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.

Conference Paper: Performing Thinking in Action: The Meletē of Live Coding


My paper Performing Thinking in Action:The Meletē of Live Coding has been accepted for inclusion in the forthcoming second International Conference on Live Coding 2016 (ICLC 2016), will take place at McMaster University in Hamilton, Ontario, Canada from October 12th to October 15th, 2016. My paper elaborates ideas which I am developing for an article of the same title for a Special Issue of the International Journal of Performance Arts & Digital Media (Issue 12.2, October 2016), which will focus on Live Coding in Performance Arts. Concerns explored in the paper will also be developed further through my involvement in co-authoring the first book length academic publication addressing Live Coding, Live coding - a user's manual, with Alan Blackwell, Professor, Interdisciplinary Design, University of Cambridge; Geoff Cox, Associate Professor, Department of Aesthetics, Aarhus University; Alex McLean, Research Fellow, Scientific Research in Music, Leeds University; Thor Magnusson, Lecturer in Music, University of Sussex.

Abstract
This paper interprets live coding as a dynamic model of ‘performing thinking’ in action and the performing of ‘thinking-in-action’. Underpinned by the principle of performing its thinking through ‘showing the screen’, live coding ‘makes visible’ the process of its own unfolding through the public sharing of live decision-making within improvisatory performance practice, emphasizing the durational ‘taking place’ of something happening (live). The making visible of thinking ‘in action’ has epistemological import, shedding light on the nature of knowledge production and mode of intelligence operative therein, generating insights into this habitually unseen aspect of creative endeavour. Live coding can also be conceived as the performing of ‘thinking in action’, a live, embodied navigation of various critical thresholds, affordances and restraints: for working with elective rules/restraints as critical leverage; testing the relation between receptivity and spontaneity, between an immersive flow experience and split-attention, human and machine, the known and not yet known.