Performing Process by Emma Cocker

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?

THEMATIC NODES

SLOW PRACTICES

AUTOTELIC – TOWARDS FLOW

MODES OF ATTENTION

EMBODIED KNOWLEDGE(S)

OTHER KNOWING(S)

EMBRACING UNCERTAINTY

TACIT KNOWING

MATERIAL CORRESPONDENCES

DISCLOSING PROCESS

EXPOSITIONALITY

Since 2022, we have begun to identify possible ‘thematic nodes’ within the wider frame of PERFORMING PROCESS. During Spring/Summer 2022, we hosted a first phase of reading group sessions and discussions for exploring these initial 'thematic nodes', for identifying a tentative field of references, an emergent set of ideas and vocabularies with which to engage, to think-with. In proposing the various thematics and texts for reading together, the aim is to open up a space of discussion relating to the wider thematic PERFORMING PROCESS. How might the provocation of reading these texts together invite the affirmative reinvigoration, revaluing or even transformation of our collective and individual practices: What do we need to nurture for the creative processes of making-thinking? What conditions can we cultivate? Where can we effect change(s)? How can we develop shared languages for advocating the value of performing process?

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