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. 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; Choreo-graphic Figures: Deviations from the Line, 2017; 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.

Dialogue: Beyond Bohm - Contemplation + Creativity


I was invited to contribute to a panel on Creativity And The Artist (led by Hester Reeve) as part of the extended summer seminar series organised by the Pari Centre, Beyond Bohm: Science, Order And Creativity, August 14-29, 2021. Our panel formed part of a series of talks exploring Contemplation and Creativity

Creativity And The Artist

Saturday August 14, 2021

with Jessica Ball,  Alison Churchill, Emma Cocker and Hester Reeve

 

David Bohm’s writing on creativity was not directed exclusively at art works, instead it sought to outline a more foundational capacity in any one of us – or in any human discipline – for new orders of perception and understanding. First and foremost, he explained, we need to awaken the necessary ‘creative mind state’ which is suppressed by the unrecognized “boss reality” of Western thought, language and the associated entrapment of the self-image. Bohm’s is a dynamic model of creativity open to entanglements of mind, body, language, conceptual abstraction, non-human matter and infinity, the nature of which is to be continually unfolding, to be generative. His expanded notion of what constitutes an ‘artform’ is radical and speaks to contemporary, speculative approaches towards ever opening up an animate world of which we are a participant.

 

More about the overall programme can be found here