Emma Cocker is a writer-artist based in Sheffield and Associate Professor in Fine Art, Nottingham Trent University. Emma's research focuses on artistic processes and practices, and the performing of ‘thinking-in-action’ therein. Her practice unfolds restlessly along the threshold between writing/art, including experimental, performative and collaborative approaches, alongside a mode of ‘contiguous writing’ — a way of writing-with that seeks to touch upon rather than being explicitly about. Her writing is 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, 2013; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and the solo collection, The Yes of the No, 2016. More recently, Emma trained to be a qualified yoga teacher, interested in how a heightened awareness of the body and breath, alongside meditation and attention practices, might be integrated into art-writing, artistic practice, pedagogy and research.

Ethical Possession

My essay ‘Ethical Possession: Borrowing from the Archives’ has just been published in the online journal 'Scope' in their 10th Anniversary Special Issue and e-Book, which is focused on the theme of 'Cultural Borrowings: Appropriation, Reworking, Transformation' and edited by Iain Robert Smith.


Image: still from (On the Heights All Is Peace). 1998.

  Directed by Angela Ricci Lucchi, Yervant Gianikian


The issue (15, November 2009) can be found
here 

My essay explores the possibility of a redemptive or empathetic form of appropriation (as a progressive politics of sharing or ethical possession) by focusing specifically on the borrowing of found archival footage within the work of filmmakers Yervant Gianikian and Angela Ricci Lucchi.