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.

New research project: Weaving Codes – Coding Weaves


‘Weaving Codes – Coding Weaves’, a collaborative project involving Alex Mclean with Ellen Harlizius-Klück, Dave Griffiths, Kia Ng, Emma Cocker, Lovebytes + many others has been funded, by an AHRC Digital Transformations Amplification award. Starting in September 2014 the projects asks: “What are the historical and theoretical points at which the practice of weaving and computer programming connect? What insights can be gained if we bring these activities together, through live shared experience? How do digital technologies influence our ways of making, and what new digital technologies can we create to explore their social use in creative collaboration? Our research challenge is to unravel industrial and contemporary technological developments in weaving and computer programming, in order to expose and challenge assumptions, and make the human processes involved visible. In particular, to explore and communicate the nature of mathematical thinking in ancient weaving, and creative thinking in contemporary computer programming, bringing key contributions to discussion of making in the humanities”.

I have been invited to act as a project writer or even critical interlocutor on this project, attending several of the events and workshops, in order to produce a piece of writing as response. My intent is to develop ideas around the Penelopean practice of ‘weaving and unweaving’ alongside reflections on how the trope of weaving is central to the concept of kairos, ideas that emerged as part of a previous collaboration involving Alex and the Live Notation Unit resulting in my recently published text, 'Live Notation: Reflections on a Kairotic Practice', Performance Research, 'On Writing and Digital Media'.