Chris works at the intersection of cinematic practices & transformational new technologies with an interest in what these hybrids can add to the art of storytelling. His work in short film & post production has been focused around utiilising the possibilities of new imaging & visual fx technologies as a part storytelling language itself. Alongside this work he has been developing online interactive fictions since the early nineties exploring the relationships between formal hypertext fiction and the language of web conventions that surround it. In recent years he has been producing site specific fiction & documentary projects utilising mobile phones and other forms of location aware media.
Can supervise: YES
Digital Cinema, writing for the screen, experimental narrative, visual fx & wireless/locative media
Film & Video, New Media
Caines, C 2018, 'Walktrack', Interartive, vol. Interartive 100, no. Interartive 100: Special Issue : Walking Art-Walking Aesthetics.
Walktrack is a meditation on walking and how we think about the act in combination with locative media. Thinking about both the construction of these works as artists and producers and also the simultaneous currents of memory, motion and mediated experience that work produced in this mode exploits.
Frankham, B & Caines, C 2019, 'Mobile Reception: Materiality and Locality with Small Screens' in Batty, C, Berry, M, Dooley, K, Frankham, B & Kerrigan, S (eds), The Palgrave Handbook of Screen Production, Palgrave Macmillan, Cham, Switzerland, pp. 375-388.View/Download from: Publisher's site
Mobile phone screens have always been intimate displays. Attached to uniquely personal devices that rarely leave our sides and attached to networks that carry our most intimate communications these screens carry with them a boutique set of opportunities and challenges for screen-based production. In this chapter we examine these affordances and restrictions with particular focus on what sets these mobile screens apart from other screens as sites of reception, production and distribution. Particularly we focus on the materialities of the devices, the key aspects of the locative and the nature of mobile devices as networked screens. We draw on exemplars from mobile based media art productions that have made sophisticated use of these properties in ways that distinguish the mobile screen work as a modality with its own language, aesthetic rules and creative production strategies. In these examples we are looking at how media artists are continuing a tradition of experimentation with the materiality of new mediums and how this contributes to developing the language of the medium. We examine how the particular properties of the mobile screen influence the type of content that is produced. From the nature of the stories that sit well in the medium to the type of physical and virtual interaction that distinguish these screens from other networked screens.
Caines, C 2013, 'Road, River and Rail' in Hamilton, P & Ashton, P (eds), Locating Suburbia: memory, place, creativity, UTS ePRESS, Sydney, pp. 260-267.
eBook version of publication includes audio and video material, print version contains screen shots and colour images.
Kandlbinder, PA & Caines, C 2009, 'Collaborating With First Year Students To Develop Sustainable Digital Literacy In A Communication Degree', Educause 2009, Educause Australasia, Perth, Australia, pp. 1-10.
With digital media being ubiquitous in youth culture there is an expectation that students entering university courses will have well developed digital literacy. At the same time low cost digital communication and information technologies are making it possible for curriculum designers to consider using multimodal forms of communication to assess studentsâ communication abilities beyond the traditional written forms. Yet, in spite of being classified as digital natives, a survey of first year students at the University of Technology Sydney (UTS) showed that many entering communication degrees are still relatively unskilled in creating and editing digital audio or video and have had no experience of keeping their own blog or creating significant online content. Without the ability to record sound and image (still and moving), edit, and publish online, students will find that they are no longer able to satisfactorily participate in the first year of their course.
Caines, C 2019, 'In Our Ken', T5 Tanks - Sydney Festival 2019.
Caines, C 2019, 'Moonshot', Giant Leap, Press Play, Casula Powerhouse, British School of Rome, MACRO Museum, Rome.
One 11 minute video and one audio installation work
Caines, CC 2016, 'The Classification of Clouds, Cloud Observatory', The Classification of Clouds, Cloud Observatory, Australian Broadcasting Corporation, WFMU, ABC Radio National, Torre dei lambardi gallery (Italy) WFMU (USA).
A cloud never seems to be just a cloud. When we’re lying on our backs in the grass on a summer's day, we see heads, animals, mountains, body parts, all morphing and changing. When we’re uploading files, sending messages, we send them out into an internet so mysterious, so ethereal, that we’ve taken to calling it the cloud. When we look to the clouds as signs of weather we think of the climate, the carbon particles filling the atmosphere, storms, rain, sea levels.
Caines, CC 2014, 'Portrait #1', MAAM Rome, Italy.
Caines, CC 2011, 'Open Air', Open Air, Apple iTunes - Mosman Gallery.
Caines, C 2010, 'Mathematics', DVBlog - Random Arts and Entertainment, New York, New York, USA..
Mathematics is a short video work published online and shown in Beijing in 2010 and published by the curated Video Art site DVBlog in early 2011. It explores the tension in moving visual media between text & image and narrative devices.
Caines, C, O'Neill, SP & Tyrell, J 2010, 'Headwater', Newington Armory, Sydney Olympic Park Authority, Homebush Bay, Sydney.
"Headwater" is a audio video performance work by Chris Caines, Shannon O'Neill and Jes Tyrrell commissioned for the Memory Flows exhibition at The Newington Armory, Sydney Olympic Park, from May 14- June 20, 2010. Supported by national, competitive funding from the InterArts Board of the Australia Council for the Arts, Memory Flows was also supported by the Sydney Olympic Park Authority, the ABC and UTS. Memory Flows featured fifteen media artworks, curated by Norie Neumark, Deborah Turnbull and Sophia Kouyoumdjian. The Memory Flows exhibition was opened by Judith Blackall of the Museum of Contemporary Art, featured a public forum on June 20, 2010, and although open for only 15 exhibition days, was seen by an astounding 2,700 gallery visitors. "Headwater" is a composition involving video, audio, data projection and uses source material from field recordings from the Parramatta River and Armoury site. It is exploration of mediated history and ecology, in particular the shifting narratives associated with Sydney's Parramatta River, and a creative artwork response to the river's murky, contentious past. The Memory Flows exhibition was enormously successful in terms of gallery attendees, and its impact in bringing media art to new audiences. Additionally, Memory Flows was favourably reviewed in the national arts publication, RealTime Arts Online. http://www.realtimearts.net/article/97/9919
Caines, C, O'Neill, SP & Tyrell, J 2009, 'The Field', Lquid Architecture Festival - Bon Marche Studio - UTS.
The Field - an improvised audiovisual performance by Chris Caines, Shannon o'Neill and Jes Tyrrell. . The Field is supported by the Inter-Arts board of the Australia Council as part of Memory Flows and will be streaming live from the Centre for Media Arts Innovation page - http://www.communication.uts.edu.au/centres/cmai/
Caines, C 2008, 'A Year On The Road', Sound of Failure - Enmore Theatre, Sydney.
Background A Year on the Road was curated into the Sound Of Failure Festival to engage with the theme of the festival, the aesthetics of error, the glitch, the break in continuity. It did so by employing a algorithmically determined relationship between sound and image. The audio element of the performance was designed to interact with the image in a structure designed around the ideas of fractal editing observed in data averaging the form of traditional Hollywood cinema editing over decades.Contribution Using these techniques (generated in the composition of the soundtrack using the software Nodal) the piece posits a way forward in the live image sound relationship. Pairing the performance of carefully constructed wave like sound structures with more organically played image sequences. Significance This new piece forms a work of significant research in finding a new language for the relationship between sound and image based on the meta structure of traditional cinematic language. It forms the basis for the compositions and performances.
Caines, C 2007, 'Homepage', Liquid Architecture 8.
Liquid Architecture 8 Curator â Ben Byrne and Shannon OâNeill
Background - While by the early 2000s there was a lot of evidence piling up that The Philippines were the epicentre of mobile driven social and political change (the coup de text of Estrada in 2001 being the tipping point) there was nothing being done in terms of documentary research across the society regarding the effects of these technologies. Thumb Candy as a project set out to examine these processes. Contribution - Apart from becoming a primary resource for thinking about mobile culture in The Philippines, Thumb Candy is also innovative in form being a blog based video documentary searchable by tags, keywords and categories. This way of navigating and searching the material leads to a the making of database connections not easily possible in a conventional video documentary. Significance - even though The Philippines have long been recognised as the world centre of change in terms of the use of SMS and the mobile phone as a tools of social and political change until Thumb Candy went online in 2006 there was no significant documentary research into the phenomenon. At the time of writing in 2010 there remains nothing like it as a research resource on the web. Since going live in 2006 it has received 50,000 visitors.
Caines, C 2004, 'Curtains', Switch Media Arts Festival - PATHIHARN ELECTRON [SUPERNATURAL].
Caines, C, 'Five Imaginary Drugs (multi channel video)', Interactiva 03 Biennale for New Media Art, Arte Neuvo Interactiva, Merida Museum of Contemporary Art, Mexico.
Background - My inclusion in this Biennale was facilitated by the Cuban curator Raul Moarquech Ferrera-Balanquet whom I met in 2001 while doing an Asialink residency at Chulalongkorn University in Bangkok. When he asked me to contribute a new video work to this exhibition he was interested in me continuing to develop the video as text pieces I was developing on residency in Thailand. I ended up producing Five Imaginary Drugs as a five screen video work of animated video texts for the show as a spatialization of this form of expanded cinema. Contribution - Five Imaginary Drugs builds on traditions of both expanded cinema, experimental writing and concrete poetry to create new forms where text read in parallel create hybrid and associative meanings between video streams. The de-emphasis of the image track enables the text to be read as a multilinear narrative. Significance - Interactiva 03 was for the time a landmark exhibition in the de-centring of new media and digital art histories from the Europe-America axis that had almost exclusively held sway.
Caines, C, 'go this way', Australian Centre for the Moving Image/National Gallery of Victoria, Council of the Trustees of the National gallery of Victoria, many places.
'Merges online hypertext writing with real locations' Many artists involved with exhibition but some artist has submitted a significant body of work. This qualifies as a major work because of extent and complexity
Caines, C, 'Orbital', Coded, Blacktown Arts Centre, Blacktown Arts Centre.
"Orbital" was both a reactive sensor driven gallery audio installation and an audio work for iPhones traveling the Sydney orbital freeway network. A series of driver monologues exploring the psychic space of suburbia and the no space of transit through the trance state of motorway driving.
Caines, C, 'Sixteen Days', European Media Art Festival, Chris Caines, Osnabrueck, Germany.
Background - Sixteen Days was funded from two sources, a New Work grant from the Australia Council ($15k) an Asialink Residency in Bangkok ($12k) which afforded the time to post produce the piece. It sits within a practice of video art that uses techniques of animated collage to create tableaus of condensed image poetics. Sixteen Days builds on this tradition adding text and voice over tracks simultaneously to ask what happens to the meaning of the images overlaid with competing and interacting narrative streams. Contribution Bringing ideas of multilinear collage to time based audiovisual media creates new modalities of meaning and widens the expressive scope of these media beyond the conventions of cinematic causality. Significance Sixteen Days was funded through the competitive grants process of both the Australia Council and the Asialink Arts Board. Apart from the EMAF festival (mentioned above) it has been widely exhibited including the Viper Media Arts Festival in Switzerland, Electrofringe in Newcastle and Liquid Architecture in Sydney. It is permanently archived here: http://chriscaines.com/?page_id=66
Caines, C, 'The 8th crossing', Western Front: Art Is A Social Space, Blacktown Arts Centre, Blacktown Arts Centre.
Caines, C, 'The Field', Memory Flows, Centre for Media Arts Innovation, UTS, Newington Armory, Sydney Olympic Park Authority, Homebush Bay, Sydney.
"The Field" is a media artwork commissioned for the Memory Flows exhibition at The Newington Armory, Sydney Olympic Park, from May 14- June 20, 2010. Supported by national, competitive funding from the InterArts Board of the Australia Council for the Arts, Memory Flows was also supported by the Sydney Olympic Park Authority, the ABC and UTS. Memory Flows featured fifteen media artworks, curated by Norie Neumark, Deborah Turnbull and Sophia Kouyoumdjian. The Memory Flows exhibition was opened by Judith Blackall of the Museum of Contemporary Art, featured a public forum on June 20, 2010, and although open for only 15 exhibition days, was seen by an astounding 2,700 gallery visitors. "The Field" is an interactive sensor driven artwork involving video, audio, data projection and sensing. It is exploration of memory and forgetting, in particular the shifting narratives associated with Sydney's Parramatta River, and a creative artwork response to the histories of the site. The Memory Flows exhibition was enormously successful in terms of gallery attendees, and its impact in bringing media art to new audiences. Additionally, Memory Flows was favourably reviewed in the national arts publication, RealTime Arts Online. http://www.realtimearts.net/article/97/9919
Caines, C, 'The Library Book', The Library Book, DAB Gallery.
The Library Book is one of the outcomes of the year long residency Chris Caines has held at UTS Library. 2013 is the 2nd year of the AIR program at the library where artists produce work concerned with the ideas that the concept of the Library embodies. The project is also connected to the collaborative project http://durationalbook.com a series of durational projects first presented at the State Library of NSW this year in June as part of ISEA 2013 and in another iteration at UNSW in October. Durational Book is a collaboration between Caines & Zoe Sadokierski, Asrtid Lorange, Jacquie Kasunic, Megan Heyward and Tom Fethers exploring expanded ideas of what a book might be in the contemporary age through performance, digital writing and the production of speculative design objects.
The Durational Book Group is comprised of media artists Chris Caines and Megan Heyward, design researchers Zoë Sadokierski and Jacqueline Kasunic, and poet/essayist Astrid Lorange. While all five have well recognised individual practices, they are linked by an appreciation of the fertile interplay between forms and technologies, in particular that between text and graphic, audiovisual, networked and sculptural forms. The group was formed to explore the intersections and extensions afforded by interdisciplinary collaborative practice. During ISEA2013 (International Symposium for Electronic Art) the first iteration of the Durational Book project expanded the historical idea of the book to include forms of contemporary media: print media was mixed with audio-visual and interactive content. The group worked from the State Library of NSW's archive to generation of a variety of speculative works, investigating the library as a creative tool. During the week-long event, the artists added daily to a new archive of analogue and digital material, text, illustration, video and sound. This material will eventually form the content of an expanded `book'.