It's an art
Icelandic to English.
What is Internetart?
Art has all its time intertwined itself into the newest technology as well as the current technological buzz that is out and about. Because of that, artists are the first ones to dedicate themselves to these new technological revolutions and methods to include into their work. Artists like these find themselves often driven to use the technology in some manner that the designers and engineers of said technology never intended it to be used for. Its limits are tested, its purpose and meaning is researched, and it’s taken apart and put together in a different way with a different context. From this something new is born, something fresh and interesting. Something that can help technology develop even further. The internet has in store opportunities for artists to do just that. Due to the rapid development and success of the internet can this be just as true as when the internet was released to the public during the start of the 10th century. The internet is in constant renewal, new tools and technique combine and then update at a speed that is often quite hard to comprehend.
The web has established a combination of media, text, picture, sound, video and much more. A combination that to us is unquestioned in daily affairs. Digital technology has also helped us use already existent things to create something new, maybe many versions of the same concept in a different way, i.e. with help of different media on the internet. This provides different distribution methods and a different audience.
Page 7 - http://skemman.is/stream/get/1946/11757/29643/1/Lokaritgerd.pdf
Chose this because it connects to me more than other texts that I went over due to the fact that it applies to me. My favorite type of art is done digitally, be that drawn on a tablet or done through photoshop. My resources always derive from the internet so finding a text about this was actually quite the find.
English to Icelandic.
The Business of Art. - http://skemman.is/item/view/1946/12882
The relationship between art and money tends to be a sensitive issue. In order to discuss the commodification of art with some detachment it is therefore beneficial to distinguish artworks by the way in which they are produced, marketed and received. This essay presents three distinct means of artwork production: the commissioned, produced and mass-produced artwork. These ways of producing art involve artworks produced through contractual constraint; artworks produced with no contracts involved, and artworks produced for the viewing or consumption of a mass audience, respectively. In order to gain a fuller view of the art market, an overview of its history and basic mechanisms is given. Although it is impossible to give a thorough account of how artworks have been received throughout history, an attempt will be made here to give an overview of how the appreciation of visual art has changed from the Renaissance until today. We follow how art has been received through shifting class structures as well as having gained respect as a serious pursuit among the liberal arts. This review presents us with various interesting results. The style of an artwork can in some ways be related to the class of its buyer; the dispute over the commodification of art can be closely tied to its recognition as something beyond a mere decoration and, perhaps most importantly, the commodification of art is neither as corrosive nor as important to an artwork as one might think.
Sambandið milli list og penings er oftast fremur viðkvæmt mál. Til að ræða markaðsvæðingu listarinnar þarf fyrst að greina listaverkin á hvaða máta þau eru framleidd, markaðsett og gefin. Þessi ritgerð kynnir þrjár mismumandi leiðir til að framleiða listaverk; ráðin verk, framleidd verk, og fjölda framleidd verk. Þessar leiðir af framleiðslu fela í sér verk framleidd með þvingun samningsbyndingu; verk unnin með engum samningum, og verkum unnin fyrir áhorf eða neyslu fyrir fjölda af fólki, hver um sig. Til að ná stærri sýn á listamarkaðinn verður yfirlit af sögu og aðferðum hanns. Þó að það sé ekki hægt að gefa nákvæmt bókhald yfir hvernig listaverk voru tekin í gegnum árin þá verður tilraun gerð til að sýna yfirlit af hvernig viðring listarinnar hefur breist frá Renaissance tímabilinu til dagsins í dag. Við munum fylgja því hvernig tekið var á móti listinni í gegnum mismunandi breytingar á smekk og hvernig virðing fyrir iðju listar hefur aukist. Þessi skoðun kemur með alls kyns áhugaverðar niðurstöður. Stýll verksins getur oft verið skyllt klassa kaupandans; deilan yfir markaðsvæðingu listarinnar er bundið viðurkenningu þeirra sem eitthvað meira en bara til skrauts, en mikilvægara er að markaðsvæðing listarinnar sé ekki ætandi né eins mikilvæg til listaverks og maður myndi halda.
Picked it because it‘s an overview of a essay I have actually read somewhat.
An interview with Júlíus Valdimarsson
Why I chose Júlli.
What career path/type are you pursuing currently? Do you have an end goal of sorts?
Which one of your pieces of work do you, like the most? Put most work into? Enjoyed working on the most?
What has been the most enjoyable experience during your career/education?
What do you think is mandatory to have in mind when you pursue this career path?
He enjoyed making his self portrait most of his work as as well as making posters for Samfés 2013-14, most work was put into his final school project, the comic Landvætturinn, which consisted of 3 months of constant work. His most enjoyable experience career wise is what he's doing right now. Internship for Götz Gramlich in Heidelberg, Germany in graphic design. Götz is one of the biggest poster designer in Germany. Education wise he enjoyed the comic the most during his journey through school. He learned allot from making it, both good and bad.
The most important thing that he has learnt through pursuing the path of his career is knowing what you want, and a big part of that is trying new things. Think for yourself, even though it can be hard to actually start doing.