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.

Writing/Text: Experiments along the brink of I

"The challenge then, is to figure out a way beyond and through the impossibility of community. This is not to invoke a transcendent plateau from which one will find a new synthetic resolution free of contradictions. Quite the contrary, it is meant to suggest the impossibility of total consolidation, wholeness and unity [...] and perhaps more importantly, to suggest that such an impossibility is a welcome premise upon which a collective artistic praxis, as opposed to a 'community based art' might be theorised', Miwon Kwon, p.154.

"Research should no longer be done off to one side, in a school, a library, a laboratory. Where one lives needs to become a laboratory for researching, for mapping directly, the living body itself, oneself as world-forming inhabitant ... there needs to be a communal devising, selecting and combining of techniques that will strengthen organisms-persons and help them to regenerate themselves; results need to be pooled and compared" Architectural Body, Madeline Gins + Arakawa, pxx

Whilst at the PSi Performing Publics conference in Toronto I was invited to observe the following workshop, with the view to producing a new piece of writing in response for a forthcoming publication. The workshop was led by artists Sara Wookey and Bianca Sclair Mancini and explored the city through various forms of choreographic intervention. Wookey and Sclair Mancini's collaborative practice resonates with many of the concerns that have been developing within my wider practice, especially in relation to my own collaboration with the investigative art project, Open City.

I am tentatively developing a text in response to this work entitled, Experiments Along the Brink of I, where I envisage exploring a number of tactics wherein the distinction between self and other (and indeed world) becomes blurred or folded -  the practices of gleaning gestures, witnessing/attendance, following, flocking, copying, creating synchronicity in rhythm, becoming architectural.

Documentation of 'Movement and the City' workshop