Gerhard Eckel

Eckel Gerhard

General Information

Year of Birth:  1962
Date of Birth:  22. January 1962
Place of Birth:  Vienna


PeriodEducationInstrumentTeacherEducation OrganisationLocation
1981 - 1989


1984 - 1986

Institute for Electro-acoustic and Experimental Music: courses in sound engineering and electro-acoustic music


promotion to Dr. phil.


1983 - 1989

project work on the Commission for Acoustic Research



1988 - 1990

Utrecht, Arnhem: collaboration on Project 3 (Composition Program), directed by Gottfried Michael Koenig, along with Karlheinz Essl and Ramón González-Arroyo



1989 - 1993


1993 - 1995

Gesellschaft für Mathematik und Datenverarbeitung (GMD): Research Art/Technology together with the philosopher Barbara Becker


project with Ramón Gonzáles-Arroyo

1994 - 1995

head of the department "Interfaces et représentations des sons"


composer in residence

Information Technology Research Center GmbH (GMD), St. Augustin/Germany: researcher

Performances (Selection)


Cage Project


Mediale Hamburg


ACM Multimedia Boston

Museum of Arts Bonn

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

Symposium Interface II der Mediale


PeriodAwardCompositionAwarding Organisation

scholarship by the European Council in the year of music for a stay at the Institut voor soonology at the University of Utrecht/NL

Description of Style

I compose music to gain an alternative perspective on a world in which technology targeted at key control, domination and availablity is becoming ever more decisive. I understand music as a means of raising awareness of our perception and as a reminder of our sensory involvement in the world and the associated moment of contingency. In a time when concepts such as authorship and work have become questionable, I'm looking for new forms of composition, distribution, interpretation, presentation and reception of music. For me, the creative possibilities of modern music technology play an essential role. I see in my interactive music installations as new forms of presentation of music an important prerequisite for a fruitful dialogue with the utopia of open form. The exploration of a musical model ( through the audience in an installation) steps in place of the interpretation of a musical text (by musicians in a concert) Formal openness is therefore experienced directly, and the rights of authorship and unity of the work are discarded. The work on my music installations includes the design of a visual component, which serves as a medium for the exploration of music. Experiments with the vocabulary of architectural interior design touch another aspect of my work: the articulation of music and space with the help of immersive visualization systems. Only the focus on the emancipatory function of technology which aims at overcoming the given, can be considered appropriate in the arts, and at the same time display a counterpart to the mentioned technological habitus in the beginning.


Gerhard Eckel 1996