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 focuses on the process of artistic exploration and the performing of ‘thinking-in-action’ emerging therein; on 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.

Living Landscapes

My paper 'Beating the ‘Invisible’ Boundary: Navigating the space in-between' has been accepted for the Aberystwyth University Living Landscapes conference, June 18 - 21, where there will be papers, presentations, performances and workshops from artists and scholars from the fields of performance, geography, archaeology, fine art, folklore studies, anthropology and literature.
Click here for more information about the conference.

Focusing on projects such as Heath Bunting’s BorderXing and Status Project, and the collaborations between Blast Theory and the Mixed Reality Research Laboratory (Nottingham), my intent is explore the critical function of the artist as both a guide or broker to the indeterminate geographies emerging between virtual and 'real' landscapes. Such practices articulate a performative crossing of physical or spatial boundaries, played out at the terrain vagues ‘betwixt or between’ the real and virtual; the visible and invisible; the physical and psychological. Making conceptual reference to the mythical figure of Hermes - god of gaps and thresholds, of boundaries and travelers who cross them – I am proposing to position the artist/wanderer as a disruptive and resistant (mis)guide to the nascent and unstable territories that are emerging between physical landscapes and digital worlds.