|||| 2020 - 2022 ||||

Artistic Concept of the Female Artist Award NRW 2022 Digital Art / Künstlerinnenpreis NRW 2022 Digitale Kunst (click link)

In 2022, the Female Artist Award of the State of North Rhine-Westphalia will be awarded in the "Digital Art" category. On behalf of the Women's Cultural Office, Anke Eckardt developed the artistic concept of the award.

The prize is accompanied by a critical discourse on digital art in the form of a continuously growing blog on the website, to be found here: (click link) For this discourse, Anke Eckardt brings together the diverse voices of the digital community across Europe.

|||| 2020 - 2021 ||||

Teaching / Artistic Mentoring for CHRONOTOPIA ECHOES (click link) - a cooperation between KSYME Archive, Goethe-Institut Athen, Athens & Epidaurus Festival and CTM Festival

Chronotopia Echoes / Αντηχήσεις is an artistic lab engaging with the artistic knowledge and ideas of the archive KSYME – the Contemporary Music Research Centre in Athens, founded by architect and composer Iannis Xenakis and Dimitris Papaioannou in 1979. Chronotopia Echoes / Αντηχήσεις engages a group of sound artists and composers of electronic or electroacoustic music, selected via open call, who are invited to interact with the vast archives of KSYME under the guidance of Anke Eckardt and Akis Sinos, with the aim to create new works that will be presented in Athens Festival 2021 in Pireos 260.

The archive itself consists of more than 2500 objects (sound tapes, cassetes, DAT, CD, hard drives. Its content is chronologically situated between 1950 and nowadays and includes recordings of contemporary, electronic, traditional and classical music - as well as documentation of music and educational events (lectures and seminars) that were curated and presented in CMRC.

The aim of the project is to highlight connections between experimental music and research present and past. Points of contact between past and current music, sound, and media practices are explored, for instance via re-articulations of pre-modern musical forms and practices and media-archeological research.

|||| 2020 ||||

Ongoing Doctoral Project by Anke Eckardt at the Bergische Universität Wuppertal, supervised by Bazon Brock and Prof. Dr. Heike Sperling

Topic of the Doctoral Project : Google and the Promotion of Digital Art.
Experiments and alliances between artists and the American multinational technology company in the context of Experiments with Google and the Artist in Residence program.

Submitted and accepted by Bergische Universität Wuppertal, Department F - Design and Art, Field of Study: Aesthetics Course of studies: Art

|||| 2017 - 2020 ||||

Professor (click link) at KHM Academy of Media Arts Cologne

In 2017-2020, Anke Eckardt held the rotating professorship of Sound at the Academy of Media Arts Cologne (KHM). (non-extendable)

|||| 2018 - 2020 ||||

Research project "Materiathek" at the KHM Academy of Media Arts Cologne

In 2018, together with Prof. Dr. Lilian Haberer and Karin Lingnau, Prof. Anke Eckardt initiated the transdisciplinary research project Materiathek – a material archive in the fringes of the arts. Phase 1 of the research project was conducted in 2019 and 2020 under the direction of Prof. Anke Eckardt, Prof. Lilian Haberer and Karin Lingnau.

|||| 2019 - 2020 ||||

Professor at Mainz School of Music / Hochschule für Musik Mainz

2019-2020, Anke Eckardt held the substitute professorship of Sound Art/Klangkunst at the Mainz School of Music / Hochschule für Musik Mainz. (non-extendable)

|||| 2014 - ongoing ||||

Member of the TRANSDISCIPLINARY RESEARCH PLATFORM BAUKUNSTERFINDEN (click link).

At the University of Kassel I am engaging in transdisciplinary research as a member of the platform BAU KUNST ERFINDEN - BUILDING ART INVENTION.

The focus is on the layer of material. The development of novel low-cost-high tech materials on nano-scale open up new sculptural as well as new technological approaches for shaping and transforming public space.

Demonstrators of a sound insulation system implementing Helmholtz resonators.
Credit Pictures: Samira Aden & Frederik Ecke

|||| 2014 - 2017 ||||

Artistic Associate at the Visual Arts Department of FB06 ARCHITEKTUR, STADT- UND LANDSCHAFTSPLANUNG (click link)
of the University of Kassel.

Since October 2014 I work as Artistic Associate for the artist and professor Heike Klussmann at the Department of Visual Arts & Architecture within the School of Architecture, Urban Planning and Landscape Design at the University of Kassel, Germany.

I gave regular introduction courses for all Bachelor students of FB06 using sound as material. Additionally I offered extensive projects for smaller groups of Bachelor and Master students, e.g. working sculpturally with light.

|||| 2014 ||||

Radioportrait Anke Eckardt at ORF ZEITTON (click link).

Date: 10 July 2014
oe1.ORF.AT

|||| 2014 ||||

Talk about my work at
CENTER FOR RESEARCH IN ELECTRONIC ART TECHNOLOGY (CREATE) at UCSB (click link).

I was invited by Curtis Roads to present my artistic work in a talk at CREATE at UCSB in California.

Dates: 23 May 2014
Place: Center for Research in Electronic Art Technology (CREATE) at UCSB, Santa Barbara, USA

|||| 2013 ||||

||||     TEACHING AT THE UNIVERSITY OF THE ARTS, BERLIN (click link).

Dates: October 2013 - January 2014, every second Wednesday from 10am-2pm
Place: Sound Studies Institute, room number 314, Lietzenburger Strasse 45, Berlin-Wilmersdorf and various field trips

In winter semester 2013/2014 I give a regular course on the theme of 'SONIC SPACES’ at the University of the Arts, Berlin. The 17 students come from various disciplines like Fine Arts, Sound Studies, Composition and Strategies for Space from the University of the Arts, the Hochschule Hans Eisler and the Kunsthochschule Weissensee.

|||| Artikel "Vertikalität und Macht. Drei Hörstudien: 1945 – 1965 – 2012" von Anke Eckardt
in der Zeitschrift für Semiotik, Doppelheft im Jahr 2013 mit dem Themenschwerpunkt "Situation und Klang - Zu semiotischen Ansätzen in der Kultur- und der Medienwissenschaft des Klangs"

Herausgeber: Holger Schulze
Mit Beiträgen von: Susanne Binas-Preisendoerfer, Jochen Bonz, Christa Brüstle, Anke Eckardt, Veit Erlmann, Franco Fabbri, Annie Goh, Carla Müller Schulzke, Ulrike Sowodniok
In Zusammenarbeit mit dem internationalen Forschernetzwerk der DFG >Sound in Media Culture: Aspects of a Cultural History of Sound< http://www.soundinmediaculture.net

Zusammenfassung "Vertikalität und Macht. Drei Hörstudien: 1945 – 1965 – 2012": Die Autorin unternimmt eine Grundlagenstudie, um das Spannungsverhältnis zwischen den Nutzungsstrukturen innerhalb des vertikalen Raumes und der Repräsentanz bzw. Inszenierung von Macht zu untersuchen. Kulturgeschichtlich, aus Perspektive einer Historischen Anthropologie des Klanges, richtet sie ihr Augenmerk neben den klanglich-physischen Aspekten vor allem auch auf die psychologische und politische Dimension des Hörens. Zur Analyse wird darum ein Kategoriensystem genutzt, welches sowohl das Erklingende als auch das Gehörte in seiner physischen und seiner semiotischen Dimension erfasst. Situationen vertikalen Hörens werden dabei anhand von drei historischen und aktuellen Fallstudien analysiert: 1965 als die Regierungen der DDR und der Sowjetunion Düsenjets über der Berliner Kongresshalle in Westberlin fliegen ließen; 1945 als sowjetische Soldaten auf dem Dach des Berliner Reichstages ein Siegerritual durchführten; und 2012 als die Berliner Polizei am 1. Mai über Berlin-Kreuzberg einen Hubschraubereinsatz flog.

Summary "Verticality and Power. Three studies of listening: 1945 - 1965 - 2012": The author undertakes basic research on the relation between the structures of use in regards to vertical space and the means of representation and performativity of power. From the perspective of cultural history and especially from a historical anthropology of sound she concentrates not just on sonic and physical aspects but furthermore on the psychological and political dimensions of listening. For the analysis she applies a set of categories to approach the actual sounds as well as the hearing experience in its physical as well as its semiotic dimension. She analyses situations of vertical hearing by means of three historical and contemporary case studies: 1965 when the governments of the GDR and the USSR sent fighter jets over the Berliner Kongresshalle in Western Berlin; 1945 when soviet soldiers performed a triumphant ritual on the roof of the Berlin Reichstag; and 2012 when the Berlin police undertook a helicopter operation over Berlin-Kreuzberg on May 1st.

|||| 2012 ||||

|||| 2011 ||||

|||| RESEARCH: SONIC BEAM ))) - ON THE PERCEPTION OF ULTRA-DIRECTED ACOUSTIC RADIATION

This artistic research project is funded by  THE GRADUATE SCHOOL FOR THE ARTS AND THE SCIENCES AT THE UNIVERSITY OF THE ARTS, BERLIN (click link)   (Graduiertenschule für die Künste und die Wissenschaften an der UdK, Berlin) 2011-2013.

In her project ‘SONIC BEAM )))’ the sound/media artist Anke Eckardt explores a technology which makes it possible to direct sound very precisely at single individuals. Whether for the transmission of advertising messages, as a non-lethal military weapon, as an audio guide in museums or, (perhaps in the future) included in guidance systems or human-machine-interfaces such as airport self-check-ins, an analysis of the characteristics and the potential of different types of sonic beams exposes a number of auditory artifacts as well as a wide range of cultural meanings. Approaching these through theoretical discourse Eckardt explores the aesthetic potential of extremely directed acoustic radiation. As a direct or an oblique source of sound the phenomenon is exploited and revealed in her multi-sensory sculptures and installations.

The theoretical work is supervised by Prof. Dr. Holger Schulze. Currently Holger Schulze is guest professor at the departement for Cultural Sciences at the Humboldt-Universität, Berlin.
The artistic supervisor of this project is Prof. Christina Kubisch. She is professor for Audio-Visual Arts at the Academy of Fine Arts, Saarbrücken, Germany, since 1994.

|||| 2010 ||||

|||| RESEARCH: ON THE THEORY OF VERTICAL HEARING / ZUR THEORIE DES VERTIKALEN HÖRENS
Paper Title: VERTICALITY AND POWER. LISTEN!
Abstract (300 Words):
Although hearing is three-dimensional (horizontal, vertical and distance), we can find it useful to consider solely the vertical axis when analysing how sound is perceived.
The human physiognomy determines human locomotion: we walk, we do not fly. Semiotically, the horizontal component of the anthroposphere provokes the highly symbolic use of the vertical dimension, which is then often employed for the representation of power. While visual analogies are widespread this article investigates an acoustic example of the close relationship between verticality and power.
The subject of the analysis is the sound event depicted in the historical photograph ‘Soviet soldiers on the roof of the Berlin Reichstag at the beginning of May 1945’. The photograph shows the soldiers shooting or re-enacting the moment of shooting victory salvos into the sky. This particular image allows for analysis across multiple disciplines that include the acoustic, the political and the psychological dimensions of hearing in a methodological use of categories.
Salvos are not an accidental tonal by-product of shooting; their sound - physically present and symbolically loaded - is the very aim of the action. As a victory ritual, the execution or re-enactement of shooting was purposefully staged in the vertical dimension, on the roof of National Socialism's most symbolic building. In comparing the physical nature and semiotics of the victory gun shots from the roof of the Berlin Reichstag in 1945 a consistent representativeness can be established. From below, the acoustically vehement shots were not only physically audible, but, owing to the historical context, the message they were carrying would have been clear. The interpretations of these shots, however, would have been varied. A victory ritual can only meet with acceptance from the so-called victors. A victory ritual by Soviet soldiers will have come across to the so-called losers of the Second World War as positively threatening.

KEYWORDS: Cultural Meaning of Sounds, Verticality and Power, Public Space, Auditory History

|||| RESEARCH: ON THE THEORY OF VERTICAL HEARING / ZUR THEORIE DES VERTIKALEN HÖRENS
Master thesis: "ZUR THEORIE DES VERTIKALEN HÖRENS. EINE UNTERSUCHUNG AM BEISPIEL DES REICHSTAGES (HEUTIGEN PARLAMENTSGEBÄUDES)" (in german)

|||| RESEARCH: ON THE THEORY OF VERTICAL HEARING / ZUR THEORIE DES VERTIKALEN HÖRENS
Lecture: "ZUR THEORIE DES VERTIKALEN HÖRENS. EINE UNTERSUCHUNG AM BEISPIEL DES REICHSTAGES (HEUTIGEN PARLAMENTSGEBÄUDES)"
on 19 March 2010 at the final presentations of the Master studies 'Sound Studies' at the Arsenal Kino in Berlin, DE (in german)

|||| 2009 ||||

|||| RESEARCH: ON THE THEORY OF VERTICAL HEARING / ZUR THEORIE DES VERTIKALEN HÖRENS
Lecture: "VERTIKALES HÖREN - DIE GESCHICHTE DER KONGRESSHALLE"
on 29 August 2009 at the exhibition 'Hausklang' at the House of World Cultures (HKW) in Berlin, DE (in german)

|||| RESEARCH: ON THE THEORY OF VERTICAL HEARING / ZUR THEORIE DES VERTIKALEN HÖRENS
Lecture: "VERTICAL HEARING"
on 8 May 2009 at the postgraduate symposium 'Sound, Sight, Space and Play' (SSSP), (Demontford University, Leicester, UK)
see also: website SSSP 2009

|||| RESEARCH: ON THE THEORY OF VERTICAL HEARING / ZUR THEORIE DES VERTIKALEN HÖRENS
Lecture: "VERTICAL HEARING"
on 27 March 2009 at the festival 'CoCArt' (Torun, PL)

|||| 2008 ||||

|||| Text: "PHÄNOMENOLOGISCHE STUDIE ZUR BERLINER U-BAHN"
The interviews (partly german, partly english) were part of my phenomenological study on the Berlin U-Bahn.