Emma Cocker is a writer-artist based in Sheffield and Associate Professor in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, Cocker's research enquiry focuses on the process of artistic endeavour, alongside models of (art) practice and subjectivity that resist the pressure of a single, stable position by remaining wilfully unresolved. Her mode of working unfolds restlessly along the threshold between writing/art, including experimental, performative and collaborative approaches to producing texts parallel to and as art practice. Cocker's recent writing has been published in Failure, 2010; Stillness in a Mobile World, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; Reading/Feeling (Affect), 2013; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and as a solo collection entitled The Yes of the No, 2016.

Performance Lecture + Workshop: Choreo-graphic Figures, Berlin


8 + 9 June 2018
SALON FÜR ÄSTHETISCHE EXPERIMENTE - SPECIAL:
Performance Lecture + Workshop

How can we attend to the process of artistic sense-making from within or inside, that affective realm of energies, emergences and intensities operat­ing before, between, and below the more readable ges­tures of artistic practice? How can we develop systems of notation and performativity for sharing this often hidden or undisclosed aspect of the creative process, for communicating the experience with others?

Choreo-graphic Figures: Deviations from the Line is an artistic research project involving key researchers writer-artist Emma Cocker, artist-performer Nikolaus Gansterer and dancer-choreographer Mariella Greil, working with others including interlocutor Alex Arteaga. In this performance lecture at Salon für Ästhetische Experimente, the researchers draw on their publication Choreo-graphic Figures as a ‘score’, performing their findings and reflections as live event. An interdisciplinary workshop will give deeper insight into Choreo-graphic Figures, introducing practices of attention, conversation and notation for making tangible the barely perceptible micro-movements at the cusp of awareness within artistic process.
Performance Lecture: 8 June 2018, 6.00 – 9.00 pm, Universität der Künste, Room 101 (Alte Bibliothek), Hardenbergstraße 33, 10623 Berlin.

Workshop: 9 June 2018, 1.00 - 5.00pm, HZT - Hochschulzentrum Tanz, Uferstudios, Studio 11, Uferstraße 8/23, 13357 Berlin. Admission free.

The Salon für Ästhetische Experimente is a cooperation with the Haus der Kulturen der Welt and co-funded by the Einstein Foundation Berlin.


Event: Reading as a ‘Critical Poetic’ Practice


Reading as a ‘Critical Poetic’ Practice
23 May 2018: 5.30 – 7.00
Nottingham Trent University


Image: from Choreo-graphic Figures: Deviations from the Line, an artistic research project with Nikolaus Gansterer and Mariella Greil

Taking its point of departure from Michelle Boulous Walker’s Slow Philosophy: Reading Against the Institution and Georges Perec’s ‘Reading: A Socio-physiological Outline’, this reading group will explore: What might a ‘critical poetic’ mode of reading look/feel like? What kinds of (alternative) knowledge or ‘sense making’ are produced through experimental practices of reading? The intent is to consider the relations between reading and slowness through an experimental, experiential approach.

Different methods of reading can generate different registers of affect; there is scope for testing experimental tactics. Texts do not always need to be read in a linear or logical way, but rather can be dipped into, allowing for detours and distractions. A single sentence might open in one book, close in another. Certain sections are lingered over, whilst others skimmed past. Reading is not bound by the chronology of a text’s unfolding. Attention can be activated mid-sentence or half way down a page. Words are sonorous as much as signifying units; the soundness of a text tested by tongue and lips as much as by the mind. Certain language must be rolled in the mouth before it can be fully digested. Texts resonate at different frequencies according to their enunciation. New meanings are revealed by changed inflection, in the pauses and durations breathed between the words.  (Emma Cocker, fragments from ‘Reading Towards Becoming Causal’, in Reading/Feeling: Affect Reader, If I Can’t Dance … 2013)


Visual Poetry Anthology: Synapse Internation



Edited by Karl Kempton, Synapse International is an online visual-text-art-blog-anthology that contains visual poetry, minimalist poetry, book art, mail art, word painting, contemporary calligraphy, word sculpture, visual-text-centered collage, visual-text-centered photography, mathematical poetry. The purpose is to provide the best possible works to a world audience...and start dialogue.

My work was selected for inclusion in A CONSTELLATION OF EUROPE, the first Guest editor Philip Davenport. This issue of the anthology features work by: nick-e Melville; Bruno Neiva; Kristin Mueller; Bárbara Mesquita; Bruno Ministro; Darren Marsh; Anatol Knotek; Mikko Kuorinki; Sarah Eliza Kelly; Piotr Kalisz; Cecilie Bjørgås Jordheim; Steve Giasson, a European; Thomas Geiger; Romain Gandolphe; Philip Davenport; Erkembode; Matt Dalby; James Davies; Emma Cocker; Paula Claire; Ana Cancela; Kimberly Campanello; Leanne Bridgewater; Zeynep Cansu Başeren; arthur+Martha; Guillaume Apollonaire; P.S. ABC; Eric Zboya; Orban, Victor: a portrait; Bilyk, Volodymyr – Володимир Білик; Martijn in ‘t Veld; seekers of lice; Tony Trehy; Miron Tee; Riiko Sakkinen; Jörg Piringer; Stephen Nelson; Camilla Nelson; Liliane Lijn

Exhibition/symposium: Documents, Alternatives


Documents, Alternatives: 
a symposium of artistic process and practice, 
curated by Angela Bartram.
20 April 2018
Bath School of Art and Design

Following previous iterations at project space plus, Lincoln and Verge Gallery, Sydney, Australia, ‘Documents, Alternatives (#3)’ is an exhibition that includes time-based works that rely on performative process and created experience, where both the document and artwork operate reflexively. Accompanying the exhibition at BSAD, a half-day symposium will open the nature of artistic process to critical debate. The exhibition and symposium will include new iterations of the 'project' The Italic I - a collaboration between myself and artist Clare Thorton - including video-based work, publication and performance reading.

The Italic I: Between Liveness, Language and the Lens
Emma Cocker & Clare Thornton
In this performance reading, Cocker and Thornton stage a dialogue between the visual and textual documents produced within their artistic collaboration, The Italic I. Within The Italic I, the studio is approached as a gymnasium or testing ground for purposefully surrendering to the event of a repeated fall, which is slowed and extended through the use of both language and the lens. The live performance of falling is willfully not shared with an audience; instead, this enquiry focuses on the specificity of experience communicable in the mediation of performance through its documents, both photographic and linguistic. We ask, firstly: How do we attend to the experiential nature of falling rather than documenting it only as a visual event? How can we present the fall as a force rather than simply representing its form? How might we communicate the qualities of passage and the multi-, micro-temporal dimension of falling? Secondly, how can we develop a mode of linguistic expression — an alternative poetic textual document — that embodies rather than describes the live experience that it seeks to articulate? How can language document an alternative encounter with falling, the ‘free-fall’ experienced within the process of dialogic exchange? Thirdly, what alternative modalities of performance and performativity — what emergent temporalities and subjectivities — arise through the reactivation of our performance documents? What is at stake at the threshold where liveness, lens and language meet, in the gap or interval between performance and its mediation, between event and document?



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