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.

Publication - Reading/Feeling

The publication Reading/Feeling to which I have contributed an introductory essay (entitled Reading Towards Becoming Causal) will be launched at the Goethe Institute in Amsterdam on 
20 January 2013.



Reading/Feeling centres around the notion of affect, a term that delineates a field where the personal and the political meet through sensory movements between bodies. Affect, as a pre-emotional experience, constitutes the social and economic relationships that make up the fabric of society. Reading/Feeling considers the meaning of affect in theory and artistic practice, with a selection of texts by theoreticians, artists and curators that were read in If I Can’t Dance, I Don’t Want to be Part of Your Revolution’s reading groups in Amsterdam, Sheffield and Toronto for the past two years, as part of the programme Edition IV – Affect (2010 -2012).

Reading/Feeling includes text by: Sara Ahmed, Rhea Anastas, Lauren Berlant, Leo Bersani, Lone Bertelsen, Gregg Bordowitz, Judith Butler, Jeremiah Day, Gilles Deleuze, Lucien Febvre, Simone Forti, Adam Frank, Andrea Fraser, Félix Guattari, Sharon Hayes, Michael Hardt, Brian Holmes, Jutta Koether, Glenn Ligon, Biran Massumi, Helen Molesworth, Andrew Murphie, Sina Najafi, George Orwell, Emily Roysdon, Eve Kosofsky Sedgwick, David Serlin, Baruch Spinoza, Susan Sontag, Jan Verwoert, Mary Zouranzi, plus newly commissioned essays from Tanja Baudoin, Emma Cocker, and Jacob Korczynski, contributions by reading group members and artist pages by Matthew Lutz-Kinoy.

Edited by Tanja Baudoin, Frédérique Bergholtz and Vivien Ziherl. ISBN 978-90-814471-0-2

Price 20 Euro. Order via info@ificantdance.org

Background to the publication and future development
From Affect to Appropriation
Over the past two years the notion of affect formed a shared interest that bound together If I Can’t Dance’s programme of New Commissions and Performance in Residence projects. In reading groups and workshops IICD studied theories of affect as a pre-emotional state that is formative to our relationships with others as it moves between bodies and gives shape to subjectivities. This impetus has since extended into readings that move via theories of affect to an understanding of appropriation as an act of dedication. In the next two years, IICD will explore the productive friction between the notion of ‘making something your own’ as a potential subversive strategy and the inverse availability to be transformed by the objects we would attempt to possess. IICD will depart from discussions of appropriation as they first arose around artistic practices in the 1980s as part of a discourse that questioned the modernist hegemony of originality and autonomy in art. These were firmly rooted in a Marxist critique of appropriation in resistance to capitalist dispossession. IICD strive to interrogate the connections between that moment in the 1980s and today, and to think about appropriation in relation to current artistic practice, more specifically performance practice.