University West of England
Professor of Cinematography and Lens Based Arts
I am Terry Flaxton, director of the Centre for Moving Image Research at the University of the West of England. For thirty years I have been an artist and professional cinematographer (having made my first student film in 1971 and 1st Video in 1976) – in my DoP period I shot for Apple during the launch of the Mac (1984, Ridley Scott’s commercial), I shot ‘Out of Order’ the third ever electronically captured movie for theatrical distribution (1986 - the 1st was 'Harlow' 1965, 2nd '200 Motels' Frank Zappa 1972) and since then explored moving image capture through the photochemical, analogue and early digital eras. During this time I’ve made and exhibited art around the world and my work is in various international collections (you can see some currently at http://www.seditionart.com/terry-flaxton-1). I currently have a moving image triptych called ‘The Intersection of Dreams’ at the Cathedral of St John the Divine in New York). Last year I was inducted into the Royal West of England Academy as their first non-traditional artist.
CMIR explores the histories, theories, aesthetics, cultures and politics of moving image production, interaction and reception. We ask: 'In what ways can we renew thinking around the theory and practice of the capture and display of, and interaction with moving images as a response to the advent of digital processes?' We're aware that this viewpoint might appear specific with regard the overall description of the ‘digital’, but we are also convinced that you can obtain the overview from an explicit and detailed view.
Recently we’ve added two more professors, one in Cultural Production another in learning Innovation and have conducted Advanced Learning Innovation Environments with outcomes that have originated new imaging forms. Also our definition of ‘the moving image’ has enlarged to accept initially the incremental changes to a series of images that produce the illusion of movement in the eye brain pathway to contain the idea of the refresh rate of a device – where in fact no incremental changes are occurring – simply the flashing of information before your eyes and mind.
Because of this step forward, our partnerships and affiliations now include the Academy of Motion Pictures Arts and Science, IMAGO, the federation of Cinematographic societies, Bristol Vision Institute (at University of Bristol), BBC, plus many researchers from universities and Arts Institutions around the world.
But what might this mean in terms of epigenetic changes occurring to sensorium that produces the human gaze? The panel ‘Waves of Technology: The Hidden Ideologies of Cognitive Neuroscience and the Production of the Iconic’ seeks to understand how we are and what we are - and what we are doing to ourselves - as we pursue the whisper of foundational change that the new paradigm of the digital is promising.
My most recent chapter, (in 'Digital Light') can be downloaded for free here: http://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&ved=0CC4QFjAC&url=http://openhumanitiespress.org/Cubitt-Palmer-Tkacz_2015_Digital-Light.pdf&ei=YmghVdS8C4GasAHJlIDABA&usg=AFQjCNGuMwD3DeKu7tmcAMLbVkT0f0IquA&bvm=bv.89947451,d.bGg