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.

Writing/Text: Experiments along the brink of I

This text (below) has been written in response to encountering and participating in a series of action-research projects developed by Sara Wookey and Bianca Scliar Mancini including Movement in the City (Toronto, 2010) and Unfolding Zagreb (2009) (also led by Christoph Brunner, editor of the publication Practices of Experimentation: Research and Teaching in the Arts Today). Taking the form of a performative prose-poem, the attempt is one of writing out from within a live and lived experience of a project, in order to enact or embody rather than describe or theorise the ideas emerging therein. It extends lines of enquiry from my other prose texts Room for Manoeuvre; or, Ways of Operating Along the Margins (published in The Manual for Marginal Places, closeandremote, 2010); The Yes of the No! (produced as part of The Summer of Dissent, Bristol, 2009); and Pay Attention to the Footnotes (in collaboration with Open City 2007- 2010). The term 'tacturiency' is also the title (coined by artist Clare Thornton) of a collaboration that I am currently developing with her.