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Georg Eckmayr


OVERVIEW ︎︎︎
ARTWORK ++
    digitally signed ︎︎︎    SURFACES ︎︎︎
      Networked Sculptures 
  
    Machine Languages︎︎︎
    Digital experimental & algorithm based
      Other Work ︎︎︎
        Installations, films, sculpture, …
 

THEORY ++
COLLABORATION ++

Info / CV ++
  1. The Viennese Georg Eckmayr is an artist, researcher and lecturer.

    He studied digital art at the class of Peter Weibel under whose supervision he also completed and defended his doctoral thesis on digital images.

  2. Please contact me via one of these platforms below or the email on the CV page.
Mark

THE BUG
(Requiem
for a Bug)



Robotic Performance Installation, Drawing Machine, Paper Sheets, Video, HD / 2015
>> A Robots is drawing endlessly original moments of a dying bug.


            A robot is endlessly copying stills from a video. It draws this bug in it, again and again and... this installation grows. A graphical requiem for a (dying) bug.

«Emotion and Category»

What is an active and what a lifeless reflex? What is original and what compulsive repetition? Where do art and cultural technology differentiate themselves from mere automation?

by Georg Eckmayr and Hannes Koecher



«There is no cruelty in nature»

by Markus Zöchmeister
The complete transfer of movements into digital forms, reproduced by the robot and the generated image of unpredictability is completely predictable. And exactly this predictability catches the eye.
Automation (Aristotle) describes a mechanism in nature, a reflexing machine or a muscle that continues to work even when the living form it is attached to is dead. The Bug shows this automation without any living aspect: of course the beetle is dead but what lives on is the machine of nature. The automation is subcon- scious; one could say that the beetle knows nothing about it. It knows nothing of its own dysfunctionality; it is the complete programme. The beetle does not know that half of him is missing. He knows nothing of his own death.
The automatic machine functions beyond the pleasure principle and beyond life, with only the compulsion to repeat (Freud). If one can say that something eerie touches us, touches the viewer, then it is the pure compulsion to repeat, still practiced by the now non-living being, an idea which Freud developed as beyond the pleasure principle and which he termed death-drive.
This working of the machine on the life of the beetle touches us in as much as it shows us a level of nature that even we know nothing about. The Bug is no mistake, rather the triumph of the machine over life.

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