Complete List of Outputs in Portfolio Two​: 
High Resolution Motion Images and the Iconic Image

Portfolio 2, List of Contents 
High Resolution Motion Imaging and the Iconic Image is comprised of

Summary
14 artefacts
19 exhibitions
1 peer reviewed article
1 conference papers
1 invited talks to research communities
Instructions for accessing Portfolio 2
To access all artefacts listed including video file, pdfs and online resources please use the main URL or go directly here: www.terryflaxton.com/critical-commentary-on-portfolio-2.html
 
Please click the video of ‘Portfolio 2’ then select examples using the timeline using times set below. If you scrub the mouse along the timeline without clicking, a thumbnail will appear which demonstrates the image at that point – then click timeline to access
ARTEFACTS            High Resolution Digital Installation In Re Ansel Adams can be found at 00.01 on the timeline of the above video.
            http://www.visualfields.co.uk/ANSEL.html 
  • Flaxton T. (2008) Un Tempo Una Volta, High Resolution Digital Installation, Projection on 20 x 10 foot screen shot at 4K, projected at 2k. The screen was hung at 45 degrees, 15 feet above the audiences heads whilst they laid on a soft reflective surface. Un Tempo Una Volta can be found at 02.04 on the timeline above http://www.visualfields.co.uk/untempo.htm
 
I created three further artefacts to further explore the question with regard to the consumer experience of High Definition:

​            ​Digital Single Screen Artworks, Salisbury and other locations Various screen sizes and resolutions
To investigate the production of images of the wider environment to establish if the use of higher resolutions can refresh and deepen audience engagement

Artefacts can be found at the following times on the timeline:

In Re Ansel Adams 00.00.01

Un Tempo Una Volta 00.02.04

Three Unavoidable Moving Image Works
Autumn Dusk Cafe Scene 00.04.54
The American Dream 00.06.46
​Mes Petits Cartes Postales de Beijing 00.09.03

Nine Moving Image Works to Investigate Ideas of ‘Place and Space’, High Resolution Digital Installation, Various 

The Unfurling 2008 (Time: 00.12.20)
Cathedral Steps 2010, (After MC Escher) (Time: 00.14.54)
James Loves Sarah, 2009 – 2010 (Time: 00.16.49)

The Divine Being 2009 – 2010 (Time: 00.17.37)

The Unfailing Landscape 2009 – 2010 (Time: 00.18.30)

Glastonbury Tor 2009 – 2010, Smoke Piece 2009 – 2010 (Time: 00.19.25)

Smoke Piece 2010 (Time: 00.20.08)

The Elemental Wave 2009 – 2010, Walking (In Re Richard Long) 2009 – 2010 (Time: 00.21.20)

Walking (In Re Richard Long) 2010 (Time: 00.22.12)
​
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 (Time: 00.23.31
I then created nine further artefacts investigating levels of scale of display in terms of both size and of resolution:
  • Flaxton T. (2010) Cathedral Steps, (After MC Escher) on timeline: 14.54
  • Flaxton T. (2010) James Loves Sarah, on timeline: 16.49
  • Flaxton T. (2010) The Divine Being on timeline: 17.37
  • Flaxton T. (2010) The Unfailing Landscape on timeline: 18.30
  • Flaxton T. (2010) Glastonbury Tor, Smoke Piece on timeline: 19.25
  • Flaxton T. (2010) Smoke Piece on timeline: 20.08
  • Flaxton T. (2010) The Elemental Wave, on timeline: 21.20
  • Flaxton T. (2010) Walking: In Re Richard Long on timeline: 22.12
  • Flaxton T. (2010) Wood, Wave, Wetland, Moor. Comprised of combinations of 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, on timeline: 23.31
EXHIBITIONS            http://www.visualfields.co.uk/history0.htm            (This exhibition included the artefact Myth and Meaning in the Digital Age which summed up my developing attitude to the digital domain at this stage)
            I include this following video from a few months later not for the size but for the amount of works exhibited which was similar in number
            http://www.visualfields.co.uk/P3exhibition.m4v 
  • Flaxton T. (2010) Summative Exhibition of 1st AHRC Fellowship P3 Gallery, London (University of Westminster), This was the cumulative exhibition of the AHRC Fellowship and was held in collaboration with University of Westminster. The artefacts and research were highlighted for the Westminster 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 totaling 4 hours: http://www.visualfields.co.uk/KTWest.htm.
ARTICLESThese articles fuelled further reflection, which I then presented in the following Conference Papers
CONFERENCES             Academia.edu) http://www.academia.edu/204071/The_Concept_of_Colour_Space_as_seen_from_the_Practitioners_Standpoint 
 
INVITED TALKS TO RESEARCH COMMUNITIES
  • Flaxton T. (2009), Milan University. This presentation is similar to a paper given in Cardiff in the previous year. For verification please contact Professor Sandra Lischi of Milan University: [email protected]​

NEXT:
For Key Examples of Content of Portfolio 3:           Portfolio 3 (Guide with key outputs)       
For Critique and Guide to Portfolio 3:                      Critical Commentary on Portfolio 3 ​
For a Complete List of All Artefacts in Portfolio 3: ​1Portfolio 3 Complete List of Outputs
​​