1. Morton Feldman - Performance as a principle
Feldman - crucially influenced by the New Yorker group of artists around John Cage, Merce Cunningham and David Tudor - is about hermetic works of music/art, refusing and therefore relieved of any kind of tradition or compulsion.
Especially the performance practice of Feldman's works is marked with hermetically pure "abstinence". These important points of approach should be developed into an open transfer of thoughts being the centre of modern day reception of Feldman. Points of query and trial are a prospective new approach to programmatic and performance aesthetics of Morton Feldman's works.

2. Feldman: Interfaces and contexts
The quality of the interpretation and reception of Feldman lies in the development of programmatic models and their ties with the artistic subtext of his works. It is now a question of developing new models of combining the arts, to let the roots and artistic potentials, as we experience them today, grow at the interfaces of the fine arts, film, video, literature, theatre and dance.

3. Performance and reception
A refreshing Feldman music dramaturgy must point at both traditional and new music material on the other hand and open up to alternative interpretative and receptive possibilities in its programme.
With that Feldman's music is to be rescued from the fencing-in of receptive rituals of the new music scene and its performance practice.

Highlighted examples could be		Feldman + ancient(s)...
		Feldman + minimal music contemporaries
		Feldman + sound/composition/noise
		Feldman + students

4. Feldman: programmatic models
The quality of such an examination of Feldman will lie in developing and trying out programmatic models "between the arts". Centred in this is putting specific models of performance, for example sound installations, sound art, a concert edifice as an edifice concert , work of art to art of environment   into action which is related to this topic.
The new aims and objectives of the Feldman programme start at exactly the point where the interaction of the composer with other artists has been exemplary.

5. Performative turns
The theoretical, scientific debate "Feldman at the interface to a performative change in the arts" is supposed to be a central part of the project FELDMAN inter ... This debate goes back firstly to changes in the compositional creation, secondly it refers to the situation of performance and the acts of interpretation of Feldman's music. Opposing their traditional roles the interpreters will be de-individualised, although being required to make many independent decisions, eventually seen "only" as producers of an acoustic final product. The third level refers to a challenge of the subjective perception and receptiveness of the audience.

6. An opus as a process
Contemporary art has said farewell to handed down aesthetic terms and ideas. In Feldman's works a new dimension has been won with performativeness through performance quality and his oeuvre marks a crucial turning point in performance aesthetics.
A translation of models of performance into action along the lines of this "performative" debate can create progressing aesthetic experiences at the music/voice, speech/word, visualisation/image interfaces.

7. Crossing borders
Morton Feldman's works will be a central, but not single starting and finishing point for experiencing the crossing of borders and multiple perspectives.

8. Network perspectives
The project cycle should be designed to unify different modules of programme and production coming from various institutions/groups/houses in Berlin, Germany and participating European countries.
The production units' network consists of developing artistic visions with single collaborators using exciting places and spaces.
Every signatory can develop their own propositions in a paper - to be posted until 30. April 2005 to the address feldman@musikakzente.de - of how they would like to participate in this network and possibly point out further perspectives for the project FELDMAN inter ...(refering to content, organisation, structure).

The signatories

Name	Institution
Eberhard Kloke	musikakzente 21, Berlin
Dr. Christa Brüstle	FU Berlin
Dr. Christian Saalfrank	musikakzente 21, Berlin
Dr. Thomas Wohlfahrt	Literaturwerkstatt Berlin
Mag. Markus Wintersberger	Universität für angewandte Kunst Wien
Daniel Ott	Composer, Universität der Künste

Berlin, March 5th, 2005
Translation: Anna Prohaska