Key Outputs of Portfolio Three​: Images of High Resolution Portraiture 

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 3 Complete List of Outputs

Portfolio 3 from Studio VisualFields on Vimeo.

Please click here for Complete list of outputs in Portfolio 3

Instructions for accessing:
Access the video of ‘Portfolio 3’ 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 an online video,  an aspect of the artefact, or a paper

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

KEY ARTEFACTS

• Flaxton T. (2008) Ritratti di Cannaregio (Portraits of Cannaregio)  At 3 mins 18 seconds on timeline on video above

I have chosen these portraits because I showed the Glastonbury community to Cannareggio and Canareggio to Glastonbury in a successful exchange between communities. Can be found at 03.18 on the timeline above  http://www.visualfields.co.uk/cannaregio.htm 

• Flaxton T. (2009) Portraits of the Somerset Carnivals. This is a slightly different form of portraiture chose to highlight the level of data capture. I later returned to the Carnival as a 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​

KEY EXHIBITION

• Flaxton T. (2010) International Exhibitions (France, USA, Japan), Museum of Modern Art Strasbourg, Yokohama Creativity City Center, New York Center, Millennium Magazine exhibition. http://www.visualfields.co.uk/history0.htm - also -http://www.visualfields.co.uk/NEPortraitsCannaregio.htm

KEY ARTICLE

• Flaxton T. (2011) HD Aesthetics Convergence ​Sage, Volume 17, Number 2, May 2011, (Pages 113 – 123)

            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 

KEY CONFERENCES AND PRESENTATIONS

• Flaxton T. (2010) New Understandings of the Mimetic and Diegetic in the Creation of Art, Xi’an Academy of Fine Art (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
• Flaxton T. (2010) Notes on the Developing Aesthetics of Digital Technology and its effects on Transmedial Disciplines, University of Bristol, Technologies of Transmediality, (published online at Academia.edu)  Here I am beginning to turn my own gaze on the idea that evidence itself has limitations. I begin to question the basis of materialism, through cognitive neuroscientific propositions ​http://www.academia.edu/406187/Notes_on_the_developing_aesthetics_of_digital_technology_and_its_effects_on_transmedial_disciplines

 
KEY INVITED TALKS TO RESEARCH COMMUNITIES

• Flaxton T. (2010) Myth and Meaning in the Digital Age ETH Zurich

            Here I took as my thesis the gestures to be found in the video work of the same name mentioned in the previous portfolio and combined them 
            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:  Critical Commentary on Portfolio 3 ​