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.

Publication: Power

I have two texts in the forthcoming issue of DRAIN magazine on Power, Vol. 8, No. 1, 2011

Yoko Ono, Fly Piece, 1963.

Permission Granted: This text is a reflective meditation on the power of a form of invitational yes that can be witnessed at play within certain art practices; an interruptive and potentially dissident species of affirmation that has a specifically inceptive function, for provoking a form of thinking and being differently. Permission Granted extends the ideas of a short pamphlet, ‘The Yes of the No!’, that I produced following a writing residency at the artist-led project Plan 9 in Bristol, during their Summer of Dissent, 2009. The original text of ‘The Yes of the No!’ is also being published in this issue of Drain.

Power: This issue of Drain attempts to expose the cultural faciality of power, as well as manifestations of power as simulacra, which obfuscate traditional inquiries into its construction. If power connects the virtual and the actual, how does cultural creativity channel or destabilize this connectivity? The corporate-academic-entertainment-military-industrial complex and its front-end, the global information machine floods us with images, and images of images, to cause sensory overload, and yet at the same time, acute sensory deprivation. Most of all, power entrenches a visual literacy that allows us to see only its style, leaving us unable to access other ways of seeing and becoming. How can we parody this visual literacy, and the speed, cadence and grammar of this power and its affects? If the simulation of power is necessary and absolute, can creative acts and molecular politics slip through the surveillance and desensitizing of territorializing systems?


Feature Essay
The Clutter Assemblage – Ian Buchanan
Permission Granted – Emma Cocker
CLEAN – Looking at War – Chris Revelle
Interview with Andy Roche, ‘On Psychedelia’ – Alexander Stewart
Interview with Blazo Kovacevic – Bertha Husband
Creative Writing
Paper Army – Camille Meyer
Power/Collaboration – BT Shaw and Elizabeth Lopeman
Great North – Vanessa Norton
The Yes of the No! – Emma Cocker
Cross Cultural Exchanges in Imperial and Global India – Morgan Campbell
Feature Artist
Necropolis – Roi Kuper
Art Projects
GWOTEM – Jamie Badoud
Duration – Diana Heise
Criminals (Rio de Janeiro) – Cyrico Lopes
Clean Battlefield – Bob Paris
The Gift of Giving – Oscar Perez