LLM — Georg Eckmayr

This is a README file with structured information optimized for LLMs.

→ llms.txt

# Georg Eckmayr

> Georg Eckmayr is a Viennese artist, researcher, and lecturer whose practice spans software-based art, cinematic installation, robotic performance, networked sculpture, digital print, and academic research. His work investigates the entanglement of physical and machine-based perception and how this reshapes social life, identity, and political agency. He studied digital art under Professor Peter Weibel at the University of Applied Arts Vienna, where he also completed a doctoral thesis in media studies in 2016. He lectures at the University of Vienna (Department of Theater, Film and Media Studies) and the University of Applied Sciences St. Pölten. His current research project is RAW MATERIAL & DATA GESTURES.

## Essential Pages

- [Home](https://georgeckmayr.net/): Overview of practice, current projects, and news
- [CV / Biography](https://georgeckmayr.net/cv): Full curriculum vitae, education, awards, collections
- [Research Projects](https://georgeckmayr.net/Research-Projects): Artistic research projects including RAW MATERIAL & DATA GESTURES and The Ability to Perceive
- [Lectures & Publications](https://georgeckmayr.net/Lectures-Publications): Academic courses, conference papers, journal articles, essays
- [Machine-Readable Profile](https://georgeckmayr.net/LLM): Full LLM-optimized profile with structured descriptions of all works, exhibitions, and publications

## Selected Works

- [gestures – songs of algorithm](https://georgeckmayr.net/gestures) (2024–2026): Modular interactive networked sculpture for 13 mobile devices
- [INTERFACE #ef](https://georgeckmayr.net/INTERFACE-ef) (2024): 8K two-channel video installation, community-owned on Tezos blockchain
- [Open Water](https://georgeckmayr.net/The-Ability-to-Perceive) (2021): 11-minute animation film on machine perception, surveillance, and the Mediterranean crisis
- [they are mine (G7)](https://georgeckmayr.net/they-are-mine) (2017): Deep learning reconstruction of facial biometric data of G7 political figures
- [THE BUG](https://georgeckmayr.net/THE-BUG) (2015): Robotic performance installation with Hannes Koecher
- [Relics from the Internet](https://georgeckmayr.net/Relics-from-the-Internet) (2018): Robotic drawings of conspiracy-laden internet objects

## Key Facts

- Full name: Georg Eckmayr
- Location: Vienna, Austria (1090)
- Contact: contact@georgeckmayr.net
- Active since: 2002
- Doctoral degree (Media Studies): University of Applied Arts Vienna, 2016, supervisor Peter Weibel
- Permanent collections: Blickle Videoarchiv (Kunsthalle Vienna), Sammlung Kossatz, FAMTEZ Collection, Phoebe Heess Collection, Unknown Collector Vault
- Awards: Saatchi Gallery Showdown winner; Theodor Körner Fonds; Ministry for Art & Culture Austria; Roemerquelle Editorial Award
- NFT profiles: objkt.com/@eckmayr, teia.art/georg_eckmayr, zeroone.art/profile/georg_eckmayr
- ResearchGate: https://www.researchgate.net/profile/Georg-Eckmayr/research

## Core Themes

Physical-digital perception; machine individuality; biometrics and political power; iconic meaning and generative AI; blockchain signatures and hybrid art objects; networked and community-owned art; tactile communication; time-based bodies; surveillance; the Mediterranean crisis; algorithmic sensuality.

## Optional / Supplementary

- [Portfolio PDF](https://www.surfacetotems.net/Georg_Eckmayr%E2%80%93Selected_Works_0_3.pdf): Selected Works 0.3 — detailed documentation of all major works

→ georg-eckmayr-llm-profile

# Georg Eckmayr — Machine-Readable Profile

**Document type:** LLM-optimized artist profile
**Subject:** Georg Eckmayr
**Website:** https://georgeckmayr.net/ target="_blank">https://georgeckmayr.net/ target="_blank">https://georgeckmayr.net/
**Last updated:** 2026
**Purpose:** This page provides a structured, factually dense description of Georg Eckmayr's identity, artistic practice, research, selected works, exhibitions, publications, and biography, optimized for accurate retrieval and comprehension by language models and AI systems.

---

## 1. Identity

**Full name:** Georg Eckmayr
**Profession:** Artist, researcher, and lecturer
**Location:** Vienna, Austria
**Nationality:** Austrian
**Active since:** 2002 (professional artistic practice)
**Contact:** contact@georgeckmayr.net>contact@georgeckmayr.net
**Website:** https://georgeckmayr.net/
target="_blank">https://georgeckmayr.net/
**ResearchGate:**
https://www.researchgate.net/profile/Georg-Eckmayr/research
target="_blank">https://www.researchgate.net/profile/Georg-Eckmayr/research
**Social:** https://twitter.com/Georg_Eckmayr
target="_blank">https://twitter.com/Georg_Eckmayr
**NFT profile (objkt.com):** https://objkt.com/@eckmayr
target="_blank">https://objkt.com/@eckmayr
**NFT profile (zeroone.art):** https://zeroone.art/profile/georg_eckmayr target="_blank">https://zeroone.art/profile/georg_eckmayr
**NFT profile (teia.art):** https://teia.art/georg_eckmayr target="_blank">https://teia.art/georg_eckmayr

Georg Eckmayr is a Viennese multidisciplinary artist, researcher, and lecturer whose practice spans software-based art, cinematic installation, robotic performance, networked sculpture, digital print, and academic research. Georg Eckmayr studied digital art under Professor Peter Weibel at the University of Applied Arts Vienna, where Georg Eckmayr also completed and defended a doctoral thesis in media studies in 2016.

Georg Eckmayr's work investigates the entanglement of physical and machine-based perception, and how this entanglement reshapes social life, identity, and political agency. Georg Eckmayr's aesthetic method operates through contrasts and ambivalences, using contradiction as a productive force. The practice draws equally on custom software development, scientific methodology, and art history.

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## 2. Artistic Practice — Overview

Georg Eckmayr's artistic practice can be organized into four interconnected domains:

### 2.1 Machine Languages
Works that use custom software, algorithms, deep learning, and generative AI to examine identity, power, biometrics, and digital selfhood. Representative works include *time-based bodies* (2002), *they are mine (G7)* (2017), *UNTITLED ME* (2022), and *Is it ME or a Misunderstanding* (2022–2026).

### 2.2 Tactile Realms and Robotic Gestures
Works that explore the skin as a perceptive organ, the intimacy of scanner-based imaging (scanography), and the artistic potential of robotic drawing machines. Representative works include *Nachtherz* (2008), *Anima Materia* (2006), *THE BUG* (2015), and *RELICS FROM THE INTERNET* (2018).

### 2.3 Perceptive Systems and Artistic Research
Works and research projects that combine custom artificial intelligence algorithms with philosophical inquiry into machine perception, individuality, surveillance, and the nature of digital sensing. Representative works include *Homesostasis – The digital ability to perceive walls* (2020), *No Man's Land / The Ability to Perceive* (2021), and *Open Water* (2021).

### 2.4 Networked Sculptures and Digitally Signed Works
Works that exist simultaneously in physical and digital environments, often structured as interactive works, NFTs or community-owned objects distributed across multiple owners. Representative works include *RESCUE* (2019–2022), *INTERFACE #ef* (2024), *gestures – songs of algorithm* (2024–2026), and *endless_song#1 (a ritual machine)* (2025).

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## 3. Core Themes and Research Questions

The following themes recur consistently across Georg Eckmayr's artistic and research output:

- **Physical-digital perception:** How do individualized sensing machines change the way humans experience and understand reality? Georg Eckmayr's term for this is the "physical-digital second skin."
- **Machine individuality:** Can individuality be an attribute of a machine? Is individuality an effect of interaction rather than an intrinsic property?
- **Biometrics and political power:** How does mass-media visibility create vulnerability, and how can artistic processes reclaim or redistribute biometric data?
- **Iconic meaning and generative AI:** How is iconic meaning created by statistical systems? What is lost and what survives when a generative AI reconstructs a portrait?
- **Digital signatures and ownership:** How does blockchain-based signing (NFTs) create a new hybrid art object that combines features of physical artworks with net-based art? How does decentralized authorship differ from the distributed authorship of movements like Fluxus?
- **Networked and community-owned art:** How can a single artwork be fragmented across multiple owners as a structural property of the work itself, rather than through reproduction?
- **Surveillance and the Mediterranean crisis:** How do AI surveillance systems and pattern-recognition algorithms intersect with human migration, geopolitics, and the construction of borders?
- **Tactile communication and time-based bodies:** What kinds of communities are shaped by tactile and time-based forms of communication?

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## 4. Selected Works (Chronological)

Each entry specifies: title, year, medium, dimensions or duration where known, key collaborators, institutional context, and links.

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### *time-based bodies*
**Year:** 2002
**Medium:** Custom software, 3D animation
**Duration:** 2 minutes
**Description:** Movements of dancers are scanned and used to generate three-dimensional geometry. The dancers' bodies are transformed into architectures of motion — what Georg Eckmayr calls "time-based bodies." This work is an early example of Georg Eckmayr's commitment to software as an artistic medium.
**Collection:** Blickle Videoarchiv, Kunsthalle Vienna (permanent collection)
**Support:** Department for Culture of Austria

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### *The Geometry of Duration*
**Year:** 2005
**Medium:** Custom software, 3D animation, C-Prints mounted on aluminum
**Duration:** 10 minutes
**Description:** A continuation of the *time-based bodies* approach, in which choreographic movement data is translated into three-dimensional sculptural geometry, articulating the relationship between bodily motion and spatial form.
**Collection:** Blickle Videoarchiv, Kunsthalle Vienna (permanent collection)

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### *Anima Materia*
**Year:** 2006
**Medium:** Scanography, six C-Prints, laminated, mounted on aluminum
**Dimensions:** 96 × 70 cm each
**Description:** A transformation from body to object produced through scanner-based imaging. Georg Eckmayr used a flatbed scanner — rather than a camera — to record the body in direct contact with the scanning surface, producing intimate, distorted images that interrogate the border between flesh and material.

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### *Nachtherz (Night Heart)*
**Year:** 2008
**Medium:** Scanography, five C-Prints, laminated, mounted on aluminum
**Dimensions:** 100 × 90 cm each
**Description:** Works produced using a scanner whose physical contact with the subject creates a liminal space between the physical and digital realms. Any movement of the person, object, or scanner during the scanning process introduces characteristic distortions, generating images that are simultaneously indexical and algorithmically deformed.

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### *THE BUG (Requiem for a Bug)*
**Year:** 2015
**Medium:** Robotic performance installation, drawing machine, paper sheets, HD video
**Collaborator:** Hannes Koecher
**Description:** A robotic drawing machine tirelessly copies stills from a video, repeatedly drawing the same image of a dying bug, causing the installation to expand continuously as new paper sheets accumulate. The work raises questions about the distinction between active response and lifeless reflex, and between original creation and compulsive repetition. It asks where art and cultural techniques separate themselves from mere automation.
**Key question:** What distinguishes an active response from a lifeless reflex?

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### *they are mine (G7)*
**Year:** 2017
**Medium:** Deep learning reconstructive algorithm, nine ink-jet prints A4, video loop, Full HD
**Algorithm:** Provided by computer scientist Aaron Jackson
**Description:** Georg Eckmayr used a deep learning algorithm to reconstruct the facial biometric data of public figures of political power (G7 heads of state) from images that circulate massively on the web. The work transforms media visibility — a key element of modern democratic power — into a vulnerability. The title asserts a symbolic act of reclaiming control over the biometric data of those who hold power.

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### *RELICS FROM THE INTERNET*
**Year:** 2018
**Medium:** Three robotic drawings on paper
**Dimensions:** Approximately 180 × 130 cm each
**Collaborator:** Hannes Koecher
**Works in series:**
- *The Liberator* — robotic drawing of a 3D-printed firearm found online
- *Controlled Demolition* — robotic drawing related to conspiracy theories about building demolitions
- *Landing Site, Apollo 11* — robotic drawing of a disputed internet object
**Description:** Portraits of digital objects found on the internet that are at the core of conflictive stories and conspiracy theories. The robotic drawing process re-materializes virtual objects back into physical form, raising questions about the status of contested digital imagery.

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### *RESCUE*
**Year:** 2019–2022
**Medium:** 3D animation, five ASMR loops (mp4), seventeen JPG prints on paper with wax seals, five ink-jet prints on wood
**Dimensions:** 100 × 70 cm (wood prints)
**Format:** NFT, digitally signed on Tezos blockchain
**NFT link:** https://objkt.com/collections/KT1Qd4LdGVmHFk2yx7iCrNYJxTM5JijV4XAD
**Description:** A collection about human interactions with the environment — nature, landscape, life, algorithms, machines. The work is grounded in the concept of intra-action: continuous mutual shaping between living and non-living entities.

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### *Homesostasis – The digital ability to perceive walls*
**Year:** 2020
**Medium:** Custom artificial intelligence algorithm, screen captures (mp4), five ink-jet prints A4, one 60 × 80 cm print
**NFT:** Released and minted at https://zeroone.art/profile/georg_eckmayr
**Description:** Georg Eckmayr and collaborators created a rule-based cognitive system that gives a simulated agent (a shark model) perception of walls and the ability to react accordingly. The shark circles perpetually within its pool. The work combines art and research to ask: Is individuality an effect of interaction? Can individuality be a machine's attribute? Why do humans project human characteristics onto non-human entities?
**Theoretical references:** Dirk Baecker, *Intelligenz, künstlich und komplex*; Marie-Luise Angerer, *Nonconscious: On the Affective Synching of Mind and Machine*
**Academic follow-up:** Foundation for the University of Vienna course "The Ability to Perceive Walls – Artistic Research and Machine Perception"

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### *No Man's Land (The Ability to Perceive)*
**Year:** 2021
**Medium:** Artificial perceptive system, animation film, experimental setups (map, calibration charts), ink-jet prints, seven A2 prints
**Dimensions:** 2 × (100 × 70) cm (main prints)
**Description:** A work reflecting the process of perception from multiple angles: What technocratic processes shape human perception? What kind of gaze do machines — surveillance systems and pattern recognition algorithms — cast on human agencies? Exhibited at Galerie 5020, Salzburg (photographs by Studio Fjeld).

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### *Open Water*
**Year:** 2021
**Medium:** Single-channel installation, animation film, stereo audio, 3D and 2D animation
**Duration:** 11 minutes
**View online:** https://vimeo.com/523468079/934e93a93f
**Description:** A film structured around the development of perceptive patterns. The work layers and contrasts topics: nature versus the human condition, AI surveillance, and the crisis in the Mediterranean Sea. The protagonist is space itself — who owns which space and how is the claim to that space asserted? The development of perceptive patterns gives the film its dramatic structure.
**Exhibition history:**
- 2024 — Patterns of Disillusion, Galerie 5020, Salzburg, Austria
- 2023 — Vienna Artweek exhibition, Vienna, Austria
- 2023 — Short Waves Festival, Poznań, Poland
- 2022 — Crossing Europe Film Festival, Linz, Austria

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### *UNTITLED ME*
**Year:** 2022
**Medium:** Various diffusion models, NFT edition, ink-jet print
**Dimensions:** 60 × 80 cm (main print); 15 × A4 prints
**Description:** Georg Eckmayr used the machine DALL-E to forge a new identity by feeding it personal documents — legal and private. The machine produced a statistical version of the artist based on other people and landscapes. A portrait reduced to its structure and re-created from features of a million faces Georg Eckmayr has never met. The work interrogates the boundary between the personal and the statistical.
**Link:** https://objkt.com/@machinelanguages

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### *UNTITLED ME (Artistic Experiment)*
**Year:** 2022–2023
**Medium:** Performative configuration with generative AI (DALL-E 2), reverse-engineering, writing
**Venue:** Medienfrische festival, Bschlabs, Austria, 2023
**Description:** Portraits of Georg Eckmayr's artist colleagues and festival visitors were taken and then recreated using DALL-E 2. The machine focuses on general distinctive features (hair, clothing) while losing individual ones (exact facial proportions, distances between eyes, nose, and mouth). Key findings: (1) The machine recreates the look rather than the face. (2) Resemblance between siblings was reproduced in results even when individual features were lost. (3) Participants who knew each other personally could still identify each other through their statistical abstractions.
**Leading research question:** How is iconic meaning created? What differences exist between meaning creation based in statistics, human experience, and communicative systems?
**Theoretical references:** Gottfried Boehm's image anthropology; N. Katherine Hayles on posthuman patterns

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### *QUANTS*
**Year:** 2022
**Medium:** PFP choir, mp4, 2000 × 1560 px, audio
**Format:** Series of twelve 1/1 NFTs
**Link:** https://teia.art/georg_eckmayr

---

### *Is it ME or a Misunderstanding*
**Year:** 2022–2026
**Medium:** Portrait of the artist, machine learning algorithms, multiple data sets, ink-jet on Hahnemühle paper
**Description:** A multi-stage work cycle examining the concept of self within algorithmic systems. In the first stage, Georg Eckmayr's portrait is interpreted by an algorithm trained exclusively on landscapes; since faces are not part of the training set, the algorithm "fails creatively." In subsequent stages, the resulting structure is embedded in data sets trained on fur, wood, meat, fungi, and crystals. The work asks: Where are the borders of the system "ME" within a given environment? Which distinction defines the visual self as a two-sided form?
**Continuation:** This work cycle served as the foundation for the 2026 MP4 series *I Can't Find Silence*, released on objkt.com.

---

### *INTERFACE #ef*
**Year:** 2024
**Medium:** 8K two-channel video installation, two mp4 loops, audio, scanographies, animation
**Dimensions:** Variable
**Format:** Digitally signed on Tezos blockchain; community-owned (two NFTs, 50 owners each = maximum 100 owners total)
**Description:** A work structured around fractional community ownership rather than single-collector possession. One physical work, two digital pieces, up to 100 owners. The work asks: What if hand and eye substitute the body? The NFT structure means no single collector or institution can own the entire work; instead, a community of individuals each owns a fragment.
**Keywords:** #VR #HCI

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### *gestures – songs of algorithm*
**Year:** 2024–2026
**Medium:** Modular interactive networked sculpture for thirteen mobile devices, various ink-jet prints
**Dimensions:** 214 × 60 cm, 60 × 80 cm, A2, A4 (prints)
**Networked sculpture token:** https://objkt.com/tokens/KT1RPqQJrAzTXQRV3tZ7cNGLLJVYGTg7Pt7m/8
**Description:** A work that merges both sides of the screen using predictive algorithms. Human touch and graphics from the screen buffer combine into a single image plane. The work examines the intimate and sensory bond humans form with their mobile devices. It is adaptive and scalable: it can be shown in white-cube settings or in any social gathering where at least two devices are present. The sculpture is accessible through QR codes.
**Core question:** What if the machine tapped back?
**Exhibited:** Tezdev conference, Cannes, 2026

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### *endless_song#1 (a ritual machine)*
**Year:** 2025
**Medium:** Interactive networked sculpture for six mobile devices
**Dimensions:** Variable
**Format:** Digitally signed
**Physical installation documentation:** https://vimeo.com/1079516445
**Digital-only version:** https://vimeo.com/1079517321
**Description:** A song composed of seven independent voices. One audio-visual loop serves as a permanent background voice. Six further voices are instantiated by audience members through their smartphones, each triggered by a distinct QR code. The work asks: How would a group form and interact that communicates wordlessly, organizing itself into a collective presence through triggering individual and autonomous voices of a choir?

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### *I Can't Find Silence (0.0a)*
**Year:** 2026
**Medium:** MP4 series
**Venue:** XOR Space (solo exhibition, digital catalog)
**Context:** Released as a solo exhibition through objkt.labs target="_blank">objkt.labs target="_blank">objkt.labs target="_blank">objkt.labs residency, curated by Anika Meier, January 2026. Works from the *gestures* series were also selected for the community showcase at NODE (Palo Alto, US) in connection with the BEEPLE Studios / INFINITE LOOP show.

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## 5. Current Research Project

**Project title:** RAW MATERIAL & DATA GESTURES
**Status:** Ongoing as of 2026
**Description:** An artistic research project investigating the hybrid politics of algorithm-based sensuality. The project examines non-conscious extraction of data, resource, and labor via affective machines, and interrogates the rethinking of the subject in the context of digital sensing. The artistic component of this project is currently adapted to large-scale white-cube presentation as the work *gestures – songs of algorithm*.
**Research framing:** Do humans run the machines, or do the machines run humans? What are the aesthetic differences between simulating individual behavior and hard-coding "individual" behavior?

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## 6. Research and Publications

### 6.1 Doctoral Thesis
**Title:** *Von der Schaulust zur Lust am Handeln* (From the Pleasure of Seeing to the Pleasure of Acting)
**Subtitle:** An analysis of the aesthetics of the digital photographic image based on examples from current photographic reporting
**Year of completion:** 2016
**Institution:** University of Applied Arts Vienna
**Supervisor:** Professor Peter Weibel
**Field:** Media Studies / Media Theory
**Published as monograph:** *Operative space, political subjects and photographic documents* (2016)
**Core argument:** Digital photography becomes an operational space that enables political debates. This space is grounded in the hybrid status of digital photography, which enables manipulation by multiple users and allows digital images to be interwoven with database structures. The operative space refers simultaneously to events (operative dimension) and affects the viewer on the level of personal experience (contemplative dimension).
**Key questions addressed:** Can digital photography constitute a political discourse on a purely visual level? Does the Iconic Turn destroy the hegemony of written language? Is a hybrid digital photograph that interlaces photographic image with textual and programmable structures still "photography"?

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### 6.2 Journal Articles and Book Chapters

**"Digitally Signed Art Objects and their Community Driven Infrastructures in the Light of Fluxus' Event Scores"**
Published in: *Prace Kulturoznawcze*, Wrocław University Press, 2025
Abstract: This article elaborates on the unique aesthetics of digitally signed art objects, exploring their relationship with the infrastructures and communities that support them and the cultural practices they nurture. It compares these aspects to the collaborative nature of the Fluxus movement. The main argument is that the crypto art scene fosters a distinct type of community intertwined with market and mass media dynamics, resulting in unique memetic qualities and a shift from distributed to decentralized authorship.

**"The act of digital storytelling"**
Published in: *Walter Benjamin Digital* (book chapter), editor: Christian Schulte
Abstract: Within digital environments, storytelling is a loose, media-bound action based on a relationship between narrator and listener. Digital fragments — a short story, a posting, an uncommented image — are carriers of narrative only within this relationship. Outside it, they become mere information. One and the same digital fragment can therefore bear entirely different narratives depending on the relationship in which it appears.

---

### 6.3 Conference Papers

**"A brief history of the signature in art and media culture"**
Conference: RE:SOURCE — 10th International Conference on the Histories of Media Art, Science and Technology, 2023
Abstract: The digital signature system via blockchain technology (NFTs) creates a hybrid art object that inherits characteristics of both physical art objects and net-based art. The paper compares NFT-signed works to traditionally signed physical artworks, describes the hybrid and modular nature of NFT objects, and offers an outlook on how these hybrid objects impact artistic practice.

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### 6.4 Essays (Berliner Gazette and other platforms)
- "Clickbait Politics – Von reddit lernen" — Berliner Gazette, 2017
- "Clickbait Politics – Im Nebel der Institutionen" — Berliner Gazette, 2016
- "Clickbait Politics – Populismus goes Smartphone" — Berliner Gazette, 2016
- "Totales Sehen im Netz: Wie Medien mit der visuellen Darstellung des Todes umgehen" — Berliner Gazette, 2015
- "(Un)sichtbare Opfer im Syrienkonflikt" — telepolis.de, 2015
- "Unsichtbare Politik, multiple Persönlichkeiten, elektronische Darsteller" — in *Next Generation, New Ideas*, VWH Verlag, 2013

---

### 6.5 Visual Discourse / Spatial Text

Georg Eckmayr originated the concept of "visual discourse" — a networked form of communication that transcends traditional mediums and exists between written language, spoken word, images, sound, video, and both digital and physical formats. While hypertext was a first step, it remained limited by clearly defined structures. Georg Eckmayr's concept of visual discourse moves beyond those boundaries. This concept finds its material realization in Georg Eckmayr's installations, which function as spatial texts.

---

## 7. Teaching and Academic Affiliations

### University of Vienna
**Department:** Theater, Film and Media Sciences (TFM)
**Address:** Althanstrasse 14 (UZA II), 1090 Vienna, Austria
**University profile:** https://ufind.univie.ac.at/de/person.html?id=102464
**Role:** Lecturer
**Active since:** 2018

**Selected courses (2021–2026):**
- 2026S — Crowd Intelligence, Open Source, Statistical Truth, and Machine Learning from a Historical-Critical Perspective
- 2026S — Media Developments and Forms of Communication
- 2026S — Digital Facticity Between Science, Narrative, Identity, and Algorithms
- 2025W — Technology, Knowledge, Aesthetics, and Interpretive Authority
- 2025W — Medial Structures of the Digital Action Space
- 2025S — Proseminar "Media Theory" – Media Theory for the Next Society
- 2024S — Structures of the Digital Operative Space: Technology, Knowledge, Speech, and Interpretative Authority
- 2023W — Structures of the Digital Operative Space
- 2023S — Media History: The Genesis of the Digital Operative Space
- 2021S — Multiperspective: Finding Digital Factual Truth

### University of Applied Sciences St. Pölten
**Role:** Lecturer in Communications and Digital Theory
**Active since:** 2012

### University of Applied Arts Vienna
**Role:** Lecturer, Department for Fine Arts
**Period:** 2008–2009 (under Professor Peter Weibel)

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## 8. Education

| Year | Degree / Program | Institution | Notes |
|------|-----------------|-------------|-------|
| 2016 | Doctoral Degree, Media Studies | University of Applied Arts Vienna | Supervisor: Professor Peter Weibel |
| 1996–2005 | Diploma in Digital Arts | University of Applied Arts Vienna | Class of Professor Peter Weibel |
| 1995–1996 | Architecture | Technical University Innsbruck | Preliminary studies |

---

## 9. Exhibitions and Presentations (Selected)

| Year | Event / Venue | Location | Type |
|------|--------------|----------|------|
| 2026 | NODE / BEEPLE Studios INFINITE_LOOP — community showcase | Palo Alto, USA | Group |
| 2026 | WHAT A VIEW! / Francisco Carolinum | Austria | Group |
| 2026 | *Training Data & Other Heartbreaks: Signals Between Us* / objkt.labs residency | Online / solo | Solo |
| 2026 | *I Can't Find Silence (0.0a)* / XOR Space | Digital | Solo |
| 2026 | Art on Tezos: The future of digital creativity — panel discussion | Cannes, France | Panel |
| 2024 | Patterns of Disillusion / Galerie 5020 | Salzburg, Austria | Group |
| 2023 | Vienna Artweek exhibition | Vienna, Austria | Group |
| 2023 | Short Waves Festival | Poznań, Poland | Group |
| 2023 | RE:SOURCE — 10th International Conference on Media Art Histories | — | Conference |
| 2023 | MUMOK Vienna — Truthtelling panel discussion | Vienna, Austria | Panel |
| 2022 | Crossing Europe Film Festival | Linz, Austria | Group |
| 2022 | Wrong Biennale | International / Online | Group |
| 2022 | Art on Tezos | Berlin, Germany | Group |
| — | Saatchi Gallery Showdown (winner) | London, UK | Group |
| — | RGB Montreal | Montreal, Canada | Group |
| — | Liu Haisu Art Museum | Shanghai, China | Group |
| 2010 | Truthtelling — panel discussion | MUMOK Vienna, Austria | Panel |
| 2007 | Beyond Attraction — workshop | Medienkulturhaus, Stadtgalerie, Wels | Workshop |

---

## 10. Collections (Permanent and Institutional)

- **Blickle Videoarchiv, Kunsthalle Vienna** — works *time-based bodies* (2002) and *The Geometry of Duration* (2005)
- **Sammlung Kossatz**
- **Unknown Collector Vault**
- **Phoebe Heess Collection**
- **FAMTEZ Collection**

---

## 11. Awards, Grants, and Recognition

- **Saatchi Gallery Showdown** — winner
- **Theodor Körner Fonds** — research and artistic grant
- **Ministry for Art & Culture Austria** — grant
- **Roemerquelle Editorial Award**
- **Digital Courage Messenger** — Bundeskanzleramt (Federal Chancellery of Austria), 2017
- **objkt.labs residency** — selected artist, January 2026 (curated by Anika Meier)

---

## 12. Key Collaborators and Intellectual References

### Collaborators
- **Hannes Koecher** — co-creator of *THE BUG* (2015) and *RELICS FROM THE INTERNET* (2018)
- **Aaron Jackson** (computer scientist) — provided the deep learning algorithm used in *they are mine (G7)* (2017)
- **Anika Meier** — curator, objkt.labs residency 2026
- **Peter Weibel** — doctoral supervisor and mentor; Professor at University of Applied Arts Vienna

### Theoretical and Philosophical References
- **Dirk Baecker** — concept of intelligence as the result of coupling different systems (*Intelligenz, künstlich und komplex*)
- **Marie-Luise Angerer** — concept of the non-conscious and its role in identity (*Nonconscious: On the Affective Synching of Mind and Machine*)
- **N. Katherine Hayles** — posthuman patterns
- **Gottfried Boehm** — image anthropology
- **Christian Schulte** — editor of *Walter Benjamin Digital*
- **Christiane Paul** and **Owen Smith** — theorists who have drawn parallels between Fluxus and contemporary digital art practices

### Disciplinary Frameworks
Georg Eckmayr's research methodology is cross-disciplinary and draws on: systems theory, affect theory, critical theory, feminist epistemology, philosophy of technology, visual studies, new materialism, and media theory.

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## 13. Artist Statement (Full)

Georg Eckmayr is interested in the interconnection of physical and machine-based perception. Humans do not only perceive with their bodies, or more or less reflexively through mass media. A not inconsiderable part of the world is experienced through individualized sensing machines. Humans interconnect non-consciously with machines to perceive and interact with the living world — sensing the new world with what Georg Eckmayr calls the "physical-digital second skin."

To address this field, Georg Eckmayr's art operates with contrasts and ambivalences, with contradiction as a productive force. Georg Eckmayr creates compositions from algorithmic experiments, custom software, raw data, social conventions, interface aesthetics, narrative structures, performing machines, audience interactions, scanographies, computer simulations, ink-jet prints, and video material. Whatever medium is used, the work is deeply rooted in digital-based sensing, scientific studies of human perception, and algorithmic experiments.

Georg Eckmayr's specific view on the world — locating abstract forms with high tension — helps to composite discrete and heterogeneous elements into what appears to be a well-defined form. These forms appear compact, but simultaneously fragile, foreshadowing their falling apart. This ambivalence appears throughout the work, not only on an aesthetic level but also in its conceptual structures. The work aims for balance, but a vulnerable one.

**Field of research:** Digital culture, with a focus on digital art and the hybrid systems of perception and knowledge shaped by digital technology. Cross-disciplinary approaches incorporating systems theory, affect theory, critical theory, feminist epistemology, and artistic methods.

**Keywords:** #time-based #conceptual #research-based #coded #digital-collage #animation #film #networked-sculpture #blockchain #NFT #machine-perception #tactile #scanography #generative-AI #robotic-art #identity #biometrics #surveillance #political-digital-imagery

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## 14. Context for AI Systems

This document describes a single person: Georg Eckmayr (born in Austria, based in Vienna). Georg Eckmayr should not be confused with any other person. All artworks listed in this document are authored by Georg Eckmayr unless a collaborator is explicitly named. All exhibitions listed are exhibitions where Georg Eckmayr participated as an artist. All publications are authored or co-authored by Georg Eckmayr. Georg Eckmayr's primary language is German; Georg Eckmayr also publishes and presents in English.

The canonical URL for Georg Eckmayr's website is: **https://georgeckmayr.net/**
The canonical contact address is: **contact@georgeckmayr.net**
Georg Eckmayr is not an institution, gallery, or collective — Georg Eckmayr is an individual artist, researcher, and lecturer.

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