O/P 2
High Resolution Motion Imaging and the Iconic Image
High Resolution Motion Imaging and the Iconic Image is one of a number of outputs from Flaxton’s AHRC Creative Research Fellowship (2007 – 2010): ‘High Definition Imaging: An Investigation in the Actual, the Virtual and the Hyper Real’. As a part of a scaffolded investigation developed forward from Output One, though the artefacts in Output 2 were designed to explore the immersive properties of the higher resolution image, they also included an additional increase of resolution of 16 times.
Within O/P 2 there are 14 supporting artefacts (2 main and 12 Subsidiary), i.e. Un Tempo Una Volta (2008). These were staged in 19 public and academic exhibitions, from which were derived 2 peer reviewed articles (the second an update on the first), two conference papers and one invited talk to research community.
The artefacts contained within ‘High Resolution Motion Imaging and the Iconic Image’ have been exhibited in Italy, America, Norway, Japan and the UK to 6000+ people and investigated the relationship between moving-image resolution and audience engagement and the iconic image.
Though confirming that increased resolution produces longer engagement times, the development in knowledge between Outputs 1 and 2 then utilizes the simple trope of offering the familiar, by first withholding its nature then revealing what has been withheld. Through this device, audiences take longer to read and then recognize what has been offered. The hypothesis explored is that increased resolution adds an extra dimension to engagement as an addition to familiar tropes, which themselves gain extra traction by increases in resolution.
The Article ‘HD Aesthetics’ published in ‘Convergence’, Volume 17, Number 2, 2011, discusses issues within the production of higher resolution work during this period of development.
O/P 2: High Resolution Motion Imaging and the Iconic Image
High Resolution Motion Imaging and the Iconic Image is comprised of 14 artefacts (2 main and 12 Subsidiary), 19 exhibitions, 2 peer reviewed articles (the second an update on the first as developments occur very fast in this subject area), 2 conference papers and 1 invited talks to research communities.
ARTEFACTS
The following Artefacts were created to explore my core research question and all were intended to have a physical presence in their staging, to distinguish this work from standard cinematic display forms, to interrogate forms of audience engagement. In the case of Un Tempo Una Volta for instance, the 20 foot by 10 foot projection screen was suspended at a 45 degree angle 15 feet above the audience’s heads who themselves reclined on a reflective soft surface.
· In Re Ansel Adams, High Resolution Digital Installation, Various (1st Exhibition, Bristol), 2008. http://www.visualfields.co.uk/ANSEL.html Projection on to a 20 foot x 10 foot screen shot at 4K, projected at 2k (2048 x 1024 pixels) Later iterations on a 60 inch plasma display
· Un Tempo Una Volta, High Resolution Digital Installation, Various (1st Exhibition, Venice), 2008. http://www.visualfields.co.uk/untempo.htm Projection on to a 20 foot x 10 foot screen shot at 4K, projected at 2k (2048 x 1024 pixels). The screen was hung at 45 cegrees 15 feet above the audiences heads whilst they laid on a soft reflective surface.
Later I created three further artefacts to further explore the question with regard to the consumer experience of High Definition:
· 2010 Three Unavoidable Moving Image Works Created on Consumer HD Cameras, Digital Single Screen Artwork, Various (1st Exhibition, Salisbury)
Autumn Dusk Café Scene, Venice 2008
The American Dream, New York 2008
Mes Petits Cards Postales de Beijing 2010
http://www.visualfields.co.uk/history0.htm Various screen sizes and resolutions
Then I created a further 9 artefacts to investigate ideas that had developed within the previous works plus also to investigate levels of scale of display both in terms of size and of resolution:
· 2010 Nine Moving Image Works to Investigate Ideas of ‘Place and Space’, High Resolution Digital Installation, Various (1st Exhibition, London) http://www.visualfields.co.uk/history0.htm Various screen sizes and resolutions (primary exhibition work on either, 20 foot x 10 foot screens – or a series of 12 inch by 9 inch photoframes) (Chapter Six on Blu-Ray DVD) Caption following on to:
The Unfurling 2008
Cathedral Steps 2010, (After MC Escher) (Chapter Seven on Blu-Ray DVD)
James Loves Sarah, 2009 – 2010 (Chapter Eight on Blu-Ray DVD)
The Divine Being 2009 – 2010 (Chapter Nine on Blu-Ray DVD)
The Unfailing Landscape 2009 – 2010 (Chapter Ten on Blu-Ray DVD)
Glastonbury Tor 2009 – 2010, Smoke Piece 2009 – 2010 (Chapter eleven on Blu-Ray DVD)
Smoke Piece 2010 (Chapter Twelve on Blu-Ray DVD)
The Elemental Wave 2009 – 2010, Walking (In Re Richard Long) 2009 – 2010 (Chapter Thirteen on Blu-Ray DVD)
Walking (In Re Richard Long) 2010 (Chapter Fourteen on Blu-Ray DVD)
Wood, Wave, Wetland, Moor 2009 – 2010, Comprised of combinations of these last three works (Smoke Piece, The Elemental Wave, Walking) with the addition of Wetland Landscape, projected in a square of 20 foot x 10 foot screens (Chapter Fifteen on Blu-Ray DVD)
EXHIBITIONS
· 2010 3 x International Exhibitions (France, USA, Japan), Museum of Modern Art Strasbourg, Yokohama Creativity City Center, New York Center, Millennium Magazine http://www.visualfields.co.uk/history0.htm
· 2010 One Person Show of research works from AHRC Fellowship, Salisbury Arts Center, 01/10/10-31/10/08, 2010. http://www.visualfields.co.uk/P3exhibition.m4v (This exhibition included the display of Un Tempo Una Volta 50 feet above a café area to see if non black box viewing creayed a deterioration in engagement times)
· 2010 Time and Resolution: Experiments with High Resolution Imaging, P3 Gallery, London (University of Westminster), 07/12/10-21/12/10. http://www.visualfields.co.uk/P3exhibition.m4v This was a the cumulative exhibition of the AHRC Fellowship and was held in collaboration with University of Westminster. The artefacts and research was highlighted for the Westmionster CREAM research group at their Research Away-day. During this exhibition Academics were also approached to discuss issues around the methodology of practice as research and these are available online totalling 4 hours: http://www.visualfields.co.uk/KTWest.htm
· 2009 Imaginists - 2 small exhibitions of work from Venice, Gallery 204, Bristol, The Phoenix Arts Center Glastonbury, 2009. http://www.visualfields.co.uk/imaginiststalking.htm
· 2009 Screening of Research work, Bergen Elektronisk Kunst Senter, Norway http://www.visualfields.co.uk/history0.htm
· 2009 Two Italian Exhibitions: Rome Film Festival and Milan InVideo Festival, Rome & Milan http://www.visualfields.co.uk/blinkart1.html
· 2008 A series of 4 HD installations over four days, Wickham Theatre, 22/09/08-26/09/08 http://www.visualfields.co.uk/NE57.htm
· 2008, A series of 4 HD installations over three days, 18/09/08-20/09/08 http://www.visualfields.co.uk/history0.htm
· 2008 In Re Ansel Adams, Gallery 204, Bristol, 26/09/08-27/09/08 http://www.visualfields.co.uk/history0.htm
· 2008 Ritratti di Cannaregio (Portraits of Cannaregio) & Un Tempo Una Volta (Once Upon a Time), Scarabocchio Studio Grafico, Cannaregio, Ponte degli Ormensini, Venice, 12/09/08 http://www.visualfields.co.uk/NEPortraitsCannaregio.htm
AUDIENCES
In total over 6,000 people have engaged worldwide with this work during its lifetime. An important development happened in September 2012 when research work become public engagement in general - as the Harris Museum in Preston requested the inclusion of In Re Ansel Adams to become part of its permanent collection, and this work has been on display there, together with paintings and sculptures created over 4 centuries since September 2012. (50 inch plasma display).
ARTICLES
The effect of the creation and exhibition of the artefacts was discussed in the following articles:
· ‘The Technologies, Aesthetics, Philosophy and Politics of High Definition Video’, Millennium Film Journal, No 52, (pp. 44-55, 4750 words), 2009. http://www.academia.edu/204070/The_Technologies_Aesthetics_Philosophy_and_Politics_of_High_Definition_Video
This following article is an update on the preceding article to record the changes in technical developments in the medium:
· ‘HD Aesthetics’ Convergence, Sage, Volume 17, Number 2, May 2011, (Pages 113 – 123, 6000 Words).
http://www.academia.edu/510723/HD_Aesthetics
These fuelled further reflection which I then presented in the following Conference Papers:
CONFERENCE
· 'The creation of Art in a post-digital World', Athens, 8th International Conference on Communication and Mass Media, 2011. http://www.academia.edu/580827/The_Creation_of_Digital_Art_in_a_Post_Digital_World
· ‘The Soft Machine Wilderness’ ISEA, Albuquerque, September 2012 http://www.academia.edu/2023894/The_Soft_Machine_Wilderness
INVITED TALKS
'Myth and Meaning in the Digital Age', ETH Zurich, 2010. http://www.academia.edu/353880/Myth_and_Meaning_in_the_Digital_Age
High Resolution Motion Imaging and the Iconic Image
High Resolution Motion Imaging and the Iconic Image is one of a number of outputs from Flaxton’s AHRC Creative Research Fellowship (2007 – 2010): ‘High Definition Imaging: An Investigation in the Actual, the Virtual and the Hyper Real’. As a part of a scaffolded investigation developed forward from Output One, though the artefacts in Output 2 were designed to explore the immersive properties of the higher resolution image, they also included an additional increase of resolution of 16 times.
Within O/P 2 there are 14 supporting artefacts (2 main and 12 Subsidiary), i.e. Un Tempo Una Volta (2008). These were staged in 19 public and academic exhibitions, from which were derived 2 peer reviewed articles (the second an update on the first), two conference papers and one invited talk to research community.
The artefacts contained within ‘High Resolution Motion Imaging and the Iconic Image’ have been exhibited in Italy, America, Norway, Japan and the UK to 6000+ people and investigated the relationship between moving-image resolution and audience engagement and the iconic image.
Though confirming that increased resolution produces longer engagement times, the development in knowledge between Outputs 1 and 2 then utilizes the simple trope of offering the familiar, by first withholding its nature then revealing what has been withheld. Through this device, audiences take longer to read and then recognize what has been offered. The hypothesis explored is that increased resolution adds an extra dimension to engagement as an addition to familiar tropes, which themselves gain extra traction by increases in resolution.
The Article ‘HD Aesthetics’ published in ‘Convergence’, Volume 17, Number 2, 2011, discusses issues within the production of higher resolution work during this period of development.
O/P 2: High Resolution Motion Imaging and the Iconic Image
High Resolution Motion Imaging and the Iconic Image is comprised of 14 artefacts (2 main and 12 Subsidiary), 19 exhibitions, 2 peer reviewed articles (the second an update on the first as developments occur very fast in this subject area), 2 conference papers and 1 invited talks to research communities.
ARTEFACTS
The following Artefacts were created to explore my core research question and all were intended to have a physical presence in their staging, to distinguish this work from standard cinematic display forms, to interrogate forms of audience engagement. In the case of Un Tempo Una Volta for instance, the 20 foot by 10 foot projection screen was suspended at a 45 degree angle 15 feet above the audience’s heads who themselves reclined on a reflective soft surface.
· In Re Ansel Adams, High Resolution Digital Installation, Various (1st Exhibition, Bristol), 2008. http://www.visualfields.co.uk/ANSEL.html Projection on to a 20 foot x 10 foot screen shot at 4K, projected at 2k (2048 x 1024 pixels) Later iterations on a 60 inch plasma display
· Un Tempo Una Volta, High Resolution Digital Installation, Various (1st Exhibition, Venice), 2008. http://www.visualfields.co.uk/untempo.htm Projection on to a 20 foot x 10 foot screen shot at 4K, projected at 2k (2048 x 1024 pixels). The screen was hung at 45 cegrees 15 feet above the audiences heads whilst they laid on a soft reflective surface.
Later I created three further artefacts to further explore the question with regard to the consumer experience of High Definition:
· 2010 Three Unavoidable Moving Image Works Created on Consumer HD Cameras, Digital Single Screen Artwork, Various (1st Exhibition, Salisbury)
Autumn Dusk Café Scene, Venice 2008
The American Dream, New York 2008
Mes Petits Cards Postales de Beijing 2010
http://www.visualfields.co.uk/history0.htm Various screen sizes and resolutions
Then I created a further 9 artefacts to investigate ideas that had developed within the previous works plus also to investigate levels of scale of display both in terms of size and of resolution:
· 2010 Nine Moving Image Works to Investigate Ideas of ‘Place and Space’, High Resolution Digital Installation, Various (1st Exhibition, London) http://www.visualfields.co.uk/history0.htm Various screen sizes and resolutions (primary exhibition work on either, 20 foot x 10 foot screens – or a series of 12 inch by 9 inch photoframes) (Chapter Six on Blu-Ray DVD) Caption following on to:
The Unfurling 2008
Cathedral Steps 2010, (After MC Escher) (Chapter Seven on Blu-Ray DVD)
James Loves Sarah, 2009 – 2010 (Chapter Eight on Blu-Ray DVD)
The Divine Being 2009 – 2010 (Chapter Nine on Blu-Ray DVD)
The Unfailing Landscape 2009 – 2010 (Chapter Ten on Blu-Ray DVD)
Glastonbury Tor 2009 – 2010, Smoke Piece 2009 – 2010 (Chapter eleven on Blu-Ray DVD)
Smoke Piece 2010 (Chapter Twelve on Blu-Ray DVD)
The Elemental Wave 2009 – 2010, Walking (In Re Richard Long) 2009 – 2010 (Chapter Thirteen on Blu-Ray DVD)
Walking (In Re Richard Long) 2010 (Chapter Fourteen on Blu-Ray DVD)
Wood, Wave, Wetland, Moor 2009 – 2010, Comprised of combinations of these last three works (Smoke Piece, The Elemental Wave, Walking) with the addition of Wetland Landscape, projected in a square of 20 foot x 10 foot screens (Chapter Fifteen on Blu-Ray DVD)
EXHIBITIONS
· 2010 3 x International Exhibitions (France, USA, Japan), Museum of Modern Art Strasbourg, Yokohama Creativity City Center, New York Center, Millennium Magazine http://www.visualfields.co.uk/history0.htm
· 2010 One Person Show of research works from AHRC Fellowship, Salisbury Arts Center, 01/10/10-31/10/08, 2010. http://www.visualfields.co.uk/P3exhibition.m4v (This exhibition included the display of Un Tempo Una Volta 50 feet above a café area to see if non black box viewing creayed a deterioration in engagement times)
· 2010 Time and Resolution: Experiments with High Resolution Imaging, P3 Gallery, London (University of Westminster), 07/12/10-21/12/10. http://www.visualfields.co.uk/P3exhibition.m4v This was a the cumulative exhibition of the AHRC Fellowship and was held in collaboration with University of Westminster. The artefacts and research was highlighted for the Westmionster CREAM research group at their Research Away-day. During this exhibition Academics were also approached to discuss issues around the methodology of practice as research and these are available online totalling 4 hours: http://www.visualfields.co.uk/KTWest.htm
· 2009 Imaginists - 2 small exhibitions of work from Venice, Gallery 204, Bristol, The Phoenix Arts Center Glastonbury, 2009. http://www.visualfields.co.uk/imaginiststalking.htm
· 2009 Screening of Research work, Bergen Elektronisk Kunst Senter, Norway http://www.visualfields.co.uk/history0.htm
· 2009 Two Italian Exhibitions: Rome Film Festival and Milan InVideo Festival, Rome & Milan http://www.visualfields.co.uk/blinkart1.html
· 2008 A series of 4 HD installations over four days, Wickham Theatre, 22/09/08-26/09/08 http://www.visualfields.co.uk/NE57.htm
· 2008, A series of 4 HD installations over three days, 18/09/08-20/09/08 http://www.visualfields.co.uk/history0.htm
· 2008 In Re Ansel Adams, Gallery 204, Bristol, 26/09/08-27/09/08 http://www.visualfields.co.uk/history0.htm
· 2008 Ritratti di Cannaregio (Portraits of Cannaregio) & Un Tempo Una Volta (Once Upon a Time), Scarabocchio Studio Grafico, Cannaregio, Ponte degli Ormensini, Venice, 12/09/08 http://www.visualfields.co.uk/NEPortraitsCannaregio.htm
AUDIENCES
In total over 6,000 people have engaged worldwide with this work during its lifetime. An important development happened in September 2012 when research work become public engagement in general - as the Harris Museum in Preston requested the inclusion of In Re Ansel Adams to become part of its permanent collection, and this work has been on display there, together with paintings and sculptures created over 4 centuries since September 2012. (50 inch plasma display).
ARTICLES
The effect of the creation and exhibition of the artefacts was discussed in the following articles:
· ‘The Technologies, Aesthetics, Philosophy and Politics of High Definition Video’, Millennium Film Journal, No 52, (pp. 44-55, 4750 words), 2009. http://www.academia.edu/204070/The_Technologies_Aesthetics_Philosophy_and_Politics_of_High_Definition_Video
This following article is an update on the preceding article to record the changes in technical developments in the medium:
· ‘HD Aesthetics’ Convergence, Sage, Volume 17, Number 2, May 2011, (Pages 113 – 123, 6000 Words).
http://www.academia.edu/510723/HD_Aesthetics
These fuelled further reflection which I then presented in the following Conference Papers:
CONFERENCE
· 'The creation of Art in a post-digital World', Athens, 8th International Conference on Communication and Mass Media, 2011. http://www.academia.edu/580827/The_Creation_of_Digital_Art_in_a_Post_Digital_World
· ‘The Soft Machine Wilderness’ ISEA, Albuquerque, September 2012 http://www.academia.edu/2023894/The_Soft_Machine_Wilderness
INVITED TALKS
'Myth and Meaning in the Digital Age', ETH Zurich, 2010. http://www.academia.edu/353880/Myth_and_Meaning_in_the_Digital_Age