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. 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.

Performance: Drawing on Drawing a Hypothesis

On 20 September 2012 Nikolaus Gansterer and I presented our performance lecture Drawing on Drawing a Hypothesis at Das Lehrerzimmer based in PROGR (Centre of Cultural Production) Bern, alongside a book launch of the publication project, Drawing a Hypothesis: Figures of Thought. Below are some images of the event.

Drawing on Drawing a Hypothesis: performance, Das Lehrerzimmer, Bern

Drawing on Drawing a Hypothesis: post-performance, Das Lehrerzimmer, Bern
Drawing on Drawing a Hypothesis: post-performance, Das Lehrerzimmer, Bern

Below is a translation of a short review of the presentation published here

Drawing Thoughts
Review by Roland Fischer

"Drawing is not just for artists. Scientists also draw diligently; barely a research article passes which has no diagram or sketch. The Austrian artist Nikolas Gansterer has developed something of an obsession for these fantastic pictures, not only for their scientific content, but also for the design and the implicit codes; the agreements which are required for making such diagrams immediately readable. Gansterer’s diagram-collection is now in a book that he presented in the Lehrerzimmer yesterday. It is a book full of pictures not just to be read, but to some extent also diagrammed, which became a very special book presentation. Gansterer distinguishes himself by simple, sometimes sprawling diagrams of art, on paper or on a blackboard, while the co-author Emma Cocker reads passages from the book and text fragments projected on the wall. Thus, the two create a very stimulating way of approaching the subject of "Drawing a Hypothesis": a reading as a sketch, as a visually comprehensible making of thoughts."