal and transcultural modes of collaboration, pedagogical techniques, and manifold ways of engaging urban textures through the use of a mobile lab. Built around three planes?diagramming, relating, belonging?the gathered materials contribute to an exponential cartography of texture and texturing as key techniques and approaches for research-creation (artistic research)
Out of the Clear begins with the question of the clearing: What operations are at work when land is cleared, or thought is cleared, of all that grows wild? Clearing, the settler-colonial act of defining a territory and producing a border, clears the world of the thickets of all that is already at work. Get rid of the muddle. Privilege productivity. This devaluing operation is taken for granted as the necessary operation for all beginnings. Clear the movementtendencies before you start dancing. Clear the thought-wanderings before you start writing. Clearing's best accomplice is method. A clear site is one that can be overseen, that can be managed. The resounding image of the clearing in Out of the Clear is the residential school for the forced internment of first nations peoples, the sites always barren, empty of any tangle. The motif of the clearing weaves through Out of the Clear, a book written in the first year of the 3Ecologies project's landbased site. In the mode of speculative