Table Of ContentP R O O F
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P R O O F
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P R O O F P R O O F
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ERIN MANNING Always 8
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Th an One
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* 14
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Individuation’s 16
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Dance 18
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Prelude by BRIAN MASSUMI 32
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DUKE UNIVERSITY PRESS Durham and London 2012 34
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P R O O F
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19 © 2012 Duke University Press
20 All rights reserved
21 Printed in the United States
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of America on acid- free paper ♾
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Designed by Amy Ruth Buchanan
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Typeset in Quadraat by Tseng
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Information Systems, Inc.
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Library of Congress Cataloging-
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in- Publication Data appear on the
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last printed page of this book.
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31 All images in chapter 8 originally
32 appeared in Oeuvres by Fernand Deligny,
33 edited by Sandra A Álvarez de Toledo
34 © 2007 Editions L’Arachnéen.
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P R O O F P R O O F
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To DJ Savarese 8
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P R O O F P R O O F
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Contents 5
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PRELUDE BY BRIAN MASSUMI * ix 13
ACKNOWLEDGMENTS * xxv 14
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1. Toward a Leaky Sense of Self * 1 16
interlude || When Movement Dances * 13 17
2. Always More Th an One * 16 18
interlude || Dancing the Virtual * 30 19
3. Waltzing the Limit * 41 20
4. Propositions for the Verge * 74 21
interlude || What Else? * 91 22
5. Choreography as Mobile Architecture * 99 23
interlude || Fiery, Luminous, Scary * 124 24
6. Th e Dance of Attention * 133 25
7. An Ethics of Language in the Making * 149 26
interlude || Love the Anonymous Elements * 172 27
8. Th e Shape of Enthusiasm * 184 28
coda || Another Regard * 204 29
NOTES * 223 30
BIBLIOGRAPHY * 257 31
INDEX * 267 32
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P R O O F P R O O F
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“A thousand smiles, a thousand getting- out- of- chairs, a thousand varia- 15
tions of performance of any and all behaviours.” With these words, tinged 16
with wonder at the richness of the everyday, Daniel Stern underscores the 17
multiplicity of every single act composing our lives (Stern 1985, 56; cited in 18
chapter 1 below). Always More Th an One, as the title conveys, is dedicated to 19
that wonder: of the ever- varying manyness of all that comes as one. 20
Any sense of contradiction this wording may be taken to imply is quickly 21
sidelined by observing with A. N. Whitehead, another key theoretical re- 22
source for the book, that as an “ultimate notion” for process oriented phi- 23
losophy “the term ‘one’ does not stand for the ‘integral number one.’” 24
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It stands for the general idea underlying alike the indefi nite article “a” or
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“an,” and the defi nite article “the,” and the demonstratives “this” or “that,”
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and the relatives “which or what or how.” It stands for the singularity of an
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event. Th e term “many” presupposes the term “one,” and the term “one”
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presupposes the term “many.” (1978, 21)
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In Always More Th an One, Erin Manning starts from the reciprocal pre- 31
supposition of the one and the many. Th is is what she means when she 32
says, echoing Gilles Deleuze, that she begins in the middle. She does not 33
pause to worry over contradiction. She takes this reciprocal presupposi- 34
tion as a launching pad and dives right in. She does this by approaching the 35
problem from the outset as a question of composition. Th at what comes as 36
one comes a many loses any sense of a sterile conundrum when it is taken 37
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P R O O F
1 in this matter- of- fact way: as a coming- together (com- position). A many
2 enter in one coming- together. And comings- together come in many varia-
3 tions on each theme. When it comes to the one and the many, the wonder
4 should attach more to this immediate implication of serial iteration than to
5 any supposed contradiction. No sooner do we dive into composition than
6 composition launches itself into a process of iteration off ering a bounty of
7 variations, thousands and thousands, on any and all behaviors or events.
8 Add the notion that the iteration of the process can be infl ected, and com-
9 position fi nds the double connotation it has in everyday language: not just
10 a coming- together, but a one (- many) bountifully susceptible to technique.
11 Manning’s diving in, past contradiction straight to composition and
12 with process to technique, gives the writing in Always More Th an One a re-
13 markable velocity. It speeds past preliminary considerations as to the nature
14 of the one that many may expect. Th e most available readymade categories
15 for the one are the subject, the object, and the totality. Th ey make unpro-
16 pitious starting points. Given the habitual ways we have of speaking and
17 thinking about these categories, to start with them would be to begin with
18 the assumption that the term “one” did in fact stand for the integral num-
19 ber one, in lonely opposition to what counts as many. For the unity of the
20 one not to stand alone, it would have to be opened up to reveal a hidden
21 multiplicity. But the multiplicity, Whitehead insists, isn’t hidden. It comes
22 immediately and manifestly with every one. Th ere are signifi cant disadvan-
23 tages to taking the subject or object as the starting point even if it is only in
24 order to deconstruct or decenter their counting only for one. Th e disadvan-
25 tage is that it activates, as an inaugural gesture, the very habits of thought
26 it is designed to undermine. Once activated, they are diffi cult, if not impos-
27 sible, to shake off .
28 Th e alternative adopted by Manning is neither to deconstruct nor de-
29 center, but to defer. Th e speed with which she launches into process is de-
30 signed to hold at bay the issue of the status of the subject and the object
31 until concepts for the reciprocal presupposition of the one and the many
32 are suffi ciently in place for subject and object to be grasped as a function of
33 process rather than the reverse: process falling under the province of sub-
34 jects and objects. Th e concept charged with holding the status of the sub-
35 ject and object in processual suspense is individuation, adapted from Gilbert
36 Simondon. Simondon’s premise is simple: individuals, whether subjects or
37 objects according to the traditional categories, come to be. Th ey are results
38 of an ontogenetic process: they are products.
x PRELUDE
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