\u00dea\u00f0 hafa \u00fdmsir or\u00f0i\u00f0 til a\u00f0 benda \u00e1 tengsl n\u00fdmi\u00f0lalistar og fram\u00farstefnu og \u00fev\u00ed m\u00e6tti velta upp \u00feeirri spurningu hvort \u00fea\u00f0 eigi vi\u00f0 um \u00edslenska fram\u00farstefnu a\u00f0 h\u00fan \u00fer\u00edfist best erlendis l\u00edkt og h\u00fan ger\u00f0i vi\u00f0 upphaf 20. aldar. \u00de\u00e1 haf\u00f0i fjarl\u00e6g\u00f0in vi\u00f0 \u00f6nnur l\u00f6nd \u00e1hrif \u00e1 umr\u00e6\u00f0una \u00e1 \u00cdslandi og spurning hvort h\u00fan geri \u00fea\u00f0 enn \u00fer\u00e1tt fyrir tilkomu internetsins. \u00c1g\u00e6tt d\u00e6mi um \u00fea\u00f0 v\u00e6ri grein Claire Bishop<\/strong> \u00ed Artforum<\/em> sem kveikti heitar umr\u00e6\u00f0ur innan al\u00fej\u00f3\u00f0legrar n\u00fdmi\u00f0lalistarsenu en vakti engin vi\u00f0br\u00f6g\u00f0 \u00e1 \u00cdslandi \u00fer\u00e1tt fyrir a\u00f0 \u00edslenskir listamenn kannist vel vi\u00f0 h\u00f6fundinn og hafi flestir lesi\u00f0 skrif hennar um \u00fe\u00e1tttt\u00f6kulist. Hluti umr\u00e6\u00f0unnar um grein Bishop snerist um \u00fea\u00f0 hvort n\u00fdmi\u00f0lalist v\u00e6ri enn\u00fe\u00e1 til sem s\u00e9rstakur \u0336 ja\u00f0arsettur \u0336 vettvangur e\u00f0a hvort h\u00fan v\u00e6ri or\u00f0in hluti af samt\u00edmalistinni.<\/p>\n Hvort heldur er m\u00e1 fullyr\u00f0a a\u00f0 samt\u00edmalistin hafi ekki fari\u00f0 varhluta af \u00e1hrifum n\u00fdmi\u00f0la og uppl\u00fdsingat\u00e6kni og \u00fea\u00f0 \u00ed v\u00ed\u00f0um skilningi. Stafr\u00e6n t\u00e6kni og mi\u00f0lar eru fyrir l\u00f6ngu or\u00f0in hluti af daglegu l\u00edfi og umhverfi sem samt\u00edmalistamenn takast \u00e1 vi\u00f0 me\u00f0 \u00fdmsum h\u00e6tti \u00ed verkum s\u00ednum \u2013 einnig \u00e1 \u00cdslandi. \u00dea\u00f0 g\u00e6ti \u00fev\u00ed enn\u00fe\u00e1 \u00e1tt vi\u00f0 a\u00f0 r\u00f3tt\u00e6knin sem fylgir fram\u00farstefnuhreyfingum \u00ed upphafi s\u00e9 tekin inn s\u00ed\u00f0ar \u00e1 \u00cdslandi e\u00f0a \u00feegar hugmyndir fram\u00farstefnunnar eru or\u00f0nar hluti af meginstraumi listarinnar. \u00cd lok kaflans sem v\u00edsa\u00f0 er til h\u00e9r \u00ed upphafi er bent \u00e1 a\u00f0 \u00fer\u00e1tt fyrir \u00e1kve\u00f0inn m\u00f3t\u00fer\u00f3a \u00ed upphafi 21. aldar s\u00e9 stafr\u00e6n t\u00e6kni or\u00f0in hluti af \u00edslenskri samt\u00edmalist. \u00deessi h\u00e6gfara \u00fer\u00f3un (e. creeping normality) hefur \u00e1tt s\u00e9r sta\u00f0 \u00e1n \u00feess a\u00f0 teki\u00f0 v\u00e6ri eftir og \u00e1n umr\u00e6\u00f0u.<\/p>\n S\u00fdningin sem sett var upp h\u00e9r \u00e1 vefs\u00ed\u00f0unni artzine.is og pallbor\u00f0sumr\u00e6\u00f0ur sem f\u00f3ru fram \u00e1 sama vettvangi til a\u00f0 kynna b\u00f3kina Digital Dynamics in Nordic Contemporary Art<\/em> benda til \u00feess a\u00f0 t\u00edmi s\u00e9 komin \u00e1 frekari umr\u00e6\u00f0ur \u00e1 \u00edslenskum vettvangi. Hvorki s\u00fdningunni n\u00e9 pallbor\u00f0sumr\u00e6\u00f0unum er \u00fe\u00f3 \u00e6tla\u00f0 a\u00f0 endur\u00f3ma innihald kafla b\u00f3karinnar heldur taka vi\u00f0 \u00e1 \u00feeim sta\u00f0 sem kaflinn endar.<\/p>\n Hann fjallar \u00ed megindr\u00e1ttum um fyrsta \u00e1ratug aldarinnar, en l\u00edtur einnig til baka \u00e1 \u00fer\u00f3un \u00edslenskrar v\u00edde\u00f3listar. H\u00e9r ver\u00f0ur \u00fev\u00ed einbl\u00ednt \u00e1 verk sem veita inns\u00fdn \u00ed hva\u00f0 \u00edslenskir samt\u00edmalistamenn hafa veri\u00f0 a\u00f0 f\u00e1st vi\u00f0 \u00e1 s\u00ed\u00f0asta \u00e1ratug \u00e1rum tengt stafr\u00e6nni t\u00e6kni og mi\u00f0lum. Fyrir s\u00fdninguna var leita\u00f0 til fimm listamanna sem hafa me\u00f0 einum e\u00f0a \u00f6\u00f0rum h\u00e6tti tekist \u00e1 vi\u00f0 m\u00e1lefni tengd stafr\u00e6num veruleika \u00ed t\u00edmatengdum verkum.<\/p>\n Fj\u00f3rir a\u00f0rir listamenn sem einnig hafa fengist vi\u00f0 vi\u00f0fangsefni tengd stafr\u00e6num veruleika voru fengnir til a\u00f0 taka \u00fe\u00e1tt \u00ed pallbor\u00f0sumr\u00e6\u00f0um \u00fear sem r\u00e6tt var um \u00e1hrif uppl\u00fdsingat\u00e6kninnar \u00e1 listsk\u00f6pun \u00feeirra. Listamennirnir eru f\u00e6ddir \u00e1 \u00e1runum 1984-1994 a\u00f0 tveimur \u00feeirra undanskyldum. \u00de\u00f3tt ekki hafi beinl\u00ednis veri\u00f0 \u00e6tlunin a\u00f0 flokka \u00feau eftir kynsl\u00f3\u00f0um er h\u00e6gt a\u00f0 greina \u00e1kve\u00f0inn kynsl\u00f3\u00f0amun eins og Geir\u00fer\u00fa\u00f0ur Finnbogad\u00f3ttir Hj\u00f6rvar<\/strong> bendir \u00e1 \u00ed umr\u00e6\u00f0unum. Munurinn endurspeglar a\u00f0 einhverju marki \u00fer\u00f3un stafr\u00e6nnar t\u00e6kni og internets \u00e1 \u00feeim t\u00edma \u00feegar \u00feau voru a\u00f0 m\u00f3tast sem einstaklingar og listamenn.<\/p>\n Af \u00feeim listam\u00f6nnum sem t\u00f3ku \u00fe\u00e1tt \u00ed s\u00fdningunni tilheyrir Haraldur Karlsson<\/strong> (f. 1967) kynsl\u00f3\u00f0 sem kom fram \u00e1 t\u00edunda \u00e1ratugi s\u00ed\u00f0ustu aldar, \u00feegar stafr\u00e6n t\u00e6kni og mi\u00f0lar voru a\u00f0 opna n\u00fdja m\u00f6guleika til listsk\u00f6punar fyrir eldri rafr\u00e6na mi\u00f0la eins og v\u00edde\u00f3.<\/p>\n \u00c1\u00f0ur en hann flutti til Noregs \u00e1ri\u00f0 2008 haf\u00f0i hann teki\u00f0 \u00fe\u00e1tt \u00ed stofnun n\u00fdmi\u00f0lavers vi\u00f0 Listah\u00e1sk\u00f3la \u00cdslands, Lornu, f\u00e9lags \u00e1hugamanna um rafr\u00e6na list<\/em> og raflistah\u00e1t\u00ed\u00f0innar Raflost<\/em>.<\/p>\n \u00deegar S\u00e6mundur \u00de\u00f3r Helgason<\/strong> (f. 1986) og Anna Fr\u00ed\u00f0a J\u00f3nsd\u00f3ttir<\/strong> (f. 1984) voru a\u00f0 hefja sinn feril h\u00f6f\u00f0u \u00e1hrif n\u00fdjunganna fjara\u00f0 \u00fat. Neti\u00f0 var or\u00f0i\u00f0 hluti af hversdeginum og stafr\u00e6n t\u00e6kni og mi\u00f0lar sj\u00e1lfsag\u00f0ur hluti af \u00fev\u00ed a\u00f0 m\u00f3ta og setja fram hugmyndir. H\u00e1kon Bragason<\/strong> (f. 1993) og \u00c1g\u00fasta \u00ddr Gu\u00f0mundsd\u00f3ttur<\/strong> (f. 1994) tilheyra kynsl\u00f3\u00f0 sem \u00feekkir ekki ver\u00f6ldina \u00e1n internets. \u00deau uxu \u00far grasi s\u00edtengd og \u00feykir sj\u00e1lfsagt a\u00f0 nota stafr\u00e6n verkf\u00e6ri til a\u00f0 skapa verk \u00ed s\u00fdndarveruleika.<\/p>\n Verk Haraldar Karlssonar<\/strong> \u00e1 s\u00fdningunni N\u00fdjar birtingarmyndir listarinnar<\/em> var gj\u00f6rningur sendur \u00fat \u00ed beinu streymi fr\u00e1 Sn\u00e6fellsnesi \u00e1 Facebook, \u00fear sem hann var tekinn upp og ger\u00f0ur a\u00f0gengilegur \u00e1 artzine.is. Haraldur vinnur me\u00f0 hlj\u00f3\u00f0 og mynd \u00e1 tilraunkennda h\u00e1tt sem \u00ed lifandi flutningi bera \u00f6ll einkenni spuna l\u00edkt og \u00e1horfendur af \u00fatsendingunni fengu a\u00f0 upplifa. Gj\u00f6rningurinn var sendur \u00fat fr\u00e1 Sn\u00e6fellsnes Broadcast<\/strong>, spretti\u00fatsendingarst\u00f6\u00f0 sem Haraldur kom fyrir vi\u00f0 sumarb\u00fasta\u00f0 \u00e1 Sn\u00e6fellsnesi \u00fear sem hann var staddur \u00ed fr\u00edi me\u00f0 fj\u00f6lskyldunni.<\/p>\n Svi\u00f0i\u00f0 er grasfl\u00f6tur og bakgrunnurinn lyngivaxinn brekka en \u00ed forgrunni er Haraldur sj\u00e1lfur \u00ed mynd sem birtist bj\u00f6gu\u00f0 og bl\u00f6ndu\u00f0 saman vi\u00f0 anna\u00f0 myndefni. Neikv\u00e6\u00f0 mynd af vefs\u00ed\u00f0u Ve\u00f0urstofu \u00cdslands birtist reglulega en h\u00fan s\u00fdnir \u00fatl\u00ednur Sn\u00e6fellsness \u00e1 sv\u00f6rtum fleti \u00fear sem eldtungur gj\u00f3sa upp. Eldurinn v\u00edsar \u00ed orku og eldvirkni sv\u00e6\u00f0sins en \u00fatliti\u00f0 \u00ed fagurfr\u00e6\u00f0i t\u00f6lvuleikja og netn\u00f6rda.<\/p>\n Haraldur leikur s\u00e9r einnig me\u00f0 dul\u00fa\u00f0ina sem umlykur sta\u00f0inn Sn\u00e6fellsnes og me\u00f0 t\u00e6knina sem v\u00edsindin nota til a\u00f0 l\u00fdsa upp \u00f6ll sk\u00famaskot van\u00feekkingar. Haraldur hefur \u00ed verkunum Litla s\u00f3lkerfinu og Heila unni\u00f0 me\u00f0 myndefni fr\u00e1 sv\u00e6\u00f0um utan \u00far geiminum og innan \u00far mannsl\u00edkamanum sem enn eru \u00f3k\u00f6nnu\u00f0 og bj\u00f3\u00f0a \u00fev\u00ed upp \u00e1 frelsi \u00ed tj\u00e1ningu sem er \u00f3bundin af v\u00edsindalegri \u00feekkingu.<\/p>\n \u00de\u00f3tt Sn\u00e6fellsnes s\u00e9 ekki \u00f3kanna\u00f0 sv\u00e6\u00f0i b\u00fdr \u00fea\u00f0 yfir dulm\u00f6gnu\u00f0um krafti \u00ed hugum f\u00f3lks. Haraldur myndgerir dul\u00fa\u00f0ina \u00feegar hann gengur fr\u00e1 myndv\u00e9linni, l\u00e6tur forriti\u00f0 tv\u00f6falda sj\u00e1lfan sig e\u00f0a s\u00fdna skuggamyndir og \u00e1rur sem vekja hugrenningatengsl vi\u00f0 sp\u00edritisma og \u00edslenska \u00fej\u00f3\u00f0tr\u00fa. \u00c1horfendur eru s\u00ed\u00f0an teknir aftur ni\u00f0ur \u00e1 j\u00f6r\u00f0ina \u00feegar hann \u00fatsk\u00fdrir fyrir ungri d\u00f3ttur sinni hvernig mynd og hlj\u00f3\u00f0 eru b\u00fain til.<\/p>\n T\u00e6knin getur virst k\u00f6ld og \u00f3tengd \u00edmyndaraflinu, en sagan segir samt a\u00f0 h\u00fan er f\u00e6r um a\u00f0 virkja \u00fea\u00f0 \u00ed list og sk\u00e1ldskap. Takm\u00f6rku\u00f0 \u00feekking \u00e1 virkni t\u00e6kninna getur einnig \u00fdtt undir tr\u00fa \u00e1 sj\u00e1lfst\u00e6\u00f0an vilja hennar og yfirskilvitlega eiginleika.<\/p>\n Freyja Eil\u00edf<\/b> vinnur me\u00f0 sl\u00edkar hugmyndir \u00feegar h\u00fan segist tengjast t\u00e6kninni hugl\u00e6gt og l\u00edkir internetinu vi\u00f0 framandi veru sem hana langar til a\u00f0 n\u00e1 sambandi vi\u00f0. \u00deegar henni bau\u00f0st a\u00f0 taka \u00fe\u00e1tt \u00ed s\u00fdningu \u00e1 Sn\u00e6fellsnesinu l\u00e1 \u00fev\u00ed beinast vi\u00f0 a\u00f0 gera verk sem tengist \u00feessu og v\u00edsar \u00ed \u00feekktan atbur\u00f0 \u00far samt\u00edmanum \u00feegar h\u00f3par sp\u00edritista og n\u00fdaldasinna komu saman \u00e1 Hellnum til a\u00f0 taka \u00e1 m\u00f3ti geimverum sumari\u00f0 1993.<\/p>\n Tvennum s\u00f6gum fer af komu geimveranna en Freyja Eil\u00edf minnist \u00feessa atbur\u00f0ar me\u00f0 verkinu Geimgervingar. <\/i> Hv\u00edtir ferningar \u00e1 sv\u00f6rtum fleti hafa veri\u00f0 m\u00e1la\u00f0ir \u00e1 steina sem vir\u00f0ast hafa falli\u00f0 af himinum ofan og dreifst um fj\u00f6runa. Fl\u00f6turinn l\u00edtur \u00fat eins og gr\u00f3fpikslu\u00f0 t\u00f6lvumynd e\u00f0a truflun \u00ed sendingu skilabo\u00f0a. Hugmyndin um a\u00f0 \u00fat \u00ed geiminum b\u00fai verur sem s\u00e9u a\u00f0 reyna a\u00f0 komast \u00ed samband vi\u00f0 mannverur \u00e1 j\u00f6r\u00f0inni tengist \u00feannig hugmyndinni um tilvist vitundarvera \u00ed hinum \u00f3\u00e1\u00fereifanlega netheimi. Efnisleg tilvist internetsins v\u00edkur fyrir tr\u00fa \u00e1 handanveru sem h\u00e6gt v\u00e6ri a\u00f0 n\u00e1 sambandi vi\u00f0 me\u00f0 \u00fev\u00ed a\u00f0 leysa dulk\u00f3\u00f0u\u00f0 skilabo\u00f0.<\/p>\n L\u00e6star uppl\u00fdsingar eru vi\u00f0fangsefni annars verks eftir Freyju Eil\u00edf, Myndlykill<\/i> (2020) og hafa veri\u00f0 vi\u00f0fangsefni heillar s\u00fdningar \u00e1 verkum Fritz Hendriks Berndsens.<\/b><\/p>\n \u00c1 s\u00fdningunni T\u00fdnd lykilor\u00f0<\/strong> (2019) \u00ed \u00c1smundarsal var a\u00f0 finna m\u00e1lverk og sk\u00falpt\u00fara \u00fear sem unni\u00f0 er \u00fatfr\u00e1 t\u00e1knmyndum hugtaksins lykill og sambandi t\u00f6lvunotandans vi\u00f0 lykilor\u00f0 og dulk\u00f3\u00f0a. Sk\u00falpt\u00farar \u00ed formi lykla h\u00e9ngu \u00e1 lyklakippum, en l\u00f6gun \u00feeirra gaf til kynna a\u00f0 \u00feeir muni seint geta opna\u00f0 l\u00e6sta hur\u00f0 e\u00f0a hirslu.<\/p>\n \u00dea\u00f0 kannast allir vi\u00f0 a\u00f0 hafa einhvernt\u00edma veri\u00f0 be\u00f0nir um a\u00f0 velja spurningu til a\u00f0 svara ef svo \u00f3heppilega vildi til a\u00f0 tilteki\u00f0 lykilor\u00f0 myndi gleymast. \u00dea\u00f0 er \u00f3l\u00edklegt a\u00f0 nokkur geti gleymt nafni m\u00f3\u00f0ur sinnar, en spurningarnar sem Fritz Hendrik l\u00e9t skera \u00fat \u00e1 pl\u00f6tur lyklakippanna eru \u00feess e\u00f0lis a\u00f0 vi\u00f0 \u00feeim er ekkert m\u00f6gulegt svar. E\u00f0a skyldi einhver geta svara\u00f0 \u00fev\u00ed hven\u00e6r hann horf\u00f0i s\u00ed\u00f0asta \u00ed augu vi\u00f0 villid\u00fdr e\u00f0a hva\u00f0 honum finnst best a\u00f0 bor\u00f0a \u00feegar hann er staddur \u00e1 fimmtu h\u00e6\u00f0 skrifstofubyggingar?<\/p>\n Lykilor\u00f0 eru fyrir l\u00f6ngu or\u00f0in hversdagslegur hluti af stafr\u00e6num veruleika en fj\u00f6ldi \u00feeirra er sl\u00edkur a\u00f0 erfitt er fyrir flesta a\u00f0 muna \u00feau \u00f6ll \u00feegar vafra\u00f0 er um neti\u00f0. Lykilor\u00f0in eru eins og \u00fer\u00f6skuldar sem \u00fearf a\u00f0 komast yfir l\u00edkt og steininn sem l\u00e1 \u00e1 g\u00f3lfinu vi\u00f0 inngang s\u00fdningarinnar. Hlutgerving lykilor\u00f0sins \u00ed me\u00f0f\u00f6rum Fritz Hendriks v\u00edsar til \u00feessara hindrana og \u00feess a\u00f0 t\u00e1knmyndir t\u00f6lvuskj\u00e1sins sem \u00fe\u00fd\u00f0a forritunarm\u00e1li\u00f0 eru spegilmyndir kunnulegra hluta \u00far efnislegum raunveruleika.<\/p>\n \u00c1 s\u00fdningunni var einnig a\u00f0 finna m\u00e1lverk af grj\u00f3ti me\u00f0 \u00e1letru\u00f0u stafarugli, svokalla\u00f0 CAPTCHA sem gerir t\u00f6lvunni kleift a\u00f0 \u00e1kve\u00f0a hvort h\u00fan \u00e1 \u00ed samskiptum vi\u00f0 manneskju. Steinarnir og \u00e1letrun \u00feeirra eru hinsvegar jafn \u00f3skiljanleg og gamalt r\u00fanaletur. \u00deessi verk eru a\u00f0eins eitt d\u00e6mi um \u00fea\u00f0 hvernig Fritz Hendrik fer\u00f0ast fram og til baka fr\u00e1 s\u00fdndarveruleika t\u00f6lvunnar til hlutger\u00f0ra t\u00e1knamynda og hvernig hann n\u00fdtir j\u00f6fnum h\u00f6ndum \u00f3l\u00edka mi\u00f0la eins og ol\u00edum\u00e1lverk og \u00fer\u00edv\u00edddarprentara sem nota\u00f0ur var til a\u00f0 prenta lyklana.<\/p>\n L\u00fd\u00f0r\u00e6\u00f0islegur a\u00f0gangur a\u00f0 uppl\u00fdsingum, l\u00fd\u00f0r\u00e6\u00f0isleg \u00fatg\u00e1fa uppl\u00fdsinga og l\u00fd\u00f0r\u00e6\u00f0isleg dreifing \u00feeirra \u00e1 netinu byggir \u00ed grunninn \u00e1 hugmyndinni um fyrirmyndarl\u00fd\u00f0r\u00e6\u00f0i sem opnar fyrir \u00f6llum jafnan a\u00f0gang a\u00f0 \u00feekkingu. En l\u00fd\u00f0r\u00e6\u00f0i internetsins \u00fe\u00fd\u00f0ir einnig a\u00f0 allar uppl\u00fdsingar eru jafn r\u00e9tth\u00e1ttar \u00feegar kemur a\u00f0 \u00fatg\u00e1fu og dreifingu sama hversu \u00e1rei\u00f0anlegar og innihaldsr\u00edkar \u00fe\u00e6r eru. \u00cd sl\u00edku umhverfi r\u00e1\u00f0a \u00f6nnur l\u00f6gm\u00e1l en \u00e1 ritstj\u00f3rnum hef\u00f0bundinna fj\u00f6lmi\u00f0la, a\u00f0 ekki s\u00e9 tala\u00f0 um ritr\u00fdndra t\u00edmarita, og \u00fev\u00ed eiga myndir af k\u00f6ttum jafn mikla m\u00f6guleika \u00e1 a\u00f0 n\u00e1 v\u00ed\u00f0t\u00e6kri \u00fatbrei\u00f0slu \u00e1 netinu og fr\u00e9ttir af stj\u00f3rnm\u00e1lum og ritr\u00fdndum fr\u00e6\u00f0igreinum.<\/p>\n Au\u00f0ur L\u00f3a Gu\u00f0nad\u00f3ttir<\/strong> veltir \u00fev\u00ed fyrir s\u00e9r hva\u00f0 \u00feetta \u00fe\u00fd\u00f0ir \u00feegar h\u00fan s\u00e6kir efnivi\u00f0 \u00ed jarmmenningu samf\u00e9lagsmi\u00f0lanna, en jarmi\u00f0 v\u00edsar til \u00feess \u00feegar myndir \u00f6\u00f0last d\u00fdrkunargildi me\u00f0 v\u00ed\u00f0t\u00e6kri deilingu notenda. Heimiliskettir og -hundar \u00ed s\u00e9rkennilegum a\u00f0st\u00e6\u00f0um \u00ed verkunum 109 kettir \u00ed peysum (2016) og Hundur \u00ed s\u00f3lst\u00f3l (2015) eru bygg\u00f0 \u00e1 sl\u00edkum j\u00f6rmum. \u00cd ser\u00edunni Leikfimi (2018-2019) er \u00fea\u00f0 hins vegar mannf\u00f3lki\u00f0 sem stillir s\u00e9r upp. Ser\u00edan samanstendur af litlum sk\u00falpt\u00farum bygg\u00f0um \u00e1 lj\u00f3smyndum fr\u00e1 n\u00edunda \u00e1ratugnum af f\u00f3lki a\u00f0 stunda \u00ed\u00fer\u00f3ttir \u00e1 bor\u00f0 vi\u00f0 skauta og er\u00f3bikk.<\/p>\n Lj\u00f3smyndirnar hafa rata\u00f0 \u00e1 neti\u00f0 en uppstillingarnar kallast \u00e1 vi\u00f0 svi\u00f0setningar f\u00f3lks \u00e1 eigin l\u00edfi sem \u00fea\u00f0 dreifir \u00e1 samf\u00e9lagsmi\u00f0lum. Sl\u00edkar lj\u00f3smyndir hafa ekki eing\u00f6ngu \u00feann tilgang a\u00f0 segja fr\u00e9ttir af einkal\u00edfinu heldur skapa go\u00f0s\u00f6gur um eigi\u00f0 l\u00edf. Sl\u00edkar go\u00f0s\u00f6gur n\u00fat\u00edmans tengjast \u00e1huga Au\u00f0ar L\u00f3u \u00e1 gr\u00edskum og norr\u00e6num go\u00f0s\u00f6gum sem h\u00fan fl\u00e9tta\u00f0i einnig vi\u00f0 samt\u00edmann \u00e1 s\u00fdningunni D\u00edana a\u00f0 eil\u00edfu<\/em> (2017). Au\u00f0ur L\u00f3a vinnur ekki \u00ed stafr\u00e6na mi\u00f0la heldur notar pappamassa \u00ed verk s\u00edn sem h\u00fan m\u00f3tar \u00ed h\u00f6ndunum. Sm\u00e1ger\u00f0ir sk\u00falpt\u00fararnir minna \u00e1 skrautstyttur, en hafa gr\u00f3fa \u00e1fer\u00f0 fingrafara og undirstrika spurninguna um hva\u00f0 s\u00e9 n\u00f3gu merkilegt til \u00fev\u00ed s\u00e9 veitt athygli.<\/p>\n \u00c1g\u00fasta \u00ddr Gu\u00f0mundsd\u00f3ttir<\/b> n\u00e1lgast samskonar spurningu \u00e1 annan h\u00e1tt \u00ed verkinu bc1000 <\/i>sem er s\u00fdnt \u00e1 artzine. \u00cd \u00f6rmynd sem er unnin \u00ed \u00fer\u00edv\u00edddarforriti og birtist fyrst \u00e1 Instagram, sv\u00edfur f\u00e1kl\u00e6dd ung kona me\u00f0 uppr\u00e9ttar hendur umkring sk\u00e6rbleikum pl\u00f6ntum. H\u00fan sn\u00fdst \u00ed endalausa hringi eins og f\u00edg\u00fara \u00e1 spilad\u00f3s en undir hlj\u00f3mar s\u00edendurtekinn lagst\u00fafur. Bl\u00e1glitrandi samfellan sem konan kl\u00e6\u00f0ist er flegin ni\u00f0ur fyrir nafla og sv\u00f6rt h\u00e6lah\u00e1 st\u00edgv\u00e9l n\u00e1 henni upp \u00e1 mi\u00f0 l\u00e6ri. Kl\u00e6\u00f0na\u00f0urin v\u00edsar \u00ed kl\u00e1mv\u00e6\u00f0ingu kvenl\u00edkamans sem \u00e1 s\u00e9r auglj\u00f3sar samsvaranir \u00ed t\u00f3nlistari\u00f0na\u00f0i samt\u00edmans.<\/p>\n \u00c1g\u00fast \u00ddr sn\u00fdr hinsvegar upp \u00e1 vi\u00f0teknar hugmyndir t\u00f3nlistar- og kl\u00e1mi\u00f0na\u00f0ar um hva\u00f0 telst vera kynfer\u00f0islega a\u00f0la\u00f0andi l\u00edkami. Fyrirs\u00e6tur hennar eru yfirleittt vel \u00ed holdum, barm- og\u00a0 <\/span>magamiklar, me\u00f0 \u00feykkar mja\u00f0mir og fyllta \u00fej\u00f3hnappa. \u00de\u00e6r l\u00fdkjast listakonunni \u00ed \u00fatliti enda notar h\u00fan eigin st\u00f3rvaxna l\u00edkama sem fyrirmynd. H\u00fan beitir jafnframt fyrir sig h\u00famor og sj\u00e1lfs\u00f6ryggi til a\u00f0 storka kr\u00f6fum um \u00e1kve\u00f0i\u00f0 \u00fatlit sem hindra f\u00f3lk \u00ed a\u00f0 fylgja l\u00f6ngunum s\u00ednum og \u00fer\u00e1m.<\/p>\n L\u00f6ngunin eftir fr\u00e6g\u00f0 og frama er vins\u00e6lt vi\u00f0fangsefni d\u00e6gurmenningar\u00fe\u00e1tta eins og American Idol<\/i> sem virkja \u00e1horfendur til \u00fe\u00e1ttt\u00f6ku gegn lofor\u00f0i um a\u00f0 grei\u00f0a \u00feeim veginn til stjarnanna. Skuggahli\u00f0 sl\u00edkrar raunveruleikakeppni er v\u00e6g\u00f0arleysi d\u00f3maranna og h\u00e6ttan \u00e1 a\u00f0 ver\u00f0a ni\u00f0url\u00e6g\u00f0ur frammi fyrir millj\u00f3num \u00e1horfenda. Marisa Olson<\/strong> ger\u00f0i tilraun til a\u00f0 afhj\u00fapa \u00fe\u00e6r kr\u00f6fur sem ger\u00f0ar eru um \u00e1kve\u00f0i\u00f0 \u00fatlit til \u00fe\u00e1tttakenda \u00ed Idol keppninni me\u00f0 eigin \u00fe\u00e1ttt\u00f6ku sem h\u00fan sag\u00f0i fr\u00e1 \u00e1 blogginu American Idol Audition Training Blog<\/i>, (2004-2005).<\/p>\n Eftir margra m\u00e1na\u00f0a undirb\u00faning var \u00e1heyrnarprufu Olson ekki sj\u00f3nvarpa\u00f0 en h\u00fan svara\u00f0i fyrir sig me\u00f0 \u00fev\u00ed a\u00f0 svi\u00f0setja hana \u00ed myndbandinu The One That Got Away<\/i> (2005). Olson l\u00e9t hafa eftir s\u00e9r a\u00f0 h\u00fan v\u00e6ri m\u00f6guleika ekki me\u00f0 l\u00edkama eins og Christina Aguilera n\u00e9 r\u00f6dd eins og Mariah Carey en henni li\u00f0i vel \u00ed eigin l\u00edkama. \u00dea\u00f0 sama gildir um konuna \u00ed verki \u00c1g\u00fastu \u00ddrar sem vinnur einnig me\u00f0 \u00fea\u00f0 sem Olson skilgreinir sem \u201efagurfr\u00e6\u00f0i hinnar misheppu\u00f0u \u00fe\u00e1ttt\u00f6ku\u201c.<\/p>\n Stefi\u00f0 \u00ed myndinni, \u201eKen Lee\u201c er sungi\u00f0 af Valentinu Hasan<\/strong> sem \u00f6\u00f0la\u00f0ist heimsfr\u00e6g\u00f0 fyrir hlj\u00f3\u00f0fr\u00e6\u00f0ilega t\u00falkun s\u00edna \u00e1 texta lagsins \u201eWithout You\u201c \u00ed hinu b\u00falgarska Music Idol.<\/i> Hasan vakti litla hrifningu d\u00f3maranna og f\u00e9ll \u00far keppni en jarm me\u00f0 flutningi hennar \u00e1 vi\u00f0laginu \u201ecan\u2018t live\u201c e\u00f0a \u201eken lee\u201c f\u00f3r eins og eldur \u00ed sinu um heiminn og kom henni \u00ed h\u00f3p \u00feekktustu \u00fe\u00e1tttakenda Idolkeppninnar. Hasan syngur fullum h\u00e1lsi og l\u00e6tur s\u00e9r standa \u00e1 sama \u00fe\u00f3tt einhverjir kunni a\u00f0 gera gys a\u00f0 henni fyrir takmarka\u00f0a s\u00f6ngh\u00e6fileika og l\u00e9lega enskukunn\u00e1tttu. Idol \u00fe\u00e6ttirnar gera \u00e1kve\u00f0nar kr\u00f6fur sem \u00f3v\u00e6ntar vins\u00e6ldir \u00fe\u00e1tttakenda \u00e1 bor\u00f0 vi\u00f0 Hasan sn\u00faa upp \u00ed andst\u00e6\u00f0u s\u00edna. \u00dea\u00f0 sem er d\u00e6mt \u00far keppni n\u00e6r \u00f3v\u00e6nt vins\u00e6ldum og s\u00f6ngkonan ba\u00f0ar sig \u00ed augnablik \u00ed lj\u00f3ma fr\u00e6g\u00f0arinnar.<\/p>\n \u00c1g\u00fasta \u00ddr s\u00e9r neti\u00f0 og samf\u00e9lagsmi\u00f0lana sem lei\u00f0 til a\u00f0 n\u00e1 beint og millili\u00f0alaust til f\u00f3lks \u00e1n \u00feess a\u00f0 \u00fev\u00ed fylgi stefnuyfirl\u00fdsing. S\u00e6mundur \u00de\u00f3r Helgason<\/b> s\u00e9r \u00fear hinsvegar m\u00f6guleika til a\u00f0 skapa r\u00fdmi fyrir s\u00fdnileika eigin verka og annarra utan vi\u00f0 samf\u00e9lagsmi\u00f0lana. \u00cd samvinnu vi\u00f0 Frederique Pisuisse<\/strong> heldur hann \u00fati vefsv\u00e6\u00f0inu Cosmos Carl<\/i> en \u00fea\u00f0 h\u00fdsir hlekki fyrir listamenn og s\u00fdningarstj\u00f3ra, og hvetur \u00fe\u00e1 til a\u00f0 n\u00fdta verkvanga og forrit sem \u00feegar eru \u00ed bo\u00f0i \u00e1 netinu. Markmi\u00f0i\u00f0 er a\u00f0 stu\u00f0la auka l\u00edkur \u00e1 a\u00f0 netnotendur hnj\u00f3ti um verkin.<\/p>\n S\u00e6mundur \u00de\u00f3r vinnur einnig \u00ed samstarfi vi\u00f0 a\u00f0ra utan internetsins og s\u00fdnir \u00e1 st\u00f6\u00f0um \u00fear sem f\u00f3lk \u00e1 ekki von \u00e1 a\u00f0 rekast \u00e1 myndlist. \u00deessi \u00e1hugi \u00e1 \u00f3hef\u00f0bundnum s\u00fdningarst\u00f6\u00f0um tengist stofnun og starfsemi F\u00e9lags borgara<\/i> (2017), hagsmunasamtaka sem hafa \u00fea\u00f0 markmi\u00f0 a\u00f0 koma \u00e1 borgaralaunum \u00e1 \u00cdslandi. Kveikjuna a\u00f0 verkefninu m\u00e1 rekja til efnahagshrunsins \u00e1ri\u00f0 2008 og kreppunnar \u00ed kj\u00f6lfar \u00feess. \u00de\u00e1 kynnist S\u00e6mundur \u00de\u00f3r \u00fev\u00ed hva\u00f0a \u00e1hrif fj\u00e1rhagslegt skipbrot getur haft \u00e1 l\u00ed\u00f0an einstaklingsins. L\u00edkamleg og andleg einkenni birtast \u00ed kv\u00ed\u00f0a sem flestir finna fyrir andsp\u00e6nis fj\u00e1rhagslegri \u00f3vissu. Kv\u00ed\u00f0anum er vi\u00f0haldi\u00f0 af hagkerfi sem \u00fer\u00edfst \u00e1 sveigjanlegu vinnuafli, undirborgunum og \u00fe\u00e1ttt\u00f6ku \u00f3launa\u00f0ra starfskrafta. Listamenn eru \u00fe\u00e1tttakendur \u00ed \u00feessu hagkerfi enda eru \u00feeir hluti af sveigjanlegu vinnuafli. \u00deeir byggja margir afkomu s\u00edna \u00e1 t\u00edmabundnum st\u00f6rfum og nota tekjurnar til a\u00f0 kosta ger\u00f0 listaverka sem b\u00fain eru til utan launa\u00f0s vinnut\u00edma. \u00deeir eru \u00fev\u00ed s\u00e9rstaklega vi\u00f0kv\u00e6mir fyrir efnahags\u00ferenginum \u2013 eins og komi\u00f0 hefur fram \u00ed k\u00f3r\u00f3nuveirufaraldrinum.<\/p>\n S\u00e6mundur \u00de\u00f3r hefur leita\u00f0 \u00fdmissa lei\u00f0a til a\u00f0 komast \u00far sl\u00edkum v\u00edtahring, til d\u00e6mis me\u00f0 \u00fev\u00ed a\u00f0 nota glugga\u00fatstillingu sem hann ger\u00f0i sem launa\u00f0ur starfsma\u00f0ur \u00ed innsetninguna Commissioned by LUSH cosmetics<\/i> (2016). \u00c1\u00f0ur haf\u00f0i hann gert \u00e1rangurslausar tilraunir til a\u00f0 f\u00e1 fyrirt\u00e6ki til a\u00f0 l\u00e1na s\u00e9r b\u00fana\u00f0 fyrir s\u00fdningu en f\u00f3r \u00e1 endanum \u00fe\u00e1 lei\u00f0 a\u00f0 kaupa t\u00e6ki fr\u00e1 fyrirt\u00e6kjum sem mynda tengslanet me\u00f0 \u00fev\u00ed a\u00f0 n\u00fdta s\u00e9r b\u00fana\u00f0 hvert fr\u00e1 \u00f6\u00f0ru. Um var a\u00f0 r\u00e6\u00f0a Samsung sj\u00f3nvarp og hlj\u00f3\u00f0kerfi fr\u00e1 Panasonic \u00e1samt viftu fr\u00e1 Dyson. Myndefni\u00f0 \u00ed sj\u00f3nvarpst\u00e6kinu var einnig fengi\u00f0 a\u00f0 l\u00e1ni \u00e1 Youtube en \u00fea\u00f0 haf\u00f0i veri\u00f0 teki\u00f0 upp af Samsung fyrirt\u00e6kinu \u00e1 \u00cdslandi \u00ed \u00feeim tilgangi a\u00f0 augl\u00fdsa viftuna og n\u00fdtt stafr\u00e6nt hlj\u00f3\u00f0kerfi \u00e1 m\u00f6rku\u00f0um \u00ed Bretlandi. T\u00e6kin voru s\u00fdnd me\u00f0 umb\u00fa\u00f0unum og skila\u00f0 aftur \u00ed verslunina a\u00f0 s\u00fdningu lokinni, e\u00f0a \u00e1\u00f0ur en frestur til a\u00f0 f\u00e1 endurgreitt rann \u00fat. Me\u00f0 \u00feessu komst S\u00e6mundur \u00de\u00f3r hj\u00e1 \u00fev\u00ed a\u00f0 festa fj\u00e1rmuni \u00ed t\u00e6kjum og framlei\u00f0slu myndefns fyrir verki\u00f0 sem f\u00e9kk titilinn Things to return<\/i> (2015).<\/p>\n Stiklan \u00far verkinu Working Dead <\/i>sem S\u00e6mundur \u00de\u00f3r s\u00fdnir \u00e1 artzine tengist \u00feessu vi\u00f0fangsefni. Stiklan minnir um margt \u00e1 augl\u00fdsingamynd fyrir v\u00f6ru, enda veri\u00f0 a\u00f0 kynna Solar Plexus Pressure Belt\u2122<\/i> sem var hanna\u00f0 af S\u00e6mundi \u00de\u00f3r \u00ed samvinnu vi\u00f0 fatah\u00f6nnu\u00f0inn Ag\u00f6tu Mickiewicz<\/strong>.<\/p>\n \u00cd stiklunni s\u00e9st ungur kv\u00ed\u00f0afullur ma\u00f0ur \u00ed heims\u00f3kn hj\u00e1 l\u00e6kni sem \u00ed lokin kynnir fyrir honum belti\u00f0 sem birtist umluki\u00f0 bl\u00e1um bjarma bakvi\u00f0 opnanlegar b\u00f3kahillur. H\u00e9r m\u00e1 sj\u00e1 v\u00edsun \u00ed \u00edslenska \u00fej\u00f3\u00f0tr\u00fa um kletta sem opnast inn \u00ed uppl\u00fdstar \u00e1lfahallir, hinn heilaga gral og h\u00e1t\u00e6knivopnin sem leysa allan vanda hetjunnar James Bond.<\/p>\n \u00cd fullri \u00fatg\u00e1fu myndarinnar er fari\u00f0 n\u00e1nar \u00fat \u00ed virkni \u00feessa beltis og styrkjandi \u00e1hrif \u00feess \u00e1 kv\u00ed\u00f0asj\u00faklinginn. Belti\u00f0 hefur \u00feann eiginleika a\u00f0 \u00fer\u00fdsta \u00e1 s\u00f3larplexusinn, taugafl\u00e6kjuna sem er sta\u00f0sett milli maga og slag\u00e6\u00f0ar, \u00fea\u00f0an sem \u00fer\u00e6\u00f0ir hennar liggja til annarra l\u00edff\u00e6ra kvi\u00f0arholsins. \u00der\u00fdstingurinn r\u00f3ar taugarnar og getur hj\u00e1lpa\u00f0 notandanum a\u00f0 sl\u00e1 \u00e1 kr\u00f3n\u00edsk kv\u00ed\u00f0aeinkenni \u2013 ekki s\u00edst ef \u00fev\u00ed er \u00e1v\u00edsa\u00f0 me\u00f0 borgaralaunum svo v\u00edsa\u00f0 s\u00e9 \u00ed pers\u00f3nu l\u00e6knisins. Working Dead<\/i> er \u00e1r\u00f3\u00f0ursmynd fyrir F\u00e9lag borgara<\/em> sem reynir ekki a\u00f0 fela tilgang sinn en hann er tala fyrir \u00fev\u00ed a\u00f0 r\u00edki\u00f0 grei\u00f0i \u00f6llum borgurum landsins grunnlaun \u00e1n tillits til getu \u00feeirra og l\u00f6ngunar til a\u00f0 vinna.<\/p>\n Efnahagshruni\u00f0 var einnig innbl\u00e1stur a\u00f0 s\u00fdningarr\u00f6\u00f0inni Civic Virtue<\/i> (Borgaralegar dygg\u00f0ir) sem Geir\u00fer\u00fa\u00f0ur Finnbogad\u00f3ttir Hj\u00f6rvar<\/b> st\u00f3\u00f0 fyrir \u00e1samt \u00feremur \u00f6\u00f0rum listam\u00f6nnum v\u00ed\u00f0svegar \u00ed Evr\u00f3pu \u00e1ri\u00f0 2013. Geir\u00fer\u00fa\u00f0ur n\u00fdtir interneti\u00f0 til a\u00f0 n\u00e1lgast uppl\u00fdsingar og vinna verk, sem h\u00fan s\u00fdnir sem lj\u00f3smyndir, innsetningar, sk\u00falpt\u00fara e\u00f0a myndb\u00f6nd. H\u00fan gengur \u00ed brunn netsins og dregur fram \u00feekkingu \u00far fort\u00ed\u00f0inni til a\u00f0 fjalla um samt\u00edmann.<\/p>\n H\u00fan leitar aftur \u00ed mi\u00f0aldir, s\u00e6kir \u00ed s\u00f6gur og t\u00e1kn fr\u00e1 t\u00edmum R\u00f3mverja og Egypta og n\u00fdtir myndabanka af sm\u00e1stirnum, listaverkum og \u00far t\u00f6lvuleikjum. \u00deessar vinnua\u00f0fer\u00f0ir birtast m.a. \u00ed tveimur \u00fer\u00edskiptum altarist\u00f6flum sem h\u00fan vann fyrir s\u00fdningarr\u00f6\u00f0ina Borgaralegar dygg\u00f0ir<\/i>.<\/p>\n Fyrri altaristaflan Tryptich I<\/i> byggir \u00e1 sk\u00fdringarmynd sem h\u00fan f\u00e9kk a\u00f0 l\u00e1ni \u00far mastersritger\u00f0 um fj\u00e1rm\u00e1l fyrirt\u00e6kja \u00fear sem fjalla\u00f0 er um \u00e1v\u00f6xtun l\u00edfeyris, eignir og skuldir. \u00cd verkinu hefur sk\u00fdringarr\u00f6mmunum veri\u00f0 skipt \u00fat fyrir fjalarb\u00fata \u00far altarist\u00f6flu fr\u00e1 mi\u00f0\u00f6ldum sem s\u00fdna d\u00f3msdaginn. Fjalirnar sty\u00f0ja hugt\u00f6k sk\u00fdringarmyndanna um eignir, skuldbindingar og framt\u00ed\u00f0ar heildareign l\u00edfeyrissj\u00f3\u00f0sins.<\/p>\n \u00cd seinni altarist\u00f6flunni Tryptich II<\/i> byggir Geir\u00fer\u00fa\u00f0ur myndina fyrir mi\u00f0ri t\u00f6flunni \u00e1 uppreisn b\u00e6nda sem h\u00f3fst \u00ed Barking \u00e1 Englandi \u00e1ri\u00f0 1381, \u00ed efnahags\u00ferengingum sem ur\u00f0u \u00ed kj\u00f6lfar Svarta dau\u00f0a. Myndin s\u00fdnir ofurteningsnet en abstrakt mynstur \u00e1 hli\u00f0 teningsins er unni\u00f0 upp \u00far Google korti sem s\u00fdnir skiptingu sv\u00e6\u00f0a milli einkal\u00f3\u00f0a og almenningsgar\u00f0a \u00ed Barking n\u00fat\u00edmans. \u00c1 sitthvorum v\u00e6ng t\u00f6flunnar eru s\u00ed\u00f0an myndir af sm\u00e1stirni og parad\u00edsareyju \u00far Second Life, sem t\u00e1kna annarsvegar yfirvofandi d\u00f3msdag og hinsvegar lofor\u00f0 um himnar\u00edki. Undirliggjandi \u00fer\u00e6\u00f0ir s\u00f6gunnar, l\u00f6gm\u00e1l myndbyggingar og t\u00e1kna \u00ed t\u00edmans r\u00e1s eru endurtekin stef \u00ed verkum Geir\u00fer\u00fa\u00f0ar og hluti af a\u00f0fer\u00f0um hennar vi\u00f0 a\u00f0 setja fram myndir \u00ed r\u00fdmi.<\/p>\n Anna Fr\u00ed\u00f0a J\u00f3nsd\u00f3ttir <\/b>hefur einnig \u00e1huga \u00e1 undirliggjandi \u00fer\u00e1\u00f0um, en beinir sj\u00f3num s\u00ednum a\u00f0 tilvist hins \u00f3s\u00fdnilega og umbreytingu \u00feess \u00ed greinanlegum veruleika. H\u00fan byggir hugmyndir s\u00ednar \u00e1 kenningum skammtae\u00f0lisfr\u00e6\u00f0innar um l\u00f6gm\u00e1l efnisins og \u00fe\u00e6r uppl\u00fdsingar sem \u00fea\u00f0 inniheldur en eru \u00f3greinanlegar mannlegum skynf\u00e6rum.<\/p>\n Rafeindir flytja uppl\u00fdsingar \u00e1 milli sta\u00f0a \u00e1 internetinu en \u00fea\u00f0 m\u00e1 einnig finna annarskonar eindir og bylgjur \u00e1 sveimi \u00ed umhverfinu. \u00dea\u00f0 er vita\u00f0 a\u00f0 sl\u00edkar eindir og bylgjur innihalda uppl\u00fdsingar um birtu og hlj\u00f3\u00f0, en hvers vegna ekki tilfinningar og hugsanir? Maurice Benayoun hefur velt upp spurningunni um tilfinningar \u00ed samskiptum \u00e1 internetinu \u00ed\u00a0 <\/span>verkinu Still Moving: Mechanics of Emotions<\/i> (2008).<\/p>\n Hann t\u00falkar tilfinningarnar me\u00f0 \u00f3heyranlegum hlj\u00f3\u00f0bylgjum, sem manneskjan getur a\u00f0eins skynja\u00f0 \u00ed gegnum snertingu. Anna Fr\u00ed\u00f0a er einnig me\u00f0 hugann vi\u00f0 tilfinningar og hlj\u00f3\u00f0bylgjur \u00ed verkinu Thought Interpreter<\/i> (2012) og hvernig \u00fe\u00e6r berast \u00e1 milli manna \u00e1n \u00feess endilega a\u00f0 vi\u00f0 vitum af \u00fev\u00ed. H\u00fan notar vatn og hlj\u00f3\u00f0 sem myndl\u00edkingu fyrir samskiptakerfi, og v\u00edsar \u00f3beint \u00ed \u00fe\u00e1 kenningu Masaru Emoto<\/strong> a\u00f0 mannlegar tilfinningar geti haft \u00e1hrif \u00e1 sameindager\u00f0 vatns.<\/p>\n Kenningin er heillandi \u00fe\u00f3tt h\u00fan s\u00e9 ekki studd \u00e1rei\u00f0anlegum ni\u00f0urst\u00f6\u00f0um enda m\u00f6gulega ekki h\u00e6gt a\u00f0 m\u00e6la \u00feessi \u00e1hrif s\u00e9u \u00feau til sta\u00f0ar. \u00dea\u00f0 er ekki heldur h\u00e6gt a\u00f0 benda \u00e1 ranns\u00f3knir sem s\u00fdna fram \u00e1 me\u00f0 \u00f3yggjandi h\u00e6tti hva\u00f0a \u00e1hrif manneskjur hafa \u00e1 hver a\u00f0ra n\u00e9 hvernig \u00fe\u00e6r tengjast. Hva\u00f0 ef \u00e1hrifin koma fr\u00e1 \u00f3greinanlegum hlj\u00f3\u00f0um sem manneskjur senda fr\u00e1 s\u00e9r og taka vi\u00f0 hver af annarri?<\/p>\n S\u00e9 gengi\u00f0 \u00fat fr\u00e1 \u00fev\u00ed a\u00f0 tilfinningar geti haft \u00e1hrif \u00e1 byggingu vatnsameinda, kannski me\u00f0 \u00fev\u00ed a\u00f0 senda fr\u00e1 s\u00e9r hlj\u00f3\u00f0, s\u00e9r Anna Fr\u00ed\u00f0a fyrir s\u00e9r a\u00f0 eitthva\u00f0 mj\u00f6g pers\u00f3nulegt, fr\u00e1 hverri lifandi manneskju b\u00fai \u00ed holr\u00e6sakerfum borga. \u00dear geta tilfinningar leysts uppi \u00ed vatni og sameinast \u00ed ne\u00f0anjar\u00f0arkerfi tilfinninga sem endurspeglar veruleikann ofan jar\u00f0ar. Holr\u00e6sakerfi g\u00e6tu \u00feannig endurspegla\u00f0 tilfinningalegt \u00e1stand \u00edb\u00faa borganna, ekki \u00f3svipa\u00f0 og interneti\u00f0 endurspelgar tilfinningalegt \u00e1stand netnotenda \u00ed verki Benayoun.<\/p>\n Thought Interpreter<\/i> samanstendur af krukkum h\u00e1lffullum af vatni, ba\u00f0herbergisfl\u00edsum sem hanga ni\u00f0ur \u00far lofti og matskei\u00f0um sem tengdar eru vi\u00f0 st\u00fdrim\u00f3tor, stj\u00f3rna\u00f0 af arduino sm\u00e1t\u00f6lvu. Heyranlegt hlj\u00f3\u00f0 matskei\u00f0anna sem sl\u00e1 krukkurnar me\u00f0 vatninu mynda sameiginlega hlj\u00f3\u00f0mynd sem er t\u00e1knr\u00e6n birtingarmynd holr\u00e6sakerfisins og \u00e1hrifanna sem manneskjur hafa m\u00f6gulega \u00e1 tilfinningar hverrar annarrar me\u00f0 \u00f3greinanlegum bo\u00f0sendingum.<\/p>\n \u00dea\u00f0 m\u00e6tti yfirf\u00e6ra \u00feessar vangaveltur um \u00e1hrif yfir \u00e1 a\u00f0st\u00e6\u00f0urnar sem skapast hafa \u00ed k\u00f3finu. K\u00f3r\u00f3nuveiran minnir \u00e1 a\u00f0 manneskjurnar eru hluti af hnattr\u00e6nu tengslaneti, sem \u201etengir mannkyni\u00f0 saman\u201c \u00ed gegnum l\u00edkamlega n\u00e6rveru. Veiran berst manna \u00e1 milli me\u00f0 samskiptum \u00e1 \u00f3s\u00fdnilegan h\u00e1tt l\u00edkt og tilfinningarnar.<\/p>\n Varnir gegn veirunni ganga \u00fat \u00e1 a\u00f0 rj\u00fafa tengsl \u00ed \u00feeim tilgangi a\u00f0 koma \u00ed veg fyrir \u00fatbrei\u00f0slu hennar. \u00deetta \u00fe\u00fd\u00f0ir a\u00f0 draga ver\u00f0ur \u00far l\u00edkamlegu n\u00e1v\u00edgi og snertingum milli f\u00f3lks sem hl\u00fdtur \u00fe\u00e1 a\u00f0 hafa \u00e1hrif \u00e1 tilfinningalegt \u00e1stand \u00feess. Einangrun er \u00feekkt a\u00f0fer\u00f0 sem er beitt vi\u00f0 ranns\u00f3kn gl\u00e6pam\u00e1l og \u00ed herna\u00f0i til a\u00f0 brj\u00f3ta einstaklinginn ni\u00f0ur.<\/p>\n Einangrun er einnig beitt \u00ed \u00f6\u00f0ru samhengi, vi\u00f0 um\u00f6nnun sj\u00faklinga, til a\u00f0 koma \u00ed veg fyrir a\u00f0 \u00feeir beri smit e\u00f0a smitist sj\u00e1lfir. \u00cd hvernig samskiptum geta manneskjur \u00e1tt \u00feegar \u00fe\u00e6r geta ekki lengur hitt a\u00f0ra? \u00cd gegum t\u00ed\u00f0ina hafa \u00feeir sem s\u00e6ta einangrun fundi\u00f0 \u00fdmsar lei\u00f0ir til a\u00f0 eiga \u00ed samskiptum vi\u00f0 a\u00f0rar manneskjur \u00e1n \u00feess endilega a\u00f0 f\u00e1 svar. \u00c1 t\u00edmum internetsins er au\u00f0velt a\u00f0 eiga \u00ed samskiptum vi\u00f0 a\u00f0ra \u00e1n \u00feess a\u00f0 hittast hafi einstaklingurinn a\u00f0gang a\u00f0 t\u00f6lvu og nettengingu. En hverskonar samskipti eru \u00fea\u00f0 \u00ed raun og veru \u00feegar manneskjur hittast aldrei \u00ed r\u00fdmi sem b\u00fd\u00f0ur upp \u00e1 l\u00edkamlega n\u00e1nd og snertingu?<\/p>\n H\u00e1kon Bragason<\/strong> \u00fatskrifa\u00f0ist fr\u00e1 Listah\u00e1sk\u00f3la \u00cdslands vori\u00f0 2019 og s\u00fdndi \u00fe\u00e1 verk sem fjalla\u00f0i um tengsl l\u00edkamans vi\u00f0 s\u00fdndarveruleikar\u00fdmi\u00f0. Hann velti \u00fev\u00ed fyrir s\u00e9r hva\u00f0 gerist \u00feegar b\u00fai\u00f0 er a\u00f0 fjarl\u00e6gja l\u00edkamann sem leikur mikilv\u00e6gt hlutverk \u00ed \u00fev\u00ed hvernig manneskjan skynjar r\u00fdmi og umhverfi\u00f0 \u00ed heild sinni, \u00fear me\u00f0 tali\u00f0 n\u00e1l\u00e6g\u00f0 annarrar manneskju. S\u00fdndarveruleikar\u00fdmi\u00f0 \u00ed verkinu On a Branch<\/em> sem H\u00e1kon ger\u00f0i s\u00e9rstaklega fyrir N\u00fdjar birtingarmyndir listarinnar<\/em> \u00e1 artzine tekur \u00e1 \u00feessum spurningum.<\/p>\n Einn grundvallareiginleiki stafr\u00e6nnar t\u00e6kni eru gagnvirk samskipti manns og t\u00f6lvu, en me\u00f0 internetinu opna\u00f0ist einnig m\u00f6guleiki \u00e1 gagnvirkum samskiptum vi\u00f0 a\u00f0rar manneskjur \u00ed gegnum t\u00f6lvub\u00fana\u00f0. Sl\u00edkt skapar tilfinningu fyrir n\u00e1l\u00e6g\u00f0 og m\u00e1ir \u00fat landfr\u00e6\u00f0ilegar fjarl\u00e6g\u00f0ir. Spurningin er hva\u00f0 gerist \u00feegar a\u00f0eins sl\u00edk samskipti eru \u00ed bo\u00f0i eftir a\u00f0 b\u00fai\u00f0 er a\u00f0 loka manneskjuna inni \u00e1 heimili s\u00ednu. Hva\u00f0 gerist \u00feegar b\u00fai\u00f0 er a\u00f0 takmarka m\u00f6guleika f\u00f3lks \u00e1 a\u00f0 eiga \u00ed f\u00e9lagslegum samskiptum \u00ed l\u00edkamlegu n\u00e1v\u00edgi? Og a\u00f0 hve miklu leyti geta samskipti \u00ed s\u00fdndarveruleika komi\u00f0 \u00ed sta\u00f0 l\u00edkamlegrar n\u00e1ndar? Gestir sem koma inn \u00ed r\u00fdmi verksins On a Branch geta s\u00e9\u00f0 n\u00e6rveru annarra notenda \u00e1 greinum tr\u00e9s \u00ed mi\u00f0ju \u00feess, en er meina\u00f0 a\u00f0 eiga vi\u00f0 \u00fe\u00e1 samskipti. Hver grein er blindgata me\u00f0 t\u00e1knr\u00e6num klefa sem lokar gestinn inni og kemur \u00ed veg fyrir a\u00f0 hann geti n\u00e1\u00f0 til manneskjunnar \u00e1 n\u00e6stu grein.<\/p>\n \u00cd sta\u00f0 \u00feess a\u00f0 uppfylla v\u00e6ntingar um samskipti og samband kallar upplifunin fram tilfinningu vonbrig\u00f0a og vonleysis \u00feess sem l\u00fdtur einangrun og er \u00fear me\u00f0 sviptur n\u00e1num samskiptum vi\u00f0 a\u00f0rar manneskjur.<\/p>\n Margr\u00e9t El\u00edsabet \u00d3lafsd\u00f3ttir<\/em><\/p>\n Vefs\u00ed\u00f0ur listamannanna:<\/strong><\/p>\n 1)Margr\u00e9t El\u00edsabet \u00d3lafsd\u00f3ttir, \u201eVisions and Divides in Icelandic Contemporary Art\u201c \u00ed Digital Dynamics in Nordic Contemporary Art<\/i>, ritstj. Tanya Toft Ag, Bristol, Intellect Books, 2019, bls. 315-330<\/strong><\/span><\/p>\n 2)Um \u00feetta fjalla \u00e9g n\u00e1nar \u00ed doktorsritger\u00f0 minni Les arts plastiques et les technologies num\u00e9rique en Islande<\/i>\u201c, Universit\u00e9 Paris 1, Panth\u00e9on-Sorbonne, 2013 (\u00f3\u00fatgefin).<\/strong><\/span><\/p>\n 3)Jens Tang Kristiansen, \u201eConcretism and Danish Digital Art: New Political Dialogues from an Avant-Garde Perspective\u201c \u00ed Digital Dynamics in Nordic Contemporary Art<\/i>, ritstj. Tanya Toft Ag, Bristol, Intellect Books, 2019, bls. 127-144.<\/strong><\/span><\/p>\n 4)Benedikt Hjartarson, \u201eThe Early Avant-Garde in Iceland\u201c \u00ed A Cultural History of the Avant-Garde in the Nordic Coutries 1900-1925<\/i>, ritstj. Hubert van den Berg ofl., Amsterdam, New York, Rodopi, 2012, bls. 615-672.<\/strong><\/span><\/p>\n 5)Claire Bishop, \u201eDigital Divide. On Contemporary Art and New Media\u201c, Artforum<\/i>, September 2012.<\/strong><\/span><\/p>\n 6)Michael Connor, \u201ePost-Internet: What It Is and What It Was\u201c, \u00ed You Are Here\u00a0 <\/span>\u0336\u00a0 <\/span>Art After the Internet, ritstj. Omar Kholeif, Manchester | London, HOME | SPACE, 2017 (2. \u00fatg), bls. 56-64.<\/strong><\/span><\/p>\n 7)Marisa Olson, \u201eIt\u2018s over\u201c, American Idol Audition Training<\/i>, 26 ma\u00ed 2005. S\u00f3tt \u00e1 https:\/\/conifer.rhizome.org\/despens\/marisas-american-idol-audition-training blog\/20170531154044\/http:\/\/americanidolauditiontraining.blogs.com\/marisa\/song_selection\/<\/span><\/a><\/strong><\/span><\/p>\n 8)Bruno Latour, \u201eImagin les gestes-barri\u00e8res contre le retour \u00e0 la production d\u2019avant-crise, \u00ed AOC [Analyse Opinon Critique], 30. mars 2020. S\u00f3tt \u00e1 https:\/\/aoc.media\/opinion\/2020\/03\/29\/imaginer-les-gestes-barrieres-contre-le-retour-a-la-production-davant-crise\/<\/span><\/a><\/strong><\/span><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/skjaskot-panel.jpg\")
Pallbor\u00f0sumr\u00e6\u00f0ur \u00e1 Artzine, 2020.\u00a0 <\/span>Skj\u00e1skot.<\/span><\/p>\nDulk\u00f3\u00f0u\u00f0 skilabo\u00f0\u00a0<\/b><\/h3>\n
![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/Screenshot-2020-08-07-at-11.24.47.png\")
Haraldur Karlsson, Sn\u00e6fellsnes Broadcast Station<\/i>, 2020 (skj\u00e1skot)<\/span><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/FreyjaEilif.jpg\")
Freyja Eil\u00edf, Geimgervingar,<\/i> 2019<\/span><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/Fritz-Hendrik-Ty\u0301nt-lykilor\u00f0-2019.jpg\")
Fritz Hendrik Berndsen, T\u00fdnt lykilor\u00f0, 2019<\/span><\/p>\nJarmi\u00f0<\/b><\/h3>\n
![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/2UNADJUSTEDNONRAW_thumb_e1e.jpg\")
Au\u00f0ur L\u00f3a Gu\u00f0nad\u00f3ttir, Leikfimi,<\/i> 2018-2019.<\/span><\/p>\nHruni\u00f0<\/b><\/h3>\n
![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/saemundur3.jpg\")
S\u00e6mundur \u00de\u00f3r Helgason, WORKING DEAD (2020)<\/span><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/TRIPTYCH2-Geirthrudur-Finnbogadottir-Hjorvar.jpg\")
Geir\u00fer\u00fa\u00f0ur Finnbogad\u00f3ttir Hj\u00f6rvar, Triptych II, <\/i>2013<\/span><\/p>\nSamskipti<\/b><\/h3>\n
![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/AnnaFrida.jpg\")
Anna Fr\u00ed\u00f0a J\u00f3nsd\u00f3ttir, Thought Interpreter<\/i>, 2012<\/span><\/p>\n![\"\"](\"https:\/\/artzine.is\/wp-content\/uploads\/2020\/08\/Hakon.jpg\")
H\u00e1kon Bragason, On a Branch<\/i>, 2020<\/span><\/p>\n
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