Gerhard Eckel: Catabolizer



Musikk er næring. Å lage musikk er en form for matlaging. Å lytte til musikk er en form for inntak. Matlaging og spising, komponering, fremføring og lytting er bevisste og overlagte handlinger. Matlaging og komponering skaper forventning; spising, framføring og lytting tilfredsstiller sulten. Hva skjer med musikken etter at vi har tatt den inn? Fordøyelsen er en ufrivillig og ubevisst kroppsprosess. Catabolizer melodisetter fordøyelsesprosessen. Den fortærer hele musikkstykker, tygger dem, svelger og fordøyer dem; bryter dem ned i komponenter som kan absorberes. Musikalsk katabolisme er forøvrig en nesten rest-fri prosess. Etter fordøyelsen består ekskrementene bare av svak støy.

Eckel sier selv: ”Det var en bestilling, mer om en funksjon enn et verk, en forespørsel om å lage tilstedeværelsen mellom andre hendelser. Gallerirommet ROM8 er lydlig utfordrende, med bilveien utenfor og de harde veggene. Jeg bestemte meg for å la rommet styre arbeidet. Veggene blir instrumentet, hvor hendelsene i rommet blir en pretekst til å arbeide med refleksjoner. Hendelsene henger igjen og spilles tilbake fra veggflatene.”[/lang_no]

 

Gerhard Eckel is Professor of Computer Music and Multimedia at the Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG) in Graz, Austria. He creates sound and music installations for real and virtual spaces, which are presented at international festivals, conferences and trade fairs as well as in museums and galleries.
Eckel holds a PhD in Musicology from the University of Vienna (1989). In addition to his scientific training he studied Composition of Electroacoustic Music (with Dieter Kaufmann) and Sound Engineering at the Hochschule für Musik und darstellende Kunst Vienna. European scholarships brought him to the Institute for Sonology in Utrecht in 1985 and to IRCAM, the computer music department of the Pompidou Centre in Paris in 1987. Eckel worked as artistic-scientific researcher at IRCAM (1989–1996) and at the Fraunhofer Institute for Media Communication (IMK) in St. Augustin, Germany (1996–2005).

His research work at IRCAM focused on the construction of computer tools for composition, sound synthesis and visualisation. In 1989 he invented the user interface paradigm SpecDraw for the AudioSculpt application. He was also involved in the development of the physical modelling system Modalys. From 1994 onwards he headed his own research group Interfaces et représetations des sons. At Fraunhofer IMK he worked in a virtual reality (VR) department where he specialized in 3D audio rendering for projection-based VR systems. His group built the first CAVE in Germany in 1996.

In his most recent artistic research project funded by the Austrian Science Fund (FWF), he and his team develop a new paradigm of intermedial expression: Embodied Generative Music. Since 2007 he directs IEM. His latest project Choreography of Sound is funded in context of the FWF’s new artistic research funding program PEEK.

By: Red