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 artistic processes and practices, 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 practice involves ‘contiguous writing’ — a mode of creative-critical writing that seeks to touch upon rather than being explicitly about. Her 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, The Yes of the No, 2016.

Restlessness as method

I am in the process of developing a series of new pieces of writing which further explore the idea of restlessness as a critical practice or even as a form of method, within which the quotes below operate as two points of reference, of departure and also of return.
“Contradictory words seem a little crazy to the logic of reason, and inaudible for him who listens with readymade grids, a code prepared in advance. In her statements she retouches herself constantly. She just barely separates from herself some chatter, an exclamation, a half secret – a sentence left in suspense – When she returns to it – it is only to set out again from another point of pleasure or pain. One must listen to her differently in order to hear an ‘other meaning’ which is constantly in the process of weaving itself, at the same time ceaselessly embracing words and yet casting them off to avoid being fixed, immobilized. For when she says something it is already no longer identical to what she means. Moreover, her statements are never identical to anything. Their distinguishing feature is one of contiguity. They touch (upon). And when they wander too far from this nearness, she stops and begins again from zero” - Luce Irigaray, ‘This Sex Which is Not One’, in New French Feminisms, eds. Elaine Marks and Isabelle de Courtivron, (University of Massachusetts Press, 1980), p.103. Originally published as Ce sexe qui n’en est pas un (Minuit, 1977)
“There are intangible things but the moment we name them, their meaning disappears or melts like jellyfish in the sun" - partially remembered quote from Tarkovsky's  film Stalker