{"id":12118,"date":"2024-05-24T11:00:00","date_gmt":"2024-05-24T11:00:00","guid":{"rendered":"https:\/\/www.lhi.is\/?post_type=threads&p=12118"},"modified":"2024-05-23T11:25:16","modified_gmt":"2024-05-23T11:25:16","slug":"what-has-banjoid-sed","status":"publish","type":"threads","link":"https:\/\/www.lhi.is\/en\/thraedir\/thraedir-tolublad-9\/hvad-hefur-banjoid-sed\/","title":{"rendered":"What has the banjo seen?\u00a0"},"content":{"rendered":"\n
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Hva\u00f0 hefur banj\u00f3i\u00f0 s\u00e9\u00f0? <\/h1>\n\t\t\t\t\t<\/div>\n\t
\n\t\t\t\n\t\t\t\t\t\t\t\t\t\t\"\"\n\t\t\t\t\n\t\t\t<\/figure>\n\t<\/section>\n\n\n\n
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Tumi \u00c1rnason<\/p>\n

 <\/p>\n

Inngangur<\/strong><\/p>\n

Weston Olencki er t\u00f3nsk\u00e1ld, flytjandi og spunat\u00f3nlistarma\u00f0ur sem starfar n\u00fa \u00ed Berl\u00edn en h\u00e1n er \u00e6tta\u00f0 fr\u00e1 Su\u00f0ur-Kar\u00f3l\u00ednu \u00ed Bandar\u00edkjunum. H\u00e1n hefur komi\u00f0 fram b\u00e6\u00f0i sem t\u00f3nsk\u00e1ld og flytjandi \u00e1 t\u00f3nlistarvi\u00f0bur\u00f0um v\u00ed\u00f0a um heim og flutti n\u00fa \u00e1 d\u00f6gunum verk sitt, \u00a0a vine that grew over the city and no one noticed <\/em>(2020-2022), \u00e1 fr\u00e1b\u00e6rum t\u00f3nleikum \u00ed Mengi vi\u00f0 \u00d3\u00f0insg\u00f6tu.[1]<\/a> Verk Westons sn\u00faast gjarnan um hinar \u00fdmsu m\u00f6gulegu birtingarmyndir hlj\u00f3\u00f0f\u00e6rat\u00f3nlistar sem og lei\u00f0ir til a\u00f0 st\u00fdra hlustun og spuna en verkin hafa oft og t\u00ed\u00f0um einnig eins konar sagnfr\u00e6\u00f0ilega v\u00eddd, \u00fear sem t\u00f3nsk\u00e1ldi\u00f0 rannsakar listsk\u00f6pun \u00e1kve\u00f0inna menningarsv\u00e6\u00f0a, n\u00fdtir \u00ed list sinni og setur \u00ed samhengi vi\u00f0 \u00fdmiss konar t\u00e6kni, efni og fleira.[2]<\/a> Verki\u00f0 a vine that grew over the city and no one noticed <\/em>er gott d\u00e6mi um \u00feetta, en verki\u00f0 byggir \u00e1 umhverfi og \u00fej\u00f3\u00f0lagahef\u00f0 Su\u00f0ur-Kar\u00f3l\u00ednu.<\/p>\n

Menning, minni og myndl\u00edkingar<\/strong><\/p>\n

Verki\u00f0 a vine that grew over the city and no one noticed<\/em> er 43 m\u00edn\u00fatur a\u00f0 lengd og skiptist \u00ed fj\u00f3ra hluta:<\/p>\n

I. Cripple Creek \/\/ Pretty Polly<\/em>
\nII. 10:23pm through the Saluda Grade \/\/ Moonshiner<\/em>
\nIII. interlude (Nachtmusik)<\/em>
\nIIII. „the by and by“<\/em><\/p>\n

Eins og \u00e1\u00f0ur sag\u00f0i kannar Weston og afbyggir \u00e1 vissan h\u00e1tt menningararf Su\u00f0ur-Kar\u00f3l\u00ednu \u00ed verkinu, en vi\u00f0 flutning verksins eru \u00ed forgrunni tv\u00f6 umbreytt banj\u00f3 sem st\u00fdrt er me\u00f0 talsvert fl\u00f3knum t\u00e6knib\u00fana\u00f0i \u00far smi\u00f0ju t\u00f3nsk\u00e1ldsins. \u00dear m\u00e1 me\u00f0al annars nefna heimasm\u00ed\u00f0a\u00f0a segul\u00f3mgjafa og v\u00e9lkn\u00fana slegla sem st\u00fdra banj\u00f3unum sem ef til vill l\u00edkjast afur\u00f0um fr\u00e1 Intelligent Instruments Lab (IIL) a\u00f0 vissu leyti, til a\u00f0 mynda Proto-langspilinu. \u201eVi\u00f0 h\u00f6fum \u00e1huga \u00e1 a\u00f0 kanna menningarlegar sk\u00edrskotanir hlj\u00f3\u00f0f\u00e6risins og a\u00f0 kanna vi\u00f0t\u00f6kur samf\u00e9lagsins eftir \u00fev\u00ed sem a\u00f0 \u00fea\u00f0 kemst \u00ed meiri notkun,\u201c segja hlj\u00f3\u00f0f\u00e6rasmi\u00f0ir IIL sem eru l\u00edkt og Weston \u00ed samtali vi\u00f0 sta\u00f0bundna \u00fej\u00f3\u00f0menningarhef\u00f0.[3]<\/a><\/p>\n\"\"<\/a>\n

Mynd 1. Til vinstri: Rafst\u00fdr\u00f0u banj\u00f3in sem notu\u00f0 eru \u00ed a vine that grew over the city and no one noticed<\/em>. Til h\u00e6gri: Hi\u00f0 \u00edslenska Proto-langspil \u00far smi\u00f0ju Intelligent Instruments Lab.<\/p>\n

N\u00e1lgun og a\u00f0fer\u00f0 Westons vi\u00f0 t\u00f3nsm\u00ed\u00f0arnar felur \u00ed grunninn \u00ed s\u00e9r a\u00f0 hlusta mj\u00f6g virkt \u00e1 umhverfi\u00f0 og vi\u00f0a a\u00f0 s\u00e9r miklu efni \u00far \u00fev\u00ed, \u00e1samt \u00fev\u00ed a\u00f0 rannsaka s\u00f6gulegar tengingar \u00feess. N\u00e1lgun h\u00e1ns er a\u00f0 einhverju leyti uppreisn gegn hinni vi\u00f0teknu hugmynd um t\u00f3nverk:<\/p>\n

Eins og \u00e9g skil \u00fe\u00e6r, eru v\u00e6ntingarnar til t\u00f3nsk\u00e1lds \u00ed grunninn \u00ed andst\u00f6\u00f0u vi\u00f0 \u00feessa tegund sta\u00f0greiningar. \u00dea\u00f0 er vi\u00f0tekin venja a\u00f0 l\u00edta svo \u00e1 a\u00f0 hlj\u00f3\u00f0f\u00e6ri, hef\u00f0ir, r\u00fdmi og \u00ed raun f\u00f3lk m\u00f3tist \u00feannig a\u00f0 \u00fea\u00f0 ver\u00f0i til \u00e1kve\u00f0in hlj\u00f3\u00f0r\u00e6n heimsmynd sem h\u00e6gt er a\u00f0 flytja og t\u00f3nflytja a\u00f0 vild. \u00c9g hef \u00e1huga \u00e1 annars konar n\u00e1lgun me\u00f0 \u00e1herslu \u00e1 fj\u00f6lr\u00e6\u00f0i, a\u00f0l\u00f6gun og sveigjanleika \u00ed vinnu okkar me\u00f0 \u00fea\u00f0 sem er \u00ed kringum okkur.[4]<\/a><\/p>\n

L\u00edkt og IIL er Weston a\u00f0 vinna me\u00f0 m\u00f6guleika gervigreindar, en \u00ed verkinu eru Markov-ke\u00f0jur og einf\u00f6ld tauganet notu\u00f0, me\u00f0al annars til a\u00f0 vinna \u00far g\u00f6mlum uppt\u00f6kum af banj\u00f3leikurum fr\u00e1 Su\u00f0ur-Kar\u00f3l\u00ednu og Appalachiufj\u00f6llum og myndar t\u00e6knin me\u00f0 \u00feessum a\u00f0fer\u00f0um eins konar endurgervingu af spilat\u00e6kni \u00feessara flytjenda fort\u00ed\u00f0arinnar. Me\u00f0al annarra s\u00f6gulegra hr\u00e1efna m\u00e1 nefna eimrei\u00f0ahlj\u00f3\u00f0uppt\u00f6kur eimrei\u00f0a\u00e1hugamannsins og lj\u00f3smyndarans O. Winstons Link undir lok eimrei\u00f0aflutninga \u00ed Amer\u00edku \u00e1 sj\u00f6tta \u00e1ratugnum og \u00fdmsar kar\u00f3l\u00ednskar heimildaruppt\u00f6kur fengnar af segulb\u00f6ndum, vaxh\u00f3lkum, v\u00ednylpl\u00f6tum og v\u00edr.[5]<\/a> Einnig tilgreinir t\u00f3nsk\u00e1ldi\u00f0 AM-\u00fatvarpssenda, g\u00f6mul lampa\u00fatv\u00f6rp, lestarteina, sultukrukkur og bj\u00f6gunarb\u00fana\u00f0 \u00fear sem hlj\u00f3\u00f0merki eru sigtu\u00f0 \u00ed gegnum jar\u00f0s\u00fdni af kar\u00f3l\u00ednskum rau\u00f0leir.[6]<\/a> R\u00e9tt er a\u00f0 taka fram a\u00f0 \u00ed t\u00f3nleikunum \u00ed Mengi var \u00fatg\u00e1fa verksins \u00f6rl\u00edti\u00f0 fr\u00e1brug\u00f0in \u00feeirri sem finna m\u00e1 \u00e1 hinni \u00fatgefnu uppt\u00f6ku, til d\u00e6mis var \u00fatg\u00e1fan \u00ed Mengi einungis flutt \u00e1 anna\u00f0 af banj\u00f3unum tveimur en auk \u00feess voru ekki allir kaflar fluttir \u00ed fullri \u00fatg\u00e1fu.<\/p>\n

\u00cd fj\u00f3r\u00f0a hlutanum, „the by and by<\/em>„, mata\u00f0i t\u00f3nsk\u00e1ldi\u00f0 gervigreindina Jukebox fr\u00e1 OpenAi \u00e1 lagi Carter-fj\u00f6lskyldunnar Can the Circle Be Unbroken<\/em> og nota\u00f0i hana til a\u00f0 umbreyta efninu me\u00f0 r\u00f6ddum og st\u00edlbr\u00f6g\u00f0um \u00fdmissa \u00feekktra amer\u00edskra \u00fej\u00f3\u00f0laga- og k\u00e1ntr\u00edt\u00f3nlistarmanna \u00e1 bor\u00f0 vi\u00f0 Johnny Cash, Elizabeth Cotten, Hank Williams, Lorettu Lynn o.fl.[7]<\/a> \u00cd fyrirlestri sem t\u00f3nsk\u00e1ldi\u00f0 flutti um verk s\u00edn \u00ed m\u00e1lstofu t\u00f3nsm\u00ed\u00f0anema \u00ed Listah\u00e1sk\u00f3lanum \u00feann 9. febr\u00faar s.l. benti h\u00e1n me\u00f0al annars \u00e1 a\u00f0 me\u00f0 tauganetinu v\u00e6ri reynt a\u00f0 hlj\u00f3\u00f0gerva (e. synthesise)<\/em> efni\u00f0 \u00e1 mun d\u00fdpra stigi en t.d. MIDI-stiginu sem manni hef\u00f0i ef til vill dotti\u00f0 fyrst \u00ed hug vi\u00f0 umritun af \u00feessu tagi. Gervigreindin vinnur \u00e1 einhvers konar stafr\u00e6nu frumeindastigi, \u00fea\u00f0 er a\u00f0 segja h\u00fan byggir \u00fat fr\u00e1 einhverju sem n\u00e1lgast frekar grunneiningar hinnar stafr\u00e6nu gagnaskr\u00e1ar.[8]<\/a><\/p>\n

\u00d3hugnanlegt himnar\u00edki<\/strong><\/p>\n

\u00dea\u00f0 er eitthva\u00f0 draugalegt vi\u00f0 \u00feennan samruna hins raft\u00e6knilega og s\u00f6gulega. \u00dej\u00f3\u00f0lagat\u00f3nlistin sem liggur til grundvallar verkinu varpar gjarnan upp mj\u00f6g tilvistarlegum spurningum a\u00f0 mati t\u00f3nsk\u00e1ldsins, vangaveltum um \u00fea\u00f0 hva\u00f0 g\u00e6ti be\u00f0i\u00f0 okkar handan vi\u00f0 m\u00f3\u00f0una miklu. Weston vekur \u00e1 sinn h\u00e1tt upp fur\u00f0ulegan draug me\u00f0 \u00fev\u00ed a\u00f0 taka \u00feetta s\u00f6gulega hr\u00e1efni, hlj\u00f3\u00f0uppt\u00f6kur sem eru mj\u00f6g fastbundnar tilteknum sta\u00f0 og t\u00edma og varpa \u00feeim inn \u00ed stafr\u00e6nt umhverfi sem tilheyrir algj\u00f6rlega \u00f6\u00f0ru og gj\u00f6r\u00f3l\u00edku tilvistarplani. Afur\u00f0in hlj\u00f3mar eins og einhvers konar var\u00f0veitt heimild sem tilheyrir fort\u00ed\u00f0inni en er \u00ed raun gl\u00e6n\u00fd \u201ehugarsm\u00ed\u00f0\u201c hins stafr\u00e6na. Weston minntist \u00ed fyrirlestri s\u00ednum \u00e1 a\u00f0 \u00fea\u00f0 m\u00e6tti \u00edmynda s\u00e9r hina stafr\u00e6nu s\u00e9rst\u00e6\u00f0u (e. digital singularity)<\/em> sem nokkurs konar \u00f3hugnanlegt himnar\u00edki.[9]<\/a> \u00deannig er \u00feessi stafr\u00e6ni draugagangur kominn \u00ed samtal vi\u00f0 hinn tilvistarlega efnivi\u00f0 \u00fej\u00f3\u00f0laganna sem byggt er \u00e1.<\/p>\n

\u00dearna er stutt \u00ed tengingar vi\u00f0 \u00fdmsar hugmyndir um t\u00e6knis\u00e9rst\u00f6\u00f0una (e. technological singularity)<\/em>, \u00fea\u00f0 er a\u00f0 segja kenningar um a\u00f0 \u00ed fyrirsj\u00e1anlegri framt\u00ed\u00f0 muni skapast \u00e1stand \u00fear sem samruni og fram\u00fer\u00f3un n\u00fdrrar t\u00e6kni, til a\u00f0 mynda gervigreindar, umbreyti skyndilega veruleika okkar \u00e1 r\u00f3tt\u00e6kan og \u00f3fyrirsj\u00e1anlegan m\u00e1ta. \u00dear m\u00e1 finna hugmyndir um svokalla\u00f0an net\u00f3dau\u00f0leika (e. cyberimmortality)<\/em>, \u00fear sem menn sj\u00e1 fyrir s\u00e9r framt\u00ed\u00f0 \u00fear sem vi\u00f0 getum \u00f6\u00f0last eil\u00edft stafr\u00e6nt l\u00edf \u00fat yfir gr\u00f6f og dau\u00f0a me\u00f0 \u00fev\u00ed a\u00f0 hla\u00f0a hugsunum okkar og tilfinningum, s\u00e1linni svo a\u00f0 segja, inn \u00ed eil\u00edft gagnakerfi.[10]<\/a><\/p>\n

V\u00edsindask\u00e1lds\u00f6gulegar hugmyndir \u00e1 bor\u00f0 vi\u00f0 net\u00f3dau\u00f0leikann hlj\u00f3ta \u00fe\u00f3 a\u00f0 teljast talsvert langt fr\u00e1 kjarna t\u00f3nsm\u00ed\u00f0a Westons Olencki, sem h\u00e1n skilgreinir sem \u201edreifb\u00fdlisn\u00e1lgun \u00e1 tilraunat\u00f3nlist\u201c.[11]<\/a> T\u00f3nsk\u00e1ldi\u00f0 leikur s\u00e9r a\u00f0 \u00fev\u00ed a\u00f0 l\u00e1ta h\u00e1\u00fer\u00f3a\u00f0a t\u00e6kni (sem tekur s\u00edfellt meira pl\u00e1ss \u00ed samt\u00edma okkar og felur \u00e1 vissan h\u00e1tt \u00ed s\u00e9r b\u00e6\u00f0i \u00fat\u00f3p\u00edsk fyrirheit um framt\u00ed\u00f0ina en l\u00edka uggv\u00e6nlega forbo\u00f0a) vinna me\u00f0 ve\u00f0ra\u00f0an efnivi\u00f0 \u00ed l\u00e1gri upplausn, fullan af skrj\u00e1fi og skru\u00f0ningum sem hafa myndast vi\u00f0 framr\u00e1s t\u00edmans. Weston leitast ekki vi\u00f0 a\u00f0 skyggnast inn \u00ed t\u00e6knidrifinn \u00f3dau\u00f0leikann heldur tekur h\u00e1n sta\u00f0bundna \u00fe\u00e6tti, sem oft hafa s\u00f6gulegar v\u00edsanir til fort\u00ed\u00f0ar, og sundrar \u00feeim \u00ed \u00f6reindir, les \u00fe\u00e1 og me\u00f0h\u00f6ndlar me\u00f0 verkf\u00e6rum samt\u00edmans. Weston f\u00e6st vi\u00f0 umgj\u00f6r\u00f0 t\u00f3nlistarinnar \u00ed \u00fdmsum skilningi: v\u00edsanir, myndl\u00edkingar og merkingu efnivi\u00f0arins sj\u00e1lfs. \u00cd augum h\u00e1ns er hr\u00e1efni ekki bara \u00f3skrifa\u00f0 bla\u00f0 heldur v\u00edsar allt efni b\u00e6\u00f0i \u00ed fort\u00ed\u00f0 s\u00edna og til annarra tengdra hluta. \u00deannig eru verk \u00e1 bor\u00f0 vi\u00f0 a vine grew over the city…<\/em> landfr\u00e6\u00f0ilega bundin umhverfi t\u00f3nsk\u00e1ldsins og m\u00f3tu\u00f0 af pers\u00f3nulegu sambandi t\u00f3nsk\u00e1ldsins vi\u00f0 \u00fea\u00f0 umhverfi. T\u00f3nsk\u00e1ldi\u00f0 gerir samband sitt vi\u00f0 umhverfi sitt \u00e1\u00fereifanlegt me\u00f0 millig\u00f6ngu hlj\u00f3\u00f0sins.[12]<\/a><\/p>\n

Banj\u00f3i\u00f0 sem myndl\u00edking<\/strong><\/p>\n

Tengingar Westons vi\u00f0 Su\u00f0ur-Kar\u00f3l\u00ednu eru margslungnar, en h\u00e1n \u00e1 \u00e6ttir a\u00f0 rekja \u00ed sm\u00e1b\u00e6 \u00fear um sl\u00f3\u00f0ir. H\u00e1n talar um hvernig fagurt landslagi\u00f0, r\u00edkuleg t\u00f3nlistarhef\u00f0in og h\u00e6glyndislegt t\u00edmaskyn sv\u00e6\u00f0isins s\u00e9 gr\u00f3i\u00f0 inn \u00ed vitund h\u00e1ns og veiti h\u00e1ni innbl\u00e1stur, en bendir jafnframt \u00e1 hvernig saga sv\u00e6\u00f0isins s\u00e9 mengu\u00f0 af bl\u00f3\u00f0s\u00fathellingum, \u00fer\u00e6lahaldi, ford\u00f3mum, \u00fej\u00f3\u00f0armor\u00f0um, g\u00edfurlega ska\u00f0v\u00e6nlegri i\u00f0nv\u00e6\u00f0ingu og \u00fdmiss konar \u00f3r\u00e9tti enn \u00feann dag \u00ed dag.[13]<\/a> A\u00f0 velja banj\u00f3i\u00f0 sem eins konar brennipunkt verksins er \u00ed \u00feessum skilningi afar vi\u00f0eigandi \u00ed lj\u00f3si fl\u00f3kinnar menningars\u00f6gu \u00feess, en hlj\u00f3\u00f0f\u00e6ri\u00f0 \u00e1 \u00e6ttir s\u00ednar a\u00f0 rekja til Vestur-Afr\u00edku, \u00fear sem spilahef\u00f0 skyldra hlj\u00f3\u00f0f\u00e6ra m\u00e1 rekja alla lei\u00f0 aftur \u00e1 sj\u00f6undu \u00f6ld, og jafnvel enn lengra. Fr\u00e1 Afr\u00edku fer\u00f0a\u00f0ist banj\u00f3i\u00f0 til Amer\u00edku \u00e1 sautj\u00e1ndu e\u00f0a \u00e1tj\u00e1ndu \u00f6ld me\u00f0 afr\u00edskum \u00fer\u00e6lum, fyrst til Kar\u00edbahafsins og s\u00ed\u00f0an til su\u00f0urhluta Bandar\u00edkjanna.[14]<\/a><\/p>\n

Eftir a\u00f0 hafa \u00fer\u00f3ast og dreifst me\u00f0 \u00fer\u00e6lum um su\u00f0urhluta Bandar\u00edkjanna f\u00f3r a\u00f0 bera \u00e1 \u00fev\u00ed \u00e1 \u00e1tj\u00e1ndu \u00f6ld a\u00f0 hv\u00edtir landnemar l\u00e6r\u00f0u \u00e1 banj\u00f3i\u00f0, en s\u00fa \u00fer\u00f3un helst \u00ed hendur vi\u00f0 tilkomu minstrels\u00fdninganna.[15]<\/a> Minstrelhef\u00f0in, sem er sm\u00e1narblettur \u00ed s\u00f6gu Bandar\u00edkjanna, j\u00f3k vins\u00e6ldir banj\u00f3sins svo um muna\u00f0i og gegnir lykilhlutverki \u00ed tilkomu k\u00e1ntr\u00edt\u00f3nlistarinnar og sta\u00f0al\u00edmyndinni um a\u00f0 banj\u00f3 tilheyri fyrst og fremst hv\u00edtri \u201ehillbill\u00ed\u201c sveitamenningu. \u00der\u00e1tt fyrir \u00fea\u00f0 m\u00e1 einnig sj\u00e1 a\u00f0 afr\u00edsk-amer\u00edska banj\u00f3t\u00f3nlistin sem var\u00f0veitist \u00ed Appalachiufj\u00f6llum er beinn forveri afr\u00edsk-amer\u00edsku ragtime-t\u00f3nlistarinnar, bl\u00fassins og \u00ed kj\u00f6lfari\u00f0 djasst\u00f3nlistar.[16]<\/a> Annar \u00fer\u00e1\u00f0ur \u00feessa fl\u00f3kna menningarvefs er einmitt \u00f6\u00f0runin, s\u00e9rstaklega innan t\u00f3nlistarbransans, \u00e1 hinum hv\u00edta \u201ehillbill\u00ed\u201c e\u00f0a sveitalubba, sem \u00feurfti a\u00f0 l\u00fata l\u00e6gra haldi fyrir hinni hetjulegu amer\u00edsku \u00edmynd k\u00farekans um 1930. H\u00fan ger\u00f0i hv\u00edtum millist\u00e9ttaralmenningi \u00ed Bandar\u00edkjunum au\u00f0veldara a\u00f0 samsama sig k\u00e1ntr\u00edt\u00f3nlistinni innan vi\u00f0teknari, \u00fe\u00e6gilegri og \u00f3s\u00fdnilegri hv\u00edtleika.[17]<\/a> Ef ekki hef\u00f0i veri\u00f0 fyrir tilstu\u00f0lan \u00fatvarpst\u00e6kninnar og t\u00f3nlistari\u00f0na\u00f0arins sem r\u00e9\u00f0 \u00fatvarpinu hef\u00f0i k\u00e1ntr\u00edt\u00f3nlist (og banj\u00f3i\u00f0) l\u00edklega ekki or\u00f0i\u00f0 \u00fea\u00f0 sem h\u00fan er \u00ed dag.[18]<\/a> \u00dearna sj\u00e1um vi\u00f0 amer\u00edsku m\u00fdtuna \u00ed \u00fer\u00f3un, sem Weston er \u00e1 sinn h\u00e1tt a\u00f0 taka fyrir \u00ed verki s\u00ednu. Banj\u00f3i\u00f0 ver\u00f0ur myndl\u00edking fyrir \u00fea\u00f0 hvernig vesturafr\u00edsk, karab\u00edsk og su\u00f0uramer\u00edsk menning blandast vi\u00f0 strauma fr\u00e1 evr\u00f3pskum landnemum, kv\u00edslast \u00ed hinar og \u00feessar \u00e1ttir og endar sem ja\u00f0arsett, \u00fej\u00f3\u00f0ernissinnu\u00f0, hv\u00edt \u201eredneck\u201c menning.[19]<\/a> Sj\u00e1lft segir Weston a\u00f0 h\u00e1n hafi \u00ed kj\u00f6lfar andl\u00e1ts m\u00f3\u00f0ur sinnar byrja\u00f0 a\u00f0 kanna samband sitt vi\u00f0 \u00feessa heimahaga sem h\u00e1n haf\u00f0i hinga\u00f0 til \u201ereynt af \u00f6llum krafti a\u00f0 a\u00f0greina [sig] fr\u00e1 listr\u00e6nt, menningarlega og landfr\u00e6\u00f0ilega.\u201c[20]<\/a><\/p>\n

Lokaor\u00f0<\/strong><\/p>\n

Weston velur v\u00edsvitandi banj\u00f3i\u00f0 sem mi\u00f0punkt verksins enda hefur banj\u00f3i\u00f0 mj\u00f6g margslungna merkingu, fr\u00e1 \u00fev\u00ed a\u00f0 vera t\u00e1kn sveitamenningar og \u00fej\u00f3\u00f0lagat\u00f3nlistar fjallanna, yfir \u00ed a\u00f0 vera n\u00e1tengt ras\u00edskri kyn\u00fe\u00e1ttahyggjumenningu, og \u00feannig t\u00e1kn fyrir ok \u00ad\u2013 en jafnframt sterkt t\u00e1kn fyrir afr\u00edska arflei\u00f0 innan amer\u00edskrar menningar. Weston n\u00fdtir s\u00e9r me\u00f0al annars \u00fatvarpsb\u00fana\u00f0 og uppt\u00f6kur og minjar fr\u00e1 eimrei\u00f0aflutningum sem myndl\u00edkingar me\u00f0 v\u00edsun \u00ed \u00feessa sv\u00e6\u00f0isbundnu s\u00f6gu. H\u00e1n notar einnig t\u00e6kni dagsins \u00ed dag og afbyggir \u00feannig \u00feetta hr\u00e1efni og m\u00f3tar eitthva\u00f0 algj\u00f6rlega n\u00fdtt. Skemmtilegar tengingar m\u00e1 finna milli notkunar Westons \u00e1 \u00feessu \u00fej\u00f3\u00f0lega hlj\u00f3\u00f0f\u00e6ri og langspili IIL, en langspili\u00f0 \u00e1 s\u00e9r einnig fl\u00f3kna og undarlega s\u00f6gu sem me\u00f0limir IIL eru innbl\u00e1snir af. Frumleg notkun gervigreindar og tauganeta varpar lj\u00f3si \u00e1 skapandi m\u00f6guleika t\u00e6kninnar og vekur upp spurningar. \u00dea\u00f0 ver\u00f0ur forvitnilegt a\u00f0 kafa d\u00fdpra \u00ed verk Westons og einst\u00f6k \u00e1n\u00e6gja a\u00f0 f\u00e1 t\u00e6kif\u00e6ri til a\u00f0 fylgjast me\u00f0 \u00feessu spennandi t\u00f3nsk\u00e1ldi flytja verk sitt h\u00e9r \u00e1 landi.<\/p>\n

 <\/p>\n

Heimildaskr\u00e1<\/strong><\/p>\n

Britannica. \u201eSingularity.\u201c S\u00f3tt 12. febr\u00faar 2024.
\nhttps:\/\/www.britannica.com\/technology\/singularity-technology#ref1255067.<\/p>\n

Conway, Cecelia. \u201e Black Banjo Songsters in Appalachia.\u201c\u00a0Black Music Research Journal 23, nr. 1\/2 (2003): 149-166.<\/p>\n

Goodman, Glenda og Samuel Parler. \u201e White Noise: Historiographical Exceptionalism and the Construction of a White American Music History.\u201c 7.\u00a0kafli \u00ed\u00a0Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century. Michigan: University of Michigan Press, 2021.<\/p>\n

Intelligent Instruments Lab. \u201eProto-Langspil.\u201c S\u00f3tt 26. febr\u00faar, 2024. https:\/\/iil.is\/research\/langspil.<\/p>\n

O. Winston Link Productions. \u201eFrequently Asked Questions.\u201c S\u00f3tt 18. febr\u00faar 2024. http:\/\/owinstonlinkrailwayproductions.com\/FAQ.aspx.<\/p>\n

Olencki, Weston. \u201ea vine that grew over the city and no one noticed [2020-22].\u201c S\u00f3tt 12. febr\u00faar 2024. http:\/\/www.westonolencki.com\/#\/city-vine\/.<\/p>\n

Olencki, Weston. \u201eAbout.\u201c S\u00f3tt 12. feb\u00faar 2024. http:\/\/www.westonolencki.com\/about.<\/p>\n

Olencki, Weston. \u201eM\u00e1lstofur t\u00f3nsm\u00ed\u00f0anema.\u201c Fyrirlestur fluttur \u00ed Listah\u00e1sk\u00f3la \u00cdslands, Reykjav\u00edk, 9. febr\u00faar 2024.<\/p>\n

Olencki, Weston.\u00a0Wet Ink Archive\u00a0(blogg). https:\/\/archive.wetink.org\/archive-02\/toward-a-future-practice.<\/p>\n

Tripticks Tapes. \u201eOld Time Music.\u201c S\u00f3tt 12. febr\u00faar 2024. https:\/\/triptickstapes.bandcamp.com\/album\/old-time-music.<\/p>\n

 <\/p>\n

Myndaskr\u00e1<\/strong><\/p>\n

Mynd 1: Intelligent Instruments Lab. S\u00f3tt 26. febr\u00faar, 2024. https:\/\/iil.is.<\/p>\n

Mynd 2: Olencki, Weston. S\u00f3tt 26. febr\u00faar 2024. http:\/\/www.westonolencki.com.<\/p>\n

\n

 <\/p>\n

[1]<\/a> Weston Olencki \/ Hugi Kjartansson & Hjalti Nordal<\/em>, Mengi \u00d3\u00f0insg\u00f6tu, 8. febr\u00faar 2024.<\/p>\n

[2]<\/a> \u201eAbout,\u201c Weston Olencki, s\u00f3tt 12. febr\u00faar 2024, http:\/\/www.westonolencki.com\/about.<\/p>\n

[3]<\/a> M\u00edn \u00fe\u00fd\u00f0ing \u00e1: \u201eWe are interested in exploring the cultural connotations of the instrument, studying the cultural reception of it as it becomes used and played as part of musical practice.\u201c \u201eProto-Langspil,\u201c Intelligent Instruments Lab, 26. febr\u00faar 2024, https:\/\/iil.is\/research\/langspil.<\/p>\n

[4]<\/a> M\u00edn \u00fe\u00fd\u00f0ing \u00e1: \u201eThe expectations for a composer, as I\u2019ve understood it, are fundamentally in opposition to this kind of locality, the normal practice viewing instruments, traditions, spaces, and ultimately people to be molded to construct a specific sonic worldview, able to be relocated and transposed at will. I\u2019m interested in taking a different approach, one that values plurality, adaptation, and flexibility in order to work with what is around us.\u201c\u00a0 Weston Olencki, \u201eToward a future practice,\u201c\u00a0Wet Ink Archive\u00a0<\/em>(blogg), 7. j\u00fal\u00ed 2020, https:\/\/archive.wetink.org\/archive-02\/toward-a-future-practice.<\/p>\n

[5]<\/a> \u201eFrequently Asked Questions,\u201c O. Winston Link Productions, S\u00f3tt 18. febr\u00faar 2024, http:\/\/owinstonlinkrailwayproductions.com\/FAQ.aspx.<\/p>\n

[6]<\/a> \u201ea vine that grew over the city and no one noticed [2020-22],\u201c Weston Olencki, s\u00f3tt 12. febr\u00faar 2024, http:\/\/www.westonolencki.com\/#\/city-vine\/.<\/p>\n

[7]<\/a> \u201eOld Time Music,\u201c Tripticks Tapes, s\u00f3tt 12. febr\u00faar 2024, https:\/\/triptickstapes.bandcamp.com\/album\/old-time-music.<\/p>\n

[8]<\/a> Weston Olencki, \u201eM\u00e1lstofur t\u00f3nsm\u00ed\u00f0anema\u201c (fyrirlestur, Listah\u00e1sk\u00f3li \u00cdslands, Reykjav\u00edk, 9. febr\u00faar 2024).<\/p>\n

[9]<\/a> Olencki, \u201cM\u00e1lstofur t\u00f3nsm\u00ed\u00f0anema.\u201d<\/p>\n

[10]<\/a> \u201eSingularity,\u201c Britannica, S\u00f3tt 12. febr\u00faar 2024, https:\/\/www.britannica.com\/technology\/singularity-technology#ref1255067.<\/p>\n

[11]<\/a> M\u00edn \u00fe\u00fd\u00f0ing \u00e1: \u201erural approach to experimental composition.\u201cOlencki, \u201cM\u00e1lstofur t\u00f3nsm\u00ed\u00f0anema.\u201d<\/p>\n

[12]<\/a> Olencki, \u201eToward a future practice.\u201c<\/p>\n

[13]<\/a> Olencki, \u201eToward a future practice.\u201c<\/p>\n

[14]<\/a> Cecelia Conway, \u201eBlack Banjo Songsters in Appalachia,\u201c\u00a0Black Music Research Journal,<\/em>\u00a023, nr. 1\/2 (2003): 150-155.<\/p>\n

[15]<\/a> Conway, \u201e Black Banjo Songsters in Appalachia,\u201c 155.<\/p>\n

[16]<\/a> Conway, \u201e Black Banjo Songsters in Appalachia,\u201c 163-164.<\/p>\n

[17]<\/a> Glenda Goodman og Samuel Parler, \u201eWhite Noise: Historiographical Exceptionalism and the Construction of a White American Music History,\u201c \u00ed\u00a0Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century <\/em>(Michigan: University of Michigan Press, 2021), 221.<\/p>\n

[18]<\/a> Olencki, \u201cM\u00e1lstofur t\u00f3nsm\u00ed\u00f0anema.\u201d<\/p>\n

[19]<\/a> Goodman og Parler, \u201eWhite Noise,\u201c 228.<\/p>\n

[20]<\/a> M\u00edn \u00fe\u00fd\u00f0ing \u00e1 \u201eSparked by my mother\u2019s sudden death in 2017, I began to personally reforge my relationship with this place I worked so hard to artistically, culturally and geographically distance myself from.\u201cOlencki, \u201eToward a future practice.\u201c<\/p>\n\t\t\t\t\t\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":10,"featured_media":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"wds_primary_threads_cat":0,"footnotes":""},"threads_cat":[201],"class_list":["post-12118","threads","type-threads","status-publish","hentry","threads_cat-thraedir-tolublad-9"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/12118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads"}],"about":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/types\/threads"}],"author":[{"embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/comments?post=12118"}],"version-history":[{"count":4,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/12118\/revisions"}],"predecessor-version":[{"id":13107,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads\/12118\/revisions\/13107"}],"wp:attachment":[{"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/media?parent=12118"}],"wp:term":[{"taxonomy":"threads_cat","embeddable":true,"href":"https:\/\/www.lhi.is\/en\/wp-json\/wp\/v2\/threads_cat?post=12118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}