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Ingimar Ólafsson Waage
Álfhólsvegi 8
200 Kópavogi
símar: 6983875 & 5646649



Waage has been in collaboration with the musicians of the art-group Aanonymous.

Interactivity of different disciplines in art have proven to be fruitful in history, especially in the light of the influence of the arts to human cognition and emotions. The arts expand our perception; experiencing the arts, looking at a painting or listening to music introduces countless options of new experiences that are renewed each time the spectator revisits the artwork. Waage painted while listening to the music of Aanonymous and the results can be enjoyed on the website of Aanonymous:


A human being collects information on the environment through experience and makes sense of it with deliberation; collecting evidence, drawing conclusions, making hypotheses. These are undisputable signs of life; signs of a living organism acting and reacting in correspondance to its environment. The richer the experiences, the richer the deliberation. However, the human existence in harmonious relationship with its environment, is a construct that rests on solidified experience, the world-view has been settled but the uneasy ones that seek constantly to challenge their established reality tend to enlarge their horizon, extend their knowledge, paradoxically, to the realization of their own Socratic ignorance. Any encounter with the outside reality is therefore quickly classified in accordance with earlier experience and either used to reinforce the current world-view or discarded as an illusion or deception. However, there are important aspects of human activities that provoke a different kind of deliberation; namely the Arts. In her book, Problems of art (1953), Susanne Langer clarifies this phenomena when she writes that the visual arts create a sense of spatial illusion and music creates illusion of time. This acquaintance with is the supposed illusion is not discarded as a misconception because the powers of the arts can ignite a reflection on previous experience and introduce new possibilities of experiences, enriching the deliberation. This is due to direct access of the arts to our emotions that subsequently nourish the imagination. But in what way do the arts differ from other human endeavors? How is an artwork, say, Van Gogh’s Sunflowers different from a florist decoration on a table? Is it the inevitable decay of the flowers, fading colors and disappearing scent contrasted with the suggested eternity of the painting (although the struggle of preservating the artwork will in the unforeseen future be futile)? Is it the fame of the artist and the elevated price tag of the artwork? Or is it the imaginative potentials proposed in the painting opposed to the almost flat and predictable reality that leaves nothing for the seeking mind, resolute in expanding experience. While the floral decoration, in its own natural beauty, a wonderful testimony of life in all its glory, scratches the surface of our sea of consciousness while the painting brings about waves of fascination. Could this be due to the tension between the particular and the general? The flowers in the vase can be classified as particular, whereas Van Gogh’s pictorial representation of flowers is general; his rendering of a particular vase and its containing flowers represents both the particular flower and simultaniously all and any sunflowers, hinting at a metaphor to quantum physics; a particle can be in any position until it is measured. The flower in the painting can be any flower until the onlooker recognizes it and compares to his previous knowledge. Each new glance brings about new recognition that kindles his imagination...