Written and produced by Grayson Cooke and featuring interviews with:
Pia van Gelder
Barry Saunders & Dermot McGuire
Edited by Chris Caines
Live AV in Australia by Grayson Cooke documents the diverse emerging national community of practice involved in live audiovisual performance. In a series of video interviews with practitioners around the country a picture emerges of a vibrant performance scene that draws on the aesthetic traditions of music, cinema and new media art.
An interdisciplinary dialogue on voice and the humanities
Edited by Malcolm Angelucci and Chris Caines
Voice/Presence/Absence collects international contributions from academic scholars and practitioners, together with recorded live performances of artists, writers, musicians and poets, creating the space for a discussion on the role of voice in contemporary humanities.
Voice/Presence/Absence is conceived as a dialogue: between a variety of interpretive frameworks and definitions of voice; between different objects of study (from contemporary art to post-dramatic theatre, from radio-voices to recorded poetry and audio-books, from pop music to novels, from the voice of trees to the one of birds, etc.) and, most important, between artists, performers and the world of academia.
A monograph by Cecilia Heffer
Edited by Zoe Sadokierski
Lace Narratives documents a series of contemporary lace works by textile designer Cecilia Heffer. The monograph looks at alternative ways to disseminate practice and articulate design process through combinations of video, stop motion graphics, interviews and written reflections. The projects question what happens when a textile designer breaks away from an adherence to a lace making tradition? Over the last decade the perception of lace as a decorative accoutrement has changed. Designers from across disciplines have been exploring lace structures and applying unconventional materials and approaches to traditional lace making.
In this series Lace Narratives looks at new approaches to lace making. The intersection between tradition and new technologies overlap to create a new space to work in and new knowledge to evolve. Can this approach extend our perception and relationship to pattern and space and in doing so potentially shift the way people experience and express their memory of place and experience of environment?
A monograph by Andrew Taylor
Edited by Chris Caines
First Person Kodachrome: Slide shows, colour, biography and me.
In 2004 the last of the Kodak slide carousels rolled off the production line and in 2008 Kodak stopped manufacturing Kodachrome, the ‘classic’ slide-film emulsion it had developed 70 years earlier. The click-chuh-clunk sound of slide carousels and the rich saturated colours of Kodachrome were both deeply associated with slide shows. The end of their manufacture effectively marked the death of the photo-chemical slide show as a popular medium.
First Person Kodachrome is an obituary – of sorts – of a dead media form. Implicit in framing the work as an obituary is the broad question about why is this old technology worth remembering? What is its influence, legacy, and after-glow?
The monograph has two parts that echo the slide show form: an online audio-visual essay and an illustrated written essay. (The two parts are complimentary and can be viewed /read in either order). Although the monograph discusses the invention, market dominance and eventual decline of Kodachrome, its approach is far more personal and idiosyncratic than conventional history. It explores how Kodachrome has influenced my own life and work as a filmmaker and photographer. Beyond this personal focus, the monograph investigates a convergence of art-film-photography; and the intersection between Kodachrome slides, colour, (auto)biography, family photos and memory.
First Person Kodachrome traces the slide show from its domestic suburban setting in the immediate post-war decades through to the ‘mutation’ that saw it became an integral and influential part of performance and installation art, as these art movements blossomed in the 1960s and ’70s. In turn, these movements and uses of the slide show bled into the overtly personal and autobiographical ‘turn’ in art and documentary filmmaking that has taken place in recent decades.
Despite its deep resonance in both post-war and contemporary culture, there has been virtually nothing written on the slide show in general; and its intersection with art and documentary, in particular. First Person Kodachrome speaks to this gap in knowledge.