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.

Publication: A 16 Stage Lexicon on the Arc of Falling

‘The Italic I – A 16 Stage Lexicon on the Arc of Falling’, an article and artists’ pages by Emma Cocker and Clare Thornton, has been accepted for publication in a forthcoming special issue of Theatre, Dance and Performance Training (TDPT), on Showing and Writing Training, (ed.) Mary Paterson (publication date, 2016).

About the issue: This special issue of TDPT is concerned as much with form as it is with content, interested in the ways that discourse and dialogue about training affect not only training and its stated aims, but also the ways in which these methods and devices are accessed, remembered or reproduced. Questions posed by this issue include: What is the difference between what you do and how you talk about what you do? Who is unwelcome and how do they know? What remains unsaid? What remains undone? What gets undone? Would you say all this to someone you are training with? What kinds of discourses are (in)credible? What have you already assumed? What is impossible to explain?  What can only be known in retrospect? How does it feel? What kind of person is produced by this process and how will they talk? What is (in)substantial? What will change if we do things the same way we talk about them?  What will happen if we don’t? What will change if we don’t change anything that we’re doing right now? What is impossible to articulate in words? What are the secrets of your method? How do you know you belong somewhere? Who do you think you are talking to?

Below is an extract central artists' page from our article, ‘The Italic I – A 16 Stage Lexicon on the Arc of Falling’.