• Terry Flaxton
    • Latest releases & exhibitions
    • Resurrection (for Jean Cocteau)
    • Flaxton Retrospective October 2023
    • RWA, FRPS, academic
  • The Present & The Past
    • The Present and The Past
    • Vida 1976 - 1981
    • Transition 1981 - 1982
    • Early Broadcast work: Triple Vision & Videomakers 1982 - 1985
    • Triple Vision & Channel 4 1985 - 1992
    • A Trip Sideways to the BBC
    • Cinematography and Scripting 1992 - 2006
    • Academia and a developing Artistic Practice 2007 - 2016
    • 2015 & 2016 Cinefest Bristol International Festival of Cinematography
    • Sedition 2015 - Present >
      • Sedition 2015 - Larger
    • Makersplace and NFT's 2020 - 2022
    • 2025 and beyond?
  • Artworks, Documentaries, Installations
    • Artworks, Documentaries, Installations
    • Longer Form Artworks
    • Installations 1992 - The Present >
      • Proposed Exhibition
    • Short works with a life of their own
    • Collaboration: Terry Flaxton Shawn Bell
    • Collaboration: Terry Flaxton Emily Burridge
    • Collaboration: Terry Flaxton Al Lethbridge
    • Documentaries 70s to 90s
    • Channel 4 - Moving Image Art Resources
    • Blink 2003 to 2012
    • Work on Racism 1976 - 2000
    • Short Dramas
    • Music Industry Work
    • Music and Sound 1969 - 1975
    • An Early History of Video Art in the UK
    • Theatre Work
    • The Cold War Game: The Soviet Union
  • Phd Home
    • Abstract >
      • Aims of the Critical Commentary
      • Introduction: practice as research as an investigative tool and methodology
      • Prologue: My Prior Development as an Industry Practitioner, Artist & Academic
    • Portfolio 1 Guide >
      • Critical Commentary on Portfolio 1
      • Portfolio 1 Complete list of outputs
    • Portfolio 2 Guide >
      • Critical Commentary on Portfolio 2
      • Portfolio 2 Complete list of outputs
    • Portfolio 3 Guide >
      • Critical Commentary on Portfolio 3
      • Portfolio 3 Complete list of outputs
    • Portfolio 4 Guide >
      • Critical Commentary on Portfolio 4
      • Portfolio 4 Complete list of outputs
    • Phd Conclusion >
      • Consolidated Bibliography of Works Referred to in the Critical Commentaries
      • Key Propositions from the Research Period
      • Complete List of Outputs
      • Extra Resources >
        • ​1. Context for Research from 1971 forwards
        • ​2. Emerging technologies in industry prior to the research period (2007)
        • ​3. High Resolution Research 2007 - 2010
        • 4. Higher Dynamic Range Research 2010 - 2016
        • 2016 Bristol International Festival of Cinematography Video Documentation >
          • Cinefest 2016 Trailer
        • 2015 Bristol International Festival of Cinematography Video Documentation
        • Research & Innovation >
          • Research Streams of CMIR 2013 - 2017
          • Higher Dynamic Range Laboratory
          • Higher Dynamic Range Research
          • Practice as Research >
            • Practice as Research
            • PhD Information
            • BLINK
            • UWE active in new feature film - DoP Geoff Boyle, Visiting Professor
            • AHRC Creative Research Fellowship >
              • Output One
              • Output Two
              • Output Three
              • Output Four
            • Short Works of Art >
              • Aperture
              • Zagorsk
              • One Second to Midnight
              • Autumn Dusk Cafe Scene
              • Les Petites Cartes Postales de Beijing
              • Water Table/The Power of the Sea
              • CMIR RWA KWMC Bursary winners
          • Artistic development and its relationship to the technologies of the Moving Image
          • Selling the Immaterial in a Material World >
            • Artists Marque
            • Harry Blain, Ex Haunch of Venison on s[edition]
            • How to Collect Immaterial and New Media Art
          • DataMontage
          • CML/CMIR Camera Tests
          • Moving Image Knowledge Exchange Network
          • Radical Film Network
          • Interactive Documentary, developing knowledge exchange forms & a reassessment of cultural value >
            • An experiment in online interactivity
          • DotMov Museum of Moving Image
          • Artists Moving Image Exchange Network - AMEN
          • The Future of Display Technology
          • The Photographic Image
          • CML UWE Camera and Lens Tests
          • Collected text resources
        • The Verbatim History of Digital Cinematography
        • Verbatim Interviews
        • The Verbatim History of the Aesthetics and Technologies of Analogue Video
        • A History of Video Art
        • Papers
        • Leonardo: New Utopias in Data Capitalism
        • The FIlms of Roberto Schaefer ASC, AIC at Encounters 2013
        • Professor Duncan Petrie on the structure of film training in the UK
        • An introduction to 'Resolution'
        • An Introduction to Motion Capture
        • Projection Mapping
        • Cinematographers Discuss Their Role
        • The Neurocinematics of FIlm: Hasson et al
        • RGB-Z Depth Capture in real time
        • News >
          • News
          • Past Events held by CMIR >
            • AMPS & CMIR Conference 2016
            • CMIR:ONE December 2015 CentreSpace Exhibition
            • John Hopkins, Father of British Independent Video
            • Bristol Festival of Cinematography September 2015
            • Bristol Radical Film Festival 2015: Commemorating the 1975 First Festival of Independent British Cinema
            • CMIR 'Lighting Faces' Masterclass with Geoff Boyle
            • Higher Dynamic Range Laboratory
            • Symposium at Encounters Short Film and Animation Festival, Aesthetics/Politics/Activism/Art: What is Radical Now?
            • 'VIENNA-BRISTOL-RIGA: A JOURNEY THROUGH RADICALISM' at Encounters Short Film and Animation Festival
            • Visual Activism(s): Tactics, Technologies and Styles
            • The Films of Ben Smithard BSC, Bargehouse June 2014
            • Bristol Radical Film Festival presents: Superlative TV and 'Equal Temperament' (2014)
            • One Artists Journey - 2014 May at the RWA
            • 2014 CML/CMIR Camera Tests
            • The Films of Roberto Schaefer at Encounters 2013
            • Professor Duncan Petrie on the structure of film training in the UK
            • The Stuart Hall Project 18th February
            • ISEA 2013
            • Community Filmmaking and Cultural Diversity
            • Bristol Radical Film Festival
            • Oxford Radical Forum
            • Bristol Radical Film Festival presents: Bristol Palestine Film Festival Warm-up
            • Bristol Radical Film Festival presents: Benefit Bonanza Solidarity Screening in association with Side by Side LGBT Festival in Russia
            • Past Events Further Back
        • The Future of Display Technology
        • CMIR ONE >
          • 18 Seconds
          • BOUNCE
          • 7 seconds
          • 4 seconds
        • BSC Expo Presentation: Terry Flaxton
        • Hotels and map CineFest
        • People & Affiliations >
          • People & Affiliations
          • Affiliate Academics from other Universities >
            • Professor Jane Arthurs, Middlesex University
            • Dr Sarah Atkinson, University of Brighton
            • Professor Amanda Beech, Dean, School of Critical Writing, CalArts
            • Dr Vince Briffa
            • Cathy Greenhalgh, Principle Lecturer, LCC
            • Professor Sean Cubitt, Goldsmiths
            • Professor Stefan Grandinetti, Stuttgart Media University
            • Dr Leon Gurevitch, Victoria University of Wellington
            • Andrew Demirjian, Specialist Professor, Monmouth University, New York
            • Roberta Friedman Associate Professor, Moving Image Montclair University
            • Professor Julia Knight, University of Sunderland
            • Dr, Lev Manovich Professor, The Graduate Center, City University New York
            • Dr Kayla Parker, Lecturer in Media Arts Plymouth University
            • Professor Stephen Partridge, University of Dundee
            • Professor Duncan Petrie, University of York
            • Dr Marc Price, University of Bristol
          • Affiliate Cinematographers & Filmmakers >
            • Renny Bartlett, Producer, Director, Screenwriter
            • Karel Bata
            • Geoff Boyle, FBKS, Visiting Professor
            • Sharon Calahan ASC
            • Catherine Goldschmidt
            • Jack Hayter
            • Dave Riddet
            • Roberto Schaefer ASC, AIC, Visiting Professor
            • Jonathan Smiles, Workflow Specialist
            • Ben Smithard BSC
            • David Stump ASC
          • Affiliate Academics from UWE >
            • Dr Judith Aston
            • Terryl Bacon
            • Liz Banks
            • Judith Bracegirdle
            • Professor John Cook
            • Dr Charlotte Crofts
            • Abigail Davies
            • Dr Josie Dolan
            • Professor Jon Dovey
            • Katrina Glitre
            • Dr John Hodgson
            • Dr James Jackman
            • Susan Mcmillan
            • Rachel Mills
            • Alistair Oldham
            • Dr Shawn Sobers
            • Dr Gillian Swanson, Associate Professor
            • Estella Tincknell, Associate Professor
            • Dr Sherryl Wilson
          • Affliate Research Groups >
            • Bristol Vision Institute, University of Bristol
            • Creative Media Research Group, ACE, UWE
            • Digital Cultures Research Centre
            • Film and Television Studies Research Group, UWE
          • Affiliate Cultural & Cinematic Organisations and Producers >
            • Aardman Animations
            • Afrika Eye/Zimmedia
            • Encounters Short Film & Animation Festival
            • IMAGO: European Federation of Cinematographers
            • Royal West of England Academy
            • Knowle West Media Centre
            • Watershed Media Centre, Bristol
          • Affiliate Independent Researchers & Artists >
            • Andrew Buchanan
            • Mark Cosgrove
            • Caroline Norbury, Visiting Professor, ACE, UWE
            • Peter Donebauer
            • Charlotte Humpston
            • Andrew Kelly, Visiting Professor, ACE, UWE
            • RIk Lander
            • Dr Ben Sherriff
            • Deborah Weinreb
            • Lucy Williams
        • Glow
        • United Digital Artists
  www.terryflaxton.com
Picture
blink began in 2005 and is a unique and developing collection of digital works in which each artist will answer the voices of the ones before, so that blink is a collective accumulation of the artists gaze on the subject of the state of humanity.

The practice as research elelement comes in only at the end of the creation of the work - this is in contradistinction from the practice as research methodologies described elsewehere. In fact the concept was to produce art work first and foremost to contribute financially towards alleviating the poverty of others (to create, to sell, to contribute). In this method of practice as research, because it is a group of financially self-reliant artists, we have the luxury to do the work first - then critically reflect on what we've done later (we do welcome any researcher that wishes to investigate and critically reflect on this process before the work is completed however). This will not be for some years but it is presented here because this is a description of commitment and intent outside of academia - that will eventually have an impact on academic thinking. This is a long term view.

Initially Terry Flaxton had the urge to create an artwork but as there were no resources to hand he took the camera to the tv screen with one rule: turn on and shoot the screen for 30 minutes no matter what was there. He then worked with the footage he obtained and this became One Second to Midnight.

Terry showed this work to an artist friend Robert Cahen who then responded with a work called Blind Song. The two developed the idea that no work should be more than 4 minutes and that the call should be made to other artists to join the chain. Eventually 17 other artists have j
oined in with project (including Chris Meigh-Andrews) and more will be joing.

All contributing pieces will be between 30 seconds and 4 minutes. Each piece will be made by an artist from a country different from the one before as we seek a description - a snapshot - of the world that transcends cultural values. blink can be purchased here.

When the artwork has been finished, a dvd will be manufactured for limited edition sale and the proceeds will be donated to El Refugio del Rimac in Lima Peru. El Refugio Film.

blink will be eventually be launched in at the Locarno Festival.

blink will also be an online resource.

Title Sequence.


Some of the most substantial and pioneering video and digital artists in the world are currently being approached to make one of the pieces for blink and on their agreement to make some work for the project their names will be published here.

So far, Robert Cahen (France), Andrea Faciu (Romania), Zineb Sedira (France/Algeria/UK), Marie Ange Bordas, Brasil, Berry Bickle (Zimbabwe, Mozambique), Jeremy Welsh (Norway/UK), Petra Lindholm (Sweden, Finland), Ruelo Lozendo (Phillippines), Ana Marten (Costa Rica), Roberto Schaefer (US), Paolo Rosa of Studio Azzurro (Italy), Maree Mills (New Zealand), Pipilotti Rist (Switzerland), Gary Hill (US), Steina and Woody Vasulka (Iceland, Czechoslovakia), Theo Eshetu (Ethiopia/Italy), Chris Meigh-Andrews, (Canada/UK), Bill Seaman (US), Francisco Ruiz de Infante (Spain/France), Vince Briffa (Malta), Rik Lander, Uk, and Terry Flaxton (UK) plus others will each be making a piece for blink.

There is no rule book; the artists are being asked simply to respond to the pieces before theirs, to make a moving image piece with maximum duration of 4 minutes. Whether they respond with impressionistic, figurative, abstract, expressionist or ambient work... whatever the artist feels in his or her artistic intuition will be the right response in making a contribution to this collected work.

The underlying theme derives from our sense of danger - that the world stands upon the brink of disaster, yet it is also informed by hope. Importantly, the self-reflexiveness of the medium will always be under the artists scrutiny.

Description of Project

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