Key Outputs of Portfolio Two​: High Resolution Motion Images and the Iconic Image

Each Portfolio has a section like this that seeks to limit the research work that has to be addressed by examiners - do look at the drop down menu for the complete list of artefacts or use this link: Portfolio 2 Complete List of Outputs 
Please click here for Complete list of outputs in Portfolio 2
Instructions for accessing:
Access the video of ‘Portfolio 2’ above then select examples using the times next to the work by scrubbing along the timeline without clicking, then a thumbnail will appear which demonstrates the image at that point – then click to access. *Note: this is the closest resolution possible in this format to the work created but it is still several times less than the actual resolution images were captured at. The URLs in the list below will lead to online video or an aspect of the artefact - or the text of the paper
KEY ARTEFACT             High Resolution Digital Installation, HD Projection on to a 20 foot x 10 foot screen shot at 4k, Later iterations on
            a 60 inch plasma display. In Re Ansel Adams can be found at 00.01 on the timeline of the above video.
            http://www.visualfields.co.uk/ANSEL.html 
 
KEY EXHIBITIONS             http://www.visualfields.co.uk/blinkart1.html             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)

KEY ARTICLE             Film Journal, No 52, (pp. 44-55)
            There is a refrain emerging within this paper concerning the relationship between technology and art  
       http://www.academia.edu/204070/The_Technologies_Aesthetics_Philosophy_and_Politics_of_High_Definition_Video

​KEY CONFERENCE             Bristol University Colour Conference at the Arnolfini Gallery (published online at Academia.edu)
            http://www.academia.edu/204071/The_Concept_of_Colour_Space_as_seen_from_the_Practitioners_Standpoint 
 
KEY INVITED TALK
  • Flaxton T. (2009), Milan University,
            Professor Sandra Lischi, Pisa University. This presentation is similar to a paper given in Cardiff in the previous
            ​year. Please contact Professor Sandra Lischi of Milan University to verify: [email protected]

NEXT:  Critical Commentary on Portfolio 2
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 (Chapter Six, Time: 00.12.20)
Cathedral Steps 2010, (After MC Escher) (Chapter Seven, Time: 00.14.54)
James Loves Sarah, 2009 – 2010 (Chapter Eight, Time: 00.16.49)

The Divine Being 2009 – 2010 (Chapter Nine, Time: 00.17.37)

The Unfailing Landscape 2009 – 2010 (Chapter Ten, Time: 00.18.30)

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

Smoke Piece 2010 (Chapter Twelve, Time: 00.20.08)

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

Walking (In Re Richard Long) 2010 (Chapter Fourteen, 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 (Chapter Fifteen, Time: 00.23.31