JAC interview of Homi Bhabha discussing the politics of difference in relation to writing, philosophy, and rhetoric.

Audio cassette from The Black Academy of Arts and Letters recorded during the cultural commissioners meeting held on April 17th, 1998. The tape includes two tracks of audio that are generally intelligible of echoing voices.

Sound recording of a panel discussion about Camp Howze, an Infantry-training camp adjacent to Gainesville, Texas established during World War II. The discussion is followed by a performance by the Gainesville Swing Orchestra.

Audio cassette from The Black Academy of Arts and Letters recorded during their 15th annual Black Music and the Civil Rights Movement Concert held on January 17th, 1998 at the Meyerson Symphony center. The concert is entitled "Our Youth and the Civil Rights Movement: Continuing the Legacy" featuring youth and young adult vocalists along with special guest Erykah Badu.

The piece is comprised of four main elements: vocal chorus, spoken text, melodic percussion, and non-pitched percussive effects. The spoken text is a popular adaptation of Psalm 23 which is treated freely and recited in both English and German. The melodic percussion is a plucked-string and chime combination instrument (which sounds a bit "gamelan-esque"). And the percussive effects consist of various treatments of the other elements. A fifth element, a pitched white noise instrument with a moving center band width, forms the back drop for the work. As the title implies the work is a lament of war, in which the main elements weave in and out, fighting to gain prominence in the foreground and/or slipping away into the background. The form is basically that of an arch. The first half is dominated by percussive elements. At the top of the arch, vocal elements gradually take over to dominate the second half.

Recording of Rubén Hinojosa Chapel's El fin del caos llega quietamente. This piece was intended to demonstrate that mathematics can also be a path to music. It was created entirely in real time from the calculus of the Logistic function by means of the Fractal Composer system and recorded in one pass.

Recording of Carlos Suarez Sanchez's Mystères des animaux sorciers.

Recording of Natasha Barrett's Microclimate II: Red snow. This piece is the second in a series of works titled "microclimates". "Red snow" was inspired by the meteorological and geographical climate changes the composer experienced during their move from England to Norway in January.

Recording of Stelios Giannoulakis' Plastic. This piece is segmented into 3 parts: genesis, environment, and life. All sound material is originated from a single 10 second recording.

Recording of Agnès Poisson's Oracle et baliverne. This piece is based on the theme "2048, the centenary of concrete music" and explores the passing of time through various sound mediums.

Recording of Lucien Goethals' Otros momentos. This is a work for electronics.

Recording of Elizabeth Anderson's Chat noir. This piece is the second work in a cycle of recordings based on the book "Owning Your Own Shadow - Understanding the Dark Side of the Psyche" by Robert A. Johnson. "Chat Noir" explores the paradox of opposition in the psychological reality of mankind. This work was created with the support of the ministry of the French speaking community in Belgium and is registered at S.A.C.E.M.

Recording of Patricia E. Martinez's Duelo intenson. This work was made for electronics.

Recording of Patricia E. Martinez's El utimo rito (The last rite). This work was made for electronics.

Recording of Guillaume Bonnefont's Métaux Hurlants. This piece is the first in a series of four works that were inspired by science fiction and the composers vision of mankind's evolution in space.

Recording of Curtis Roads' Half-life. This work is divided into 2 sections: Sonal atoms and Granules. It was premiered in May 1998 at the Australian National Academy of Music, Melbourne, with sound projection over 28 loudspeakers. The composer dedicates this work to his friend, the composer Ivan Tcherepnin.

Recording of Béatriz Ferreyra's Rio de los pajaros. The composer describes this work as a triptych and is comprised of three movements: 1. Río de los pájaros, 2. Río de los pájaros escondidos, 3. Río de los pájaros azules. It was commissioned by the Bregman Studio at Dartmouth College.

Recording of Denis Streibig's Sonatine "Faire le mur". The material in this work was generated by a modular analog synthesizer. The aim of this piece was therefore to control the variation of two morphological criteria, through the construction of "curves".

Recording of Anders Vinjar's Ups-Downs-Ins-Outs vs. Popeyes. This work is made up of a fugue (based on "Popeye the sailor man") that is taken through various manipulations. The composer says that this piece was inspired by modern society's way of handling information. The work was made with CM/CLM software on SGI-workstations.

Recording of Marta Jirackova's Pura sub nocte. The composer describes this piece as a metaphorical end to the world, in which humans realizes how limited their time is and humble themselves before a law he calls "God".

Recording of Ana Maria Romano Gomez's Umbrales II. This work is based off of the sounds of wood, ceramic, and metal. The composer divided the piece into three sections: the first incorporates the sounds of wood and ceramic, the second only metal, and the third part deals with the interaction of all three materials.

Recording of Ian Stewart's Petroglyph. This work is built entirely from transformations of two brief recordings of acoustic instruments: one bowed note on a cello, and one second of drumming. These sounds have been dissected and extended by imbuing them with rapid modulation.

Recording of Peter Green's Grrearra reson.

Recording of Eric Forte's Fuel. This work consists of long, sweeping textures produces by the stacking of granulated sounds of both synthetic origin and recorded "samples". The programming of synthesized instruments allowed for more control over the sound that is ultimately produced.