Relationscapes: Movement, Art, Philosophy

Overview

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 ...

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Overview

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.

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What People Are Saying

Barbara Glowcsewski

"What commonalities do the Aboriginal paintings by Dorothy Napangardi, Emily Kwyame, and Clifford Possum share with the Western images of McLaren, Leni Riefenstahl, and David Spriggs? Each artist's production, as explored by Manning, unfolds a topology of the mind, an elasticity of movement between feeling and thinking. Manning's writing is itself a bath of sensory experiences as she brings these art pieces to life. Relationscapes creates ephemeral anchors for new journeys."--Barbara Glowczewski, author of the Dream Trackers digital project, senior researcher at the Laboratory of Social Anthropology, Collège de France

From the Publisher
"What commonalities do the Aboriginal paintings by Dorothy Napangardi,Emily Kame Kngwarreye, and Clifford Possum share with the Western images of McLaren,Leni Riefenstahl, and David Spriggs? Each artist's production, as explored by Manning, unfolds a topology of the mind, an elasticity of movement between feeling and thinking. Manning's writing is itself a bath of sensory experiences as she brings these art pieces to life. Relationscapes creates ephemeral anchors for new journeys." Barbara Glowczewski , author of the Dream Trackers digital project, senior researcher at the Laboratory of Social Anthropology, Collège de France
Barbara Glowcsewski
"What commonalities do the Aboriginal paintings by Dorothy Napangardi, Emily Kwyame, and Clifford Possum share with the Western images of McLaren, Leni Riefenstahl, and David Spriggs? Each artist's production, as explored by Manning, unfolds a topology of the mind, an elasticity of movement between feeling and thinking. Manning's writing is itself a bath of sensory experiences as she brings these art pieces to life. Relationscapes creates ephemeral anchors for new journeys."—Barbara Glowczewski, author of the Dream Trackers digital project, senior researcher at the Laboratory of Social Anthropology, Collège de France
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Product Details

  • ISBN-13: 9780262518000
  • Publisher: MIT Press
  • Publication date: 8/31/2012
  • Series: Technologies of Lived Abstraction
  • Pages: 280
  • Sales rank: 1,183,854
  • Product dimensions: 6.70 (w) x 8.90 (h) x 0.60 (d)

Table of Contents

Series Foreword ix

Prelude: What Moves as a Body Returns as a Movement of Thought 1

Introduction: Events of Relation-Concepts in the Making 5

1 Incipient Action: The Dance of the Not-Yet 13

2 The Elasticity of the Almost 29

Interlude: A Mover's Guide to Standing Still 43

3 Taking the Next Step 49

4 Dancing the Technogenetic Body 61

Interlude: Perceptions in Folding 77

5 Grace Taking Form: Marey's Movement Machines 83

Interlude: Animation's Dance 113

6 From Biopolitics to the Biogram, or How Leni Riefenstahl Moves through Fascism 119

Interlude: Of Force Fields and Rhythm Contours-David Spriggs's Animate Sculptures 143

7 Relationscapes: How Contemporary Aboriginal Art Moves beyond the Map 153

8 Constituting Facts: Dorothy Napangardi Dances the Dreaming 185

Interlude: Cornering a Beginning 207

Conclusion: Propositions for Thought in Motion 213

Notes 229

Bibliography 247

Index 257

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