MediaObject is a book
series that is focused on
publications from
researchers and artists
exploring and documenting
practice based projects
not based primarily in text.

A monograph by Cecilia Heffer

Edited by Zoë Sadokierski

Lace Narratives.

Lace Narratives: A monograph, 2005 – 2015 documents Cecilia Heffer’s innovative lace-making practice over a decade, including major exhibitions and commissions. This publication examines ways that Cecilia’s research practice responds to changing ideas and technologies as a means to extend our perception of textiles. It presents an in-depth reflection on studio practice in a discursive spirit, responding to the question: What has the studio enquiry revealed that could not have been revealed through other modes of research?

The publication is composed of:
— A seven-minute video documenting Cecilia creating the lace-work Drawn Threads, available to view via the UTS Library YouTube site;
— A limited edition artist’s book with lace samples bound into the pages, publicly available through selected libraries and museums including UTS Library;
— An Open Access digital edition of the book which can be downloaded after the Oct 22 launch;
— A print-on-demand edition of the book, available to purchase shortly.

Through these different components, the audience can watch Cecilia’s lace-making innovations in the documentary video, read critical reflections on her research and creative process, and handle lace samples. This combination affords a holistic understanding of Cecilia’s practice-led research and material output.

This is an experimental publication model conceived by Zoë Sadokierski for the MediaObject book series and produced with support from the UTS Library and UTS ePress.

YouTube link to the process video:

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.

Written and produced by Grayson Cooke and featuring interviews with:
Lloyd Barrett
Brigid Burke
Chris Caines
Michael Colenso
Robin Fox
Pia van Gelder
Sean Healy
Robert Jarvis
Michela Ledwidge
Jaymis Loveday
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.

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.