Emma Cocker is a writer-artist whose research focuses on artistic processes and practices, and the performing of thinking-in-action therein. Cocker’s language-based artistic research comprises a matrix of writing, reading and conversation practices, including diverse process-oriented, dialogic-collaborative and aesthetic-poetic approaches to working with and through language. She was a key-researcher within the project Choreo-graphic Figures: Deviations from the Line (2014 – 2017) for exploring the thinking-feeling-knowing between choreography, drawing and writing. Cocker’s 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; On Not Knowing: How Artists Think, 2013; The Creative Critic: Writing as/about Practice, 2018; Live Coding: A User's Manual, 2023, and in the solo collections, The Yes of the No, 2016, and How Do You Do?, 2024. Cocker is co-founder of the international Society for Artistic Research Special Interest Group for Language-based Artistic Research. She is Associate Professor in Fine Art, Nottingham Trent University.

Nascent

nascent, rubric, Issue 1, Summer 2009

My text work, RE: WRITING  (NOT YET THERE) 1993 – 2009, has been published in the very first edition of the new experimental journal rubric. The text is a version of a work that had been developed within the context of the Critical Communities project. The original version will be published shortly in the forthcoming experimental writing publication, RITE.
rubric is a new, experimental journal discussing art, writing, theory, and the points at which they intersect. The journal operates in a curatorial format, with contributors asked to respond to a specific theme or idea for each issue. The theme of the first issue is nascent. A PDF of the journal can be found here.

Image: The Pool, Holly Davey, pp. 10 and 42, in nascent, rubric
Backgound to the Issue, nascent
"Nascent as beginning to exist or to grow, to emerge or develop, is our concern in this first instance. This instance, this primary point of origination which shall inevitably progress to a later state, to another instance, to that which-is-not-first. This is where we shall site/cite ourselves, in this process of transference, of being-in-motion, of Being in-motion, as be-com-ing or coming-to-be in this developmental schema which charts a growth or emergence…what are the implications here for a progressive development? Where does this development stem from, and how does it operate in extension from its originary locus? If this is indeed a concern about origins as such, is there a co-dependency between the origin and this B/being(-)in motion, or are the two distinct entities? …but let us consider this concern another way: what form of developmental scheme or methodology may be applied to the art-work as such, if – in terms of ontology here – the work comes-to-be through this process or application of this logic of emergence, at what point does -work become art-work? Does this nascent state promote a terminological evolution from one aspect to another? What is this state and how does it purport to function?... This question of production, of ductus, or presently of ducere, of bringing forth or leading into being, positions us in relation to the systematic state of becoming".


The full PDF of the issue, Nascent can be found below