Research Catalogue

research expositions

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  The Italic I (collaboration with Clare Thornton) (last edited: 2023) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  'Exposition' in progress. The Italic I is an artistic research collaboration between writer-artist Emma Cocker and interdisciplinary artist Clare Thornton that explores the different states of potential activated by purposefully surrendering to the event of a repeated fall. Rather than an accidental occurrence encountered by chance, within our artistic investigation falling is apprehended consciously as a training exercise for mind and muscle, tested out in physical, cognitive, and even linguistic terms. Within The Italic I the act of falling is slowed and extended through the use of both lens and language, as a means for attending to its discrete phases or scenes. Within The Italic I, the live performance of falling is not shared with an audience: this enquiry explores specificity of experience communicable in the mediation of performance through its documents, both photographic and textual. Rather than view these technologies as somehow deficient or limiting— as incapable of reflecting the experiential, ephemeral nature of the live event — The Italic I reflects on the document itself as an ephemeral artwork, always evolving, always in transition. Less as an indexical record of ‘being there’, the performance document is approached as a malleable material that can be dislocated from its originary historical context, to be brought into new configurations through repeated staging and re-staging. The exposition presents a series of configurations and iterations of the documents generated through The Italic I within which we have explored three interwoven questions: How to present the experiential nature of falling as a force rather than simply representing its form? How to develop a mode of linguistic expression — an alternative poetic textual document — that embodies rather than describes the live experience that it seeks to articulate? What alternative modalities of performance and performativity — what emergent temporalities and subjectivities — arise through the restaging or reactivation of different performance documents? By reflecting on the evolution and performativity of the various ‘documents’ generated within The Italic I, our intent is to explore what is at stake at the threshold where live and lens meet, in the interval between live performance and lens-based mediation, between event and document.
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  Choreo-graphic Figures: Beginnings and Emergences (2015) author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil published in: RUUKKU - Studies in Artistic Research
  Choreo-graphic Figures: Beginnings + Emergences Choreo-graphic Figures: Deviations from the Line is an interdisciplinary research collaboration involving artist Nikolaus Gansterer, choreographer Mariella Greil, and writer-artist Emma Cocker, for investigating the nature of ‘thinking-in-action’ or ‘figures of thought’ produced as the practices of drawing, choreography and writing enter into dialogue, overlap and collide. Central is an attempt to find ways of better understanding and making tangible the process of research ‘in-and-through practice’ — the unfolding decision-making, the thinking-in-action, the dynamic movements of ‘sense-making’, the durational ‘taking place’ of something happening live — and for asserting the epistemological significance of this habitually unseen or unshared aspect of the artist’s, choreographer’s or writer’s endeavour. Our research enquiry unfolds through two interconnected aims: we are interested in the nature of ‘thinking-feeling-knowing’ operative within artistic practice, and seek to develop systems of notation (and exposition) for sharing and reflecting on this often hidden or undisclosed aspect of the creative process. Through this specific exposition — Beginnings and Emergences — our intent is to share findings from the prologue phase and year one of our three-year research project Choreo-graphic Figures: Deviations from the Line, during which we have explored how various processes of ‘beginning’ performed within live artistic activity might create the conditions for processes of emergence to arise. The intent is to share some of the ‘figures’ developed within this research project for articulating ‘beginning’ within a collaborative artistic process (e.g. Figure of Circulation, Figure of Shared Vibrations, Figure of Clearing, Ordering and Emptying Out,  Figure of Touch and Reaching Towards the Other), alongside reflecting on and attending to the process of emergence within artistic labour itself – a process we have called ‘figuring’. Figuring – we use this term to describe those imperceptible or barely perceptible movements and transitions at the cusp of awareness within the process of “sense-making”: the moments of revelation, epiphany, synchronicity, of change in tack or direction or pace, the decision to stop, do something different, begin again. Figuring manifests within those threshold moments within the creative process that are often hard to discern but which ultimately shape and steer the direction of the evolving activity. Our research involves cultivating practices of attention (a perceptual heightening, hyper-sensitizing, sharpening of alertness) for noticing these emergent figurings within the process of creative activity, and devising systems of notation for identifying, marking and even tentatively naming these processes of emergence. In developing this exposition, our intent has been to remain faithful to the process of investigation itself. Rather than being conclusive, our exposition reflects the process of its own production; itself a diagramming of the multiple and at times competing forces and energies operative within the process of artistic collaborative practice. We propose an exposition that unfolds less as the linear explication of a process, but rather — like artistic process itself — more as an assemblage of overlapping and concurrent components, where attention shifts between the textual and the visual, between what is sayable and what is shown.
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• CARE + ATTEND (last edited: 2022) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Care + Attend (curated by Emma Cocker and Joanne Lee) is part of a 2 day event entitled Unconditional Love organised by The Society for Artistic Research Spring Event taking place 30 April – 1 May 2015 at Chelsea College of the Arts / University of the Arts London. Care + Attend comprises a constellation of fragments and extracts - of different intensities and durations - where the exposition of research emerges as a poetic and performative event, generating moments of potential resonance and dialogue. This event explores the theme Unconditional Love through the principles (perhaps even methodologies) of care and attention, as applied within specific (artistic) practices of both the everyday and of the self. Beginning with the observation that both curate and curiosity have shared etymology in the term ‘care’, Care + Attend seeks to develop a research vocabulary based on receptivity, openness, fidelity, integrity, intimacy, friendship and commitment (whilst not ignoring the parallel principles of distraction, inattention, the act of closing one’s eyes or of looking away).
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  CHOREO–GRAPHIC FIGURES. Deviations from the Line (last edited: 2020) author(s): Nikolaus Gansterer, Emma Cocker, Mariella Greil connected to: University of Applied Arts Vienna This exposition is in progress and its share status is: visible to all.
  "CHOREO–GRAPHIC FIGURES. Deviations from the Line" The interdisciplinary research project “CHOREO–GRAPHIC FIGURES. Deviations from the Line” (2014 - 2017), led by artist Nikolaus Gansterer (Austria/Vienna) in collaboration with choreographer-dancer Mariella Greil (Austria/Vienna) and artist-writer Emma Cocker (UK/Nottingham), in dialogue with a team of international critical interlocutors was approved funded by the FWF/ PEEK research grant of Austria. With ‘arts-based research’ at its heart, this research project stages an inter-subjective encounter between drawing (Gansterer), choreography (Greil) and writing (Cocker) in order to a) investigate those forms of ‘thinking-feeling-knowing’ produced through collaborative, interdisciplinary exchange, ‘between the lines’ of drawing, dance and writing, b) explore the performativity of notation (figures of thought, speech and movement) for articulating and making tangible this enquiry, c) contribute new knowledge and understanding to debates about the specificity of artistic enquiry and expanded practices of drawing, dance and writing. The project explores the nature of ‘thinking-in-action’ or ‘figures of thought’ produced as the practices of drawing, choreography and writing enter into dialogue, overlap and collide. Through processes of reciprocal exchange, dialogue and negotiation between the key researchers, "CHOREO–GRAPHIC FIGURES. Deviations from the Line" will interrogate the interstitial processes, practices and knowledge(s) produced in the ‘deviation’ for example, from page to performance, from word to mark, from line to action, from modes of flat image making towards transformational embodied encounters.
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  Choreo-graphic Figures: Scoring Aesthetic Encounters (2019) author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil, Simona Koch published in: Journal for Artistic Research
  We have developed this exposition for ‘scoring an aesthetic encounter’ with the multimodal (visual, textual, sonic, performative) findings from Choreo-graphic Figures: Deviations from the Line, an artistic research project by Emma Cocker, Nikolaus Gansterer and Mariella Greil. Choreo-graphic Figures stages a beyond-disciplinary encounter between the lines of choreography, drawing and writing, for exploring those forms of knowing-thinking-feeling produced in the slippage and deviation when different modes of practice enter into dialogue, overlap and collide. Within this exposition, our aim is not to present an exhaustive account of the Choreo-graphic Figures project. Rather, we seek to test the specificity of this online context for extending our investigation through the following questions: how can we create a digital archive capable of reflecting the durational and relational aspects of the research process, a mode of online dissemination that enacts something of the liveness or vitality — the energies and intensities — within collaborative live exploration? Beyond the limitations of the static two-dimensional page, how can an enhanced digital format enable a non-linear, rhizomatic encounter with artistic research, where findings are activated and navigated, interacted or even played with as a choreo-graphic event? We have modelled the exposition on the experimental score system developed within our research project, for organising our process of aesthetic enquiry through the bringing-into-relation of different practices and figures. The score is approached as a ‘research tool’ for testing how different practices (of Attention, Notation, Conversation, Wit(h)nessing) can be activated for sharpening, focusing or redirecting attention towards the event of figuring (those small yet transformative energies, emergences, and experiential shifts within artistic process that are often hard to discern but which ultimately steer the evolving action) and the emergence of figures (the point at which the experience of ‘something happening’ [i.e. figuring] coalesces into recognisable form). Within this exposition, our research can be encountered experientially through → Playing the Score, whilst the → Find Out More section contains contextual framing alongside conceptual-theoretical reflections on the function of our score and its ecology of practices and figures.
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• Documenting the Academy: Diagrams and Field-Notes (last edited: 2018) author(s): Emma Cocker, Nikolaus Gansterer This exposition is in progress and its share status is: visible to all.
  The 1st Society of Artistic Research Academy took place in Barcelona (Facultat d’Humanitats / University Pompeu Fabra, Barcelona, 14 — 17 March 2018), bringing together a specially invited group of international artists/scholars, involved with and dedicated to research in the arts, from different disciplines and with different backgrounds (and opinions) to discuss the current questions and issues related to artistic research with reference to the thematics of Epistemology; Artefacts; Methodologies; Modes of Language. Writer-artist Emma Cocker and artist Nikolaus Gansterer were both invited to ‘document’ the academy through the prism of their respective practices. In doing so, their ‘reports’ offer a partial and fragmentary response to the event — subjectively selective, irresolutely incomplete. Emma Cocker approached the task of documentation through a process that she calls ‘field notes’ — which involved trying to ‘catch what was in the air’ during the event itself as a series of thought-fragments and short phrases. During the three days of the Academy, Cocker’s attention focused on capturing these thought-fragments as they were uttered live by the event contributors, accumulating as a chronological list in her notebooks. The fragments have since been typed up and organized in reverse-sequence. Distilled into poetic condensations — still retaining the exact reverse-sequence logic — the intent is to evoke the atmosphere of the discussion rather than ‘factually’ record or describe what took place. Nikolaus Gansterer documented the event through the prism of his drawing practice, specifically through a form of diagrammatic drawing and annotation. His drawing process within the Academy echoed the mode of diagrammatic praxis developed through a process called ‘translectures’ that Gansterer has developed for over a decade as a mode of live translation of a discursive event. His drawings offer fragile structures for creating dynamic relations between text and image, associative proximities between different ideas and thoughts. Rather than fixing the discussion within a diagrammatic form, the drawn diagrams function as contingent containers for holding in relation the content emergent within an unfolding discussion. Presented together within the research catalogue, these two documenting approaches are brought into changing proximity — creating linkages as well as points of deviation.
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• Through Phenomena Themselves Schedule (last edited: 2019) author(s): Emma Cocker, Esa Kirkkopelto, Alex Arteaga, Alexander Damianisch, Nikolaus Gansterer, Tuomas H Laitinen, Saara Hannula, Katarina Šoškić, Jaakko Ruuska, Cordula Daus, Charlotta Ruth, Ralo Mayer This exposition is in progress and its share status is: visible to all.
  Through Phenomena Themselves Schedule
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  Through Phenomena Themselves (last edited: 2019) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Through Phenomena Themselves
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  No Telos (last edited: 2023) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  The exposition presents artistic findings and reflections from No Telos, a collaborative research project involving artists Andrew Brown, Emma Cocker, Steve Dutton, Katja Hock, Tracy Mackenna, Danica Maier, Andy Pepper, Elle Reynolds, Derek Sprawson. Telos – from télos (end), téleios (perfected) and teleîn (fulfilment) – refers to an ultimate aim, a specific end or purpose. In teleological terms, the value of action is goal-oriented, determined in relation to achievement and attainment, the event of completion, of reaching the designated target. Conceived as an antidote to the increasingly outcome-driven tendencies of contemporary culture, No Telos is a research framework for exploring the importance of non-teleological activity for creative thinking and making – of playfulness and open-ended experimentation, of not knowing and getting lost. This project invites a shift from a telos- or goal-driven mode of productivity towards one that opens up space for the unknown or unexpected. The first phase of this project took place in Venice (Autumn 2016), against the highly instrumentalised context of the Venice Biennale. No Telos involved experimental exploration of place and process through non-teleological practices of ‘doing’ (the quiet rebellion of making and experimental play) and ‘not doing’ (withdrawal of willed action through meditative attention, slowness and stillness, receptive contemplation and observation). Practices of non-teleological ‘doing’ and ‘becoming’ initiated in Venice have since been gathered within an artists’ book conceived as a ‘score’ for future activation within wider artistic and pedagogical contexts.
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  Convocation - On Expanded Language-based Practices (last edited: 2019) author(s): Emma Cocker, Lena Séraphin, Cordula Daus This exposition is in progress and its share status is: visible to all.
  Convocation – from com ‘with, together’ and vocare ‘to call’. We call for a gathering of language-based practices: from the wordless corporeality of body language to the virtuality of digital text, from the voicing of spoken utterance to the textility of words on a page. Textorium – a notion that etymologically pertains to weaving and braiding, the weaver and the woven. For phenomenologist Max van Manen the term refers to the writerly space of reflection, the experiential world of the text as it opens up for the receptive writer and reader. But how can the ‘taken-for-grantedness’ of language be put into question? How can language-based practices enable us to encounter ‘things’ anew? From textorium to sensorium, a reciprocal space for coming together through a material encounter with language experienced in its diversity. How do we experience language’s activity, affectivity, ambiguity, capacity, corporeality, density, elasticity, ephemerality, fluidity, fragility, illegibility, instability, intensity, inter-subjectivity, hybridity, materiality, multiplicity, musicality, occasionality, opacity, performativity, physicality, plasticity, porosity, potentiality, relationality, simultaneity, sensibility, sensitivity, sonority, spatiality, syn¬chronicity, tonality, temporality, visuality, vitality? Convocation invites exploration of the how-ness of language within practices of: Addressing | Calling | Conversing | Describing | Dialoguing | Disrupting | Drawing | Echoing | Effacing | Evoking | Fictioning | Invoking | Listening | Misunderstanding | Moving | Muting | Naming | Questioning | Reading | Redacting | Spacing | Speaking | Summoning | Transcribing | Translating | Voicing | Wording | Writing | ____ ing Convocation is a 3-day event on expanded language-based practices taking place within the frame of the Research Pavilion, Venice, 16 - 18 June 2019. Hosted by Emma Cocker, Cordula Daus and Lena Séraphin in co-operation with Alex Arteaga. A collaboration between research cells Through Phenomena Themselves, Disruptive Processes and AIRA. 16 – 18 June 2019 10.00 – 20.00 Sala del Camino + theatre, Giudecca, Venice Within the frame of the Research Pavilion http://www.researchpavilion.fi/
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  Reading on Reading: Ecologies of Reading (2020) author(s): Emma Cocker, Lena Séraphin, Cordula Daus published in: RUUKKU - Studies in Artistic Research
  Reading on Reading is a series of experimental reading practices developed collaboratively by Emma Cocker, Cordula Daus and Lena Séraphin whilst working together in the Research Pavilion #3, Venice, 2019, for exploring what alternative modes of sense making are produced when reading is undertaken artistically, as an aesthetic activity. Reading on Reading explores three interrelated foci: How can aesthetic practices of reading: (1) Shed new light on the phenomenology (or how-ness) of reading? (2) Transform the often-solitary activity of reading into a shared or communal act — and explore what modes of sociality, solidarity and emergent ‘we’ emerge therein? (3) Operate as a disruptive process unsettling normative conventions of reading through focus on the poetic, affective and material dimensions of readerly experience? Within this artistic research collaboration, we consider the act of reading beyond the relation of the reader to a text read, as a micro-political or ethico-aesthetic practice through which to re-consider — perhaps even re-organise — the relations between self and other(s), self and world. Drawing upon Félix Guattari’s notion of ecosophy with its three ecological registers of environment, social relations and human subjectivity, in this exposition we consider how the modest practice of reading together could contribute to a wider ethico-aesthetic project: for cultivating shared poetics of attention, for the re-sensing of language through embodied vocalisation, for tending to the temporary gatherings of ‘we’ that reading together affords. The aim of this exposition is to share the reading practices tested and explored in and through the collaboration of three artist researchers, alongside reflection on the questions and concerns emerging within this enquiry. Whilst operating as a document or archive of a specifically time-bound research activity, the intention is that our reading practices have scope to be activated by other readers.
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  LANGUAGE-BASED ARTISTIC RESEARCH (SPECIAL INTEREST GROUP) (last edited: 2024) author(s): Emma Cocker, Alexander Damianisch, Lena Séraphin, Cordula Daus This exposition is in progress and its share status is: visible to all.
  Conceived and co-organised by Emma Cocker, Alexander Damianisch, Cordula Daus and Lena Séraphin, this Society of Artistic Research Special Interest Group (SAR SIG) provides contexts for coming together via the exchange of language-based research. The intent is to support developments in the field of expanded language-based practices by inviting attention, time and space for enabling understanding of/and via these practices anew.
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  Close Reading/Live Writing (last edited: 2022) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  This 'exposition' is very much a work-in-progress/working process which I will be developing over the next year or so. Close Reading: an ongoing series of investigations by Emma Cocker which applies close visual attention to language, looking at the materiality of words ‘close up’ through processes of visual magnification, microscopic observation. Under scrutiny, text can be pressured into its component parts (of ink and page), the sense or legibility of a word rendered nonsensical the closer it is attended to, as writing slips towards image, as meaning dissipates into pleats and folds. Here, the more language becomes scrutinized the less it becomes known. Live Writing: A not-yet language for reflecting on the not-quite-seen or captured, for remaining faithful to the experience of something glimpsed. In the flick and skim of both writing and reading, words themselves are not always distinguishable as discrete signifying units but instead appear liquid, their sense indeterminate, meaning blurred.
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  Conversation-as-Material (2022) author(s): Emma Cocker published in: Research Catalogue
  Published as part of: Emma Cocker, 'Conversation-as-Material', in the Special Issue 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, 2022], pp.193-223. ISSN 1913-4711. See full issue here: https://journals.library.ualberta.ca/pandpr/index.php/pandpr/index
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• Contiguous Writing (last edited: 2023) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Contiguous Writing
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  Drawing on Drawing a Hypothesis (last edited: 2014) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Drawing on Drawing a Hypothesis by Nikolaus Gansterer and Emma Cocker. This is a version of a performance lecture/reading which 'draws on' the publication Drawing a Hypothesis: Figures of Thought (ed.) Nikolaus Gansterer (Springer, 2010) including the chapter/hypothesis 'Distancing the If and Then' by Emma Cocker. This video work has been presented in numerous contexts including the recent AGORA Athens Biennale (2013). Performance lectures of Drawing on Drawing a Hypothesis have also been presented at M_HKA, Antwerp; NGKB, Berlin; KNAW, Amsterdam; Stadpark Forum, Graz, and Kunsthalle Project Space, Vienna and Das Lehrerzimmer, Bern.
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• Uncertain Knowledges (last edited: 2021) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Towards an Attitude of Openness: Preparing for the Unexpected Emma Cocker's key-note presentation at Uncertain Knowledge(s), a one day colloquium organised by the Material Encounters research group, Birmingham City University, 7 July 2021.
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  Site-Reading – Site Specific Writing and Reading (last edited: 2022) author(s): Emma Cocker, Lena Séraphin This exposition is in progress and its share status is: visible to all.
  Site-Reading – Site Specific Writing and Reading
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  thinking aesthetic thinking through aesthetic research practices (last edited: 2024) author(s): Alex Arteaga, Emma Cocker, Nicole Wendel, Sabine Zahn This exposition is in progress and its share status is: visible to all.
  THINKING AESTHETIC THINKING THROUGH AESTHETIC RESEARCH PRACTICES focuses on ways in which aesthetic research practices realize a specific form of thinking: aesthetic thinking. The aim of this project is to explore the following working hypotheses through aesthetic research practices as a foundation for different forms of reflection and dialogue between philosophical aesthetics and aesthetic research. - Firstly, aesthetic research practices systematize forms of preeminently sensorimotor and emotional action, which are neither target-oriented nor will-based. - Secondly, aesthetic action enables and intensifies immediate and unmediated interactions between researchers and the inquired issues, co-constituting a field of nonhierarchical, shared agencies. - Thirdly, aesthetic interaction conditions the ongoing processes of sense-making between researchers and the inquired issues with the agency of destabilizing the habitualized forms and meanings with which these issues appear. - Fourthly, on this basis, aesthetic thinking allows for disclosing new intelligibilities for the researched issues, that is, it enables the potentialities of radically new understandings to arise. Since 2020, we — four artistic researchers: Alex Arteaga, Emma Cocker, Nicole Wendel and Sabine Zahn — have been working together intensively within a series of exploratory sessions or even ‘laboratories’, inquiring through specific aesthetic practices the concept, performance and conditions of and for aesthetic thinking. This exposition presents a set of aesthetic research practices, a series of "Ecologies in Action' (a set of interconnected aesthetic research practices in relation) and research artefacts generated through this research project.
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  Towards an Attitude of Openness (last edited: 2024) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Emma Cocker, ‘Towards an Attitude of Openness’, key-note presentation at the 12th International Conference on Artistic Research, Society for Artistic Research, Vienna, 07 — 09/04/2021.
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• Readings of Making a Laboratory (last edited: 2021) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Emma Cocker reads/reviews/responds to the publication Making A Laboratory: Dynamic Configurations with Transversal Video by Ben Spatz (Punctum Books, 2020), for Site-Reading Writing Quarterly, a project by Jane Rendell.
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  Dorsal Practices - Murky Back Thinking (last edited: 2024) author(s): Emma Cocker, Katrina Brown This exposition is in progress and its share status is: visible to all.
  In progress Dorsal Practices — Murky Back Thinking is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orientate to self, others, world. How does cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? The dorsal orientation foregrounds active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a backwards-leaning orientation support an open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?
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  Choreo-graphic Writing – Towards More-Than-One Means of Inscription (last edited: 2023) author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil, Simona Koch This exposition is in progress and its share status is: visible to all.
  This exposition forms part of a chapter entitled ‘Choreo-graphic Writing – Towards More-Than-One Means of Inscription’ by Emma Cocker, Nikolaus Gansterer and Mariella Greil, published in Leena Rouhiainen, Kirsi Heimonen, Rebecca Hilton and Chrysa Parkinson (eds.), Writing Choreography: Extending the Conventions of Dance (Routledge, 2023). Abstract for the chapter: Choreo-graphic Figures - Deviations from the Line is an artistic research project by writer-artist Emma Cocker, artist-performer Nikolaus Gansterer and dancer-choreographer Mariella Greil, for exploring those modes of thinking-feeling-knowing emerging between the lines of choreography, drawing and writing. This research project involved the cultivation of various modes of “choreo-graphic writing” [more-than-one / means of inscription] at the interstice of choreography, drawing and writing, the evolution of experimental language practices as artistic research. Drawing on various “practices” and “figures” developed within Choreo-graphic Figures, Cocker, Gansterer and Greil explore how different performative, sensuous and experimental textual practices and bodily inscriptions emerge as immanent means of articulation for that which remains strictly beyond words: the embodied, relational, affective and material sensitivities and sensibilities of collaborative, co-emergent sense-making taking place in and through the interaction between bodies, between human and non-human agencies. The chapter comprises two parts: PART I — an “exposition” (encountered here) showing how Cocker, Gansterer and Greil performed choreography/writing beyond the page within the context of Choreo-graphic Figures presented online using the Research Catalogue (RC), an online platform for publishing artistic research; PART II — an “essay” (within the printed publication, Writing Choreography: Extending the Conventions of Dance (Routledge, 2023) for exploring the different resonances of and implications for these various approaches to choreo-graphic writing. The exposition is designed in dialogue with Simona Koch.
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• Contingent Agencies (Vienna 2021) (last edited: 2023) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Contingent Agencies (Vienna 2021)
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• Practice Research (last edited: 2023) author(s): Emma Cocker, Danica Maier This exposition is in progress and its share status is: visible to all.
  Practice Research
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• Practice Sharing II (last edited: 2024) author(s): Emma Cocker, Cordula Daus, Lena Séraphin This exposition is in progress and its share status is: visible to all.
  Practice Sharing II is the second online presentation of diverse approaches to language-based practice within the field of artistic research, published by the Society for Artistic Research Special Interest Group for Language-based Artistic Research. The Practice Sharing includes contributions from: -- Annette Arlander -- Dave Ball -- Juan Pablo Gaviria Bedoya -- Sue Brind & Jim Harold -- Katrina Brown -- Arturas Bukauskas -- Julia Calver -- Delphine Chapuis Schmitz -- Emma Cocker -- Joanna Cook -- Adélia Santos Costa -- Mike Croft -- Kimberly Campanello -- Kostas Daflos -- Cordula Daus -- Janhavi Dhamankar & Minou Tsambika Polleros -- Martin.P. Eccles -- C.C. Elian -- Federico Eisner Sagues -- João Emediato -- Kate Fahey -- Rob Flint -- Lynda Gaudreau -- Sandra Golubjevaite -- Sara Gomez -- Vanessa Graf -- Maria Hedman Hvitfeldt, Mamdooh Afdile & Alexander Skantze -- Kirsi Heimonen & Leena Rouhiainen -- rosie heinrich with An_assembling_“I” -- Steffi Hofer -- Marianne Holm Hansen -- Rolf Hughes -- James Jack -- Benjamin Jenner -- Christina Marie Jespersen -- Molly Joyce -- Krystyna Kulisiewicz -- Andrea Liu -- Ling Liu -- Barb Macek -- Yorgos Maraziotis -- Klaus Maunuksela -- Annie Morrad -- Amelie Mourgue d'Algue -- Antrianna Moutoula -- Peta Murray -- Elena Peytchinska & Thomas Ballhausen -- Julieanna Preston -- Maya Rasker -- Sarah Rinderer -- Hanns Holger Rutz -- Maryam Ramezankhani --- Marianna Stefanitsi -- Anie Toole -- Tao G. Vrhovec Sambolec -- Sarah Scaife -- Litó Walkey -- Kai Ziegner -- Practice Sharing II is co-edited by Emma Cocker, Cordula Daus and Lena Séraphin. Designed + compiled by Emma Cocker. For more on the Society for Artistic Research Special Interest Group (SAR SIG) for Language-based Artistic research see here - https://www.researchcatalogue.net/view/835089/835129
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• Editorial Process: Practices of Phenomenological and Artistic Research (2022) author(s): Emma Cocker, Alex Arteaga published in: Research Catalogue
  This exposition forms part of the Editorial Introduction by Alex Arteaga and Emma Cocker published in the Special Issue 'Practices of Phenomenological and Artistic Research', (eds.) Alex Arteaga, Emma Cocker, Erika Goble, Juha Himanka, Phenomenology & Practice, [Vol. 17, No.1, 2022]. ISSN 1913-4711 See full issue here - https://journals.library.ualberta.ca/pandpr/index.php/pandpr/index
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  Performing Process (last edited: 2023) author(s): Emma Cocker, Danica Maier This exposition is in progress and its share status is: visible to all.
  PERFORMING PROCESS is a research group within the Artistic Research Centre at Nottingham Trent University, co-led by Emma Cocker and Danica Maier, both Associate Professors in Fine Art. We ask: what is at stake in focusing on the process of practice — the embodied, experiential, relational and material dimensions of artistic making, thinking and knowing. What is the critical role of uncertainty, disorientation, not knowing and open-ended activity within artistic research? How might a process-focused exploration intervene in and offer new perspectives on artistic practice and research, perhaps even on the uncertain conditions of contemporary life? PERFORMING PROCESS has origins in a number of critical precedents: Summer and Winter Lodges originating within the fine art area (practice-research residencies or laboratories dedicated to providing space-time for making-thinking and for exploring the process of practice), collaborative artistic research projects such as No Telos, for exploring the critical role of uncertainty, disorientation, not knowing and open-ended activity; the DREAM seminar series with PhD researchers which focuses specifically on the ‘how-ness’ of practice research by asking - How do we do what we do?
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• Test (2022) author(s): Emma Cocker published in: Research Catalogue
  published in: TestTestTestTestTestTestTest
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  TENDER DIALOGUES (last edited: 2023) author(s): Emma Cocker, Lena Séraphin This exposition is in progress and its share status is: visible to all.
  Tender Dialogues: Suspending Artistic Research Writing as Meaning-Making Tender Dialogues was a 3-hour workshop which took place on 2 July 2022 activated within the frame of the 13th Society of Artistic Research Conference (Mend, Blend, Attend) held at the Bauhaus-Universität Weimar. The workshop was initiated by Emma Cocker and Lena Séraphin. Participants: Annette Arlander, Emma Cocker, Cordula Daus, Lena Séraphin, Niina Turtola, Andy Weir, Natalia Castilllo Rincón and Hinnerk Utermann. This exposition presents some of the writing 'scores' activated during this workshop, alongside resulting written documents.
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• A Response to Contingent Agencies (last edited: 2023) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  WARNING: There are flashing lights in this exposition including on the landing page. This exposition gathers some of the explorations that I was engaged in as a guest researcher within the project Contingent Agencies, an artistic research project by Alex Arteaga and Nikolaus Gansterer
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  TEXTORIUM: Collaborative Writing-Reading with/in Public Space (2023) author(s): Emma Cocker, Andrea Coyotzi Borja, Cordula Daus, Lena Séraphin, Vidha Saumya published in: VIS - Nordic Journal for Artistic Research
  Textorium: Collaborative Writing-Reading with/in Public Space is a language-based artistic research project that explores collaborative score-based approaches to live, situated writing and reading practices, for attending to the experiential aspects of situated embodiment with/in public space. Between 30 May — 4 June 2022, five artist-writers (Emma Cocker, Andrea Coyotzi Borja, Cordula Daus, Vidha Saumya and Lena Séraphin) met in Vaasa, Finland, to engage in a process of observational and collective score-based writing-reading with/in public space. With its conceptual anchor in Georges Perec’s short book An Attempt at Exhausting a Place in Paris (1975/2010), this enquiry evolves a distinctive approach that foregrounds a corporeal, sensorial and bodily approach to language, where writing and reading are conceived as a collaborative undertaking rather than a solitary endeavour. Working with and through different language-based practices — including performative, poetic, and phenomenology-oriented approaches — the research explores the potentiality of emergent spaces (perhaps even of emergent temporalities, subjectivities and collectivities) produced through the interweaving of shared writing and reading practices, as the cyclical rhythms of writing/reading intermingle with the circulating movements, momentums and flows of public space. Through developing and testing various embodied, corporeal, sensorial, and collaborative approaches, this research enquiry advocates the transformative capacity of language-based artistic research for cultivating new “ecologies of attention” (Yves Citton, 2017). This shared enquiry explores the critical potentiality of our “linguistic bodies” (Di Paolo, Cuffari, and De Jaegher, 2018) as sites of both resistance and affirmation.
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• Confluence of Influence (last edited: 2023) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Confluence of Influence
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  The Yes of the No (last edited: 2023) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Beginning with a meditation on the affirmative potential of no alongside the dissident capacity of yes-saying as a species of refusal, The Yes of the No advocates different models of daily practice through which to perform everyday life — the as is — in the subjunctive key of what if or even what might be. Existing in the space between imaginative proposition and a call to action, The Yes of the No is an assemblage of provocations, proposals and potential ways of operating — ranging from navigating the city and inhabiting the margins to errant acts of reading; from preparing for the unexpected to learning how to ‘not know’, from minor acts of singular sedition to collective expressions of an insurgent ‘we’. The Yes of the No is the first collection by writer-artist Emma Cocker, which draws together selected fragments of writing produced in dialogue with, parallel to and as art practice (from between 2007–2016). Cocker’s writing often focuses on models of (art) practice and subjectivity that resist or refuse the pressure of a single, stable position by remaining wilfully unresolved. The Yes of the No takes the form of single-page prose paragraphs, which might be read in sequence or approached in the singular. Each page-paragraph is conceived as implicitly connected to others, yet with an identity (and name) of its own.
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  Artistic Research Does #7 - 'Tactics for Not Knowing' (last edited: 2024) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  This research exposition is conceived in conjunction with the publication, Artistic Research Does #7 (2023), which presents a translation of Emma Cocker’s essay ‘Tactics for Not Knowing: Preparing for the Unexpected’, originally published in Elizabeth Fisher and Rebecca Fortnum, (eds.) On Not Knowing: How Artists Think, (Black Dog Publishing, 2013). See https://i2ads.up.pt/publicacoes/artistic-research-does-7/ In addition to the translation and re-publication of the original text, the revised version of ‘Tactics for Not Knowing’ in Artistic Research Does #7 offers two further interventions in the form of annotations. In one column of margin notes, Cocker shares additional reflections, referring to some of her more recent artistic research projects and collaborations that continue to resonate with the concerns of the original text. In parallel, a second column of margin notes comprises the titles of additional pieces of contiguous writing drawn from two collections of Cocker’s writing, The Yes of the No (2016) and How Do You Do? (2023). Within this online version these margin notes include hyperlinks that enable the reader to access these different thought-fragments of writing. Artistic Research Does is edited by Catarina Almeida, André Alves. Artistic Research Does is published by i2ADS – Institute of Research in Art, Design and Society is a R&D unit based at the Faculty of Fine Arts of the University of Porto (FBAUP), financed by the Portuguese agency Fundação para a Ciência e a Tecnologia (FCT).
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• Dorsal Practices — Towards a Back-Oriented Being-in-the-World (last edited: 2024) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  This exposition forms part of a journal article, Katrina Brown and Emma Cocker, 'Dorsal Practices — Towards a Back-Oriented Being-in-the-World’, in Tara Page (ed.) With–In Bodies: Research Assemblages of the Sensory and the Embodied, Special Issue of Humanities 2024, 13, 63. https://doi.org/10.3390/h13020063 The article itself can be found here - https://www.mdpi.com/2076-0787/13/2/63
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• Dorsal Practices - supporting documentation (last edited: 2023) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  Dorsal Practices - supporting documentation
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• Ecologies in Action (last edited: 2024) author(s): Alex Arteaga, Emma Cocker, Nicole Wendel This exposition is in progress and its share status is: visible to all.
  Ecologies in Action video
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• Ecologies of Relation: Appearance of the More (last edited: 2024) author(s): Emma Cocker This exposition is in progress and its share status is: visible to all.
  The video comprises recorded extracts from a recent Ecology of Relation, a term used for describing a form of live practising together – or of being-in-touch – through which Cocker and Wendel explore ways for bringing-into-relation the unfolding and embodied processes of drawing and languaging as sensitive fields of perception and cooperation. Within an Ecology of Relation, different practices of drawing and voicing become activated through heightened attunement to the interrelation of different bodies, forces and agencies – both human and more-than-human – within the contingent process of shared exploration. Specifically, through the meeting of different performative practices, this enquiry attempts to attend to and make tangible the appearance and immanent materiality of an emergent drawing in touch with a moving body, whilst searching for a mode of linguistic articulation capable of operating in fidelity to that experience, to the emerging phenomenon (of drawing). The tentative framework of an Ecology of Relation is conceived in hope of creating conditions for inviting or calling forth that which could not be anticipated in advance, holding a space-time open for the possibility of the unknown or unexpected. What might emerge as a physical embodiment in space (as drawing) or audibly through language (as voicing), through attending to the presently perceived moment, through sensitivity, receptivity and deep listening to the silence, to what is already there? This shared enquiry explores the mutually constitutive relation between drawing and voiced language – how does each support the emergence of the other, moreover, what else might emerge in the spaces in-between? Language becoming drawing becoming language becoming…. How is the relation and influence between drawing/language: beyond following and leading, towards a quality of simultaneity, the kairotic co-emergence of naming and the named.
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