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tesla salon
	thursday evening (usually) is the time for tesla salon, a get-together, where tesla's artists-in-residence and selected artists and researchers are invited to meet with the audience for talks, presentations and jours fixes. free admission.
	do 12. jan. 2006 -- 20:30 h kulturradio versus kunstradio radio 1:1 im gespräch mit gästen
	do 19. jan. 2006 -- 20:30 h virtual electronic poem salon I musik und architektur helga de la motte, musikwissenschaftlerin andré meyer, medieninformatiker
	di 24. jan. 2006 -- 20:30 h virtual electronic poem salon II technologien zur rekonstruktion des poème électronique stefan weinzierl, kommunikationswissenschaftler kees tazelaar, komponist, z.z. edgard-varèse-gastprofessor
	do 26. jan. -- 20:30 h virtual electronic poem salon III medienkunst im kulturellen gedächtnis christina kubisch, klangkünstlerin wolfgang ernst, medientheoretiker
	thurs 09 feb. 2006 -- 8.30 pm choreographing on the computer talk with pablo ventura in 1996 the spanish choreographer pablo ventura began to create dances with the computer programme life forms. the resulting pieces dealt with the relationship between man and machine. kubic's cube, the dance installation for kubic the robot, renounces human performers completely. the work is a sort of epilogue to ventura's trilogy de humani corporis fabrica, in which he dealt with the conceptions of the human body. is expression through dance strictly the preserve of humans? how can you devise a dance for a machine? which new possibilities or problems arise from doing this?
	tues 14. feb. 2006 -- 8.30 pm kitchen symphony in five courses with provisions for saucepan lid orchestra, singers, chamber ensemble, catering service and guests idea, concept, costume design, direction: gisela weimann work in progress supported through the workshop programme of the hauptstadtkulturfonds berlin a visual artist, a choreographer and five composers from different generations and countries have agreed to 'compose' a menu for their guests out of images of rooms and sounds. they introduce their scenic and musical menu in the tesla salon. michael vorfeld provides tasters from the saucepan lid orchestra. with: gisela weimann, ricarda schuh, mayke nas, annette schlünz, pauline oliveros, karmella tsepkolenko, ana maria rodriguez
	thurs 16. feb. 2006 -- 8.30 pm netzkultur.salon 4 toshiya ueno in discussion with geert lovink the japanese media theorist and cultural commentator toshiya ueno has been occupied for may years with techno-subcultures - from goa-trance to otaku and net-activism. as part of his research period in europe he has come to berlin and will report on this evening about new developments in the japanese cyber underground. using animated film fragments he tries to show how pop culture and critical debate are now intertwined. the opposition of theory elite and animation industry seems to be over.
	do 23. feb. 2006 -- 20:30 h perceivable bodies gespräch mit frieder weiss 'the possibilities of computer-aided techniques allow us to hear and see choreography in new ways, bodies become material in a total pictorial process.' [frieder weiss] frieder weiss, during his current project residency, is working on a new dance performance with emily fernandez. perceivable bodies is a series of installations and dance performances that examine the body image and altered perception in this digital age. frieder weiss introduces the concept of the performance and discusses different perceptions: does the dancer lead the machine or are they controlled by it? or is it discernable, how much the performer performs themselves in choreographic space like a context-specific machine? for years emily fernandez and frieder weiss and the palindrome inter media performance group have been engaged in the application of live controlled media in performance. the goal is to reflect upon the presence of the performer and work on new idioms through mediated means. the careful employment of sound and images generated in real time is the consequence of this understanding of dance as an art-form that, as we all know, only unfolds the performance in the 'here and now' and in this way changes our perception.