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.
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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
- 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 ARTICLE
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
KEY INVITED TALKS TO RESEARCH COMMUNITIES
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
- 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
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