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.

Presentation: Writing in Dialogue with, Parallel to and as Practice.

I have been invited by Natalija Subotincic, Professor of Architecture, University of Mantoba, WInnipeg, Canada, to present a lecture within the context of a seminar programme on Critical Written Reflection that she is leading at Aarhus School of Architecture.

9th October 2014
Aarhus School of Architecture
Arkitektskolen Aarhus, Denmark

On Not Knowing: Writing in Dialogue with, Parallel to and as Practice.
With reference to ideas emerging from her text ‘Preparing for the Unexpected: Tactics of Not Knowing’ published in On Not Knowing: How Artists Think (2013), in this lecture writer-artist Emma Cocker will explore various approaches to writing in dialogue with, parallel to and as practice. Drawing on practice-based and theoretical research, Cocker will introduce and elaborate different ways of using language in relation to and as practice, advocating the idea of writing as a creative and material practice, alongside the critical potential of poetic and performative modes of exposition. Specific examples of practice will be situated in relation to various models of contemporary writing/practice – including performance writing, art-writing and the development of the artistic research model of expositional writing.