Complete List of Outputs in Portfolio Three​: Images of High Resolution Portraiture

Portfolio 3, List of Contents 
Images of High Resolution Portraiture is comprised of

Summary
13 artefacts, (6 main direct portraiture and 7 subsidiary exploratory artefacts including the Heritage Lottery project ‘Portraits of the Working People of Somerset’ and also ‘Portraits of the Arrow Tower, Beijing’),
21 exhibitions,
1 peer reviewed article
4 conference papers and
​2 invited talks to research communities.
To investigate whether increases of resolution with life-sized moving image portraiture increases audience engagement 

Portraits of Glastonbury Tor,  Various 00.00.01
Ritratti di Cannaregio (Portraits of Cannaregio), 00.03.18
Portraits of the Somerset Carnivals, 00.05.50
Portraits of the Centenary, University of Bristol’ 00.08.34
Portraits of Spitalfields, London, 00.19.26
Portraits of the Arrow Tower, Beijing, 00.21.50
Portraits of the Flat Iron Building, New York, 00.23.52
Self Portrait in the Digital Domain, 00.26.00
Three Moving Image Works of Extended Portraiture, A Moving Portrait of the Poet, Elizabeth Beech, A Moving Portrait of the Artist, Charlotte Humpston, A Moving Portrait of the Window Cleaner, Alfred Glasspole 00.27.56
Until I'm Gone, 00.31.12
Portraits of the Working People of Somerset, 00.38.35
Instructions for accessing Portfolio 3
To access all artefacts listed including video file, pdf’s and online resources please use the main URL or go directly here: https://www.terryflaxton.com/portfolio-3-complete-list-of-outputs.html
 
Please click the video of ‘Portfolio 3’ 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
  • Flaxton T. (2008) Portraits of Glastonbury Tor
​            ​High Resolution Digital Installation. Can be found at 00.01 on the timeline above
            ​http://www.visualfields.co.uk/TORPORTRAITS.htm            ​Can be found at 03.18 on the timeline above
            ​http://www.visualfields.co.uk/cannaregio.htm            ​This is a slightly different form of portraiture from the first two projects and I chose this to highlight the level of data capture. I later returned to the Carnival as
            ​an exposition within the new HDR pathway we were originating in the BBC White Paper at a later date (this not HDR). Can be found at 05.50 on the timeline
            ​above http://www.visualfields.co.uk/carnivalembed.htm            ​High Resolution Digital Installation. Can be found at 08.34 on the timeline above http://www.bristol.ac.uk/centenary/look/art/portraits-film.html
  • Flaxton T. (2010) Portraits of Spitalfields, London
            ​Can be found at 19.26 on the timeline above http://www.visualfields.co.uk/sixscreen.htm            ​Can be found at 21.50 on the timeline above http://www.visualfields.co.uk/sixscreen.htm            ​Can be found at 23.52 on the timeline above
            ​http://www.visualfields.co.uk/sixscreen.htm            ​Can be found at 26,00 on the timeline above
            ​http://www.visualfields.co.uk/history0.htm            ​A Moving Portrait of the Poet, Elizabeth Beech
            ​A Moving Portrait of the Artist, Charlotte Humpston
            ​A Moving Portrait of the Window Cleaner, Alfred Glasspole
            ​Can be found at 27.56 on the timeline above            ​An examination of abstracted digital Self Portraiture. Can be found at 31.12 on the timeline above
            ​http://www.visualfields.co.uk/PRINTS.htm            ​Can be found at 38.35 on the timeline above
            ​http://www.visualfields.co.uk/MP2InstallationExcerpt.ht
EXHIBITIONS
  • Flaxton T. (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             ​also http://www.visualfields.co.uk/NEPortraitsCannaregio.htm
  • Flaxton T. (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
  • Flaxton T. (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‘Portraits of the Working People of Somerset’, Glastonbury Abbey, Somerset, 07/10/11-22/01/12
  • Flaxton T. (2011) Portraits of the Working People of Somerset, Bath Museum of Work, 08/07/11-27/09/11
ARTICLES            ​Sage, Volume 17, Number 2, May 2011, (Pages 113 – 123, 6000 Words) www.academia.edu/510723/HD_Aesthetics This        
            ​article updates The Technologies, Aesthetics, Philosophy and Politics of High Definition Video from Portfolio 2 to record the
            ​​changes in technical developments in the medium
CONFERENCES             ​(published online at Academia.edu). In this paper I begin to explore the nature of attention and the gaze so it signals the beginnings of my realisation I should
            ​now begin to think through the relationship of the technology of capture and display and the nature of the sentient consciousness that was looking at the
            ​​mediated form of the world and what that might mean
            ​http://www.academia.edu/259359/New_understanding_of_the_mimetic_and_the_diegetic_in_the_creation_of_art_Xian_Academy_of_FIne_Arts_July_2010             ​http://www.academia.edu/406187/Notes_on_the_developing_aesthetics_of_digital_technology_and_its_effects_on_transmedial_disciplines             ​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             ​Postdigital Encounters, creativity and improvisation. Watershed Media Center, Journal of Media Practice Symposium. (published on conference website and
            ​at Academia.edu) http://www.academia.edu/694011/High_Definition_Imaging_The_Paradox_of_Creativity_Within_the_Academy
 
INVITED TALKS TO RESEARCH COMMUNITIES             ​Here I took as my thesis the unarticulated gestures to be found in the video work of the same name mentioned in the previous portfolio, combining them
            ​together with my alighting on the proposition that the human gaze itself was not without functionality itself - that its specificities and affordances make it a                     pliable and evolving material.  
            http://www.academia.edu/353880/Myth_and_Meaning_in_the_Digital_Age
​
NEXT:
For Key Examples of Content of Portfolio 4:           Portfolio 4 (Guide with key outputs)         
For Critique and Guide to Portfolio 4:                      Critical Commentary on Portfolio 4  ​
For a Complete List of All Artefacts in Portfolio 4: ​1Portfolio 4 Complete List of Outputs

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