Recording of Klaus Stahmer's Transformationen. This is a work for electronics and instrumentals. It consists of 4 movements: Meditation, Um Den Kreis, Gewalt, Ozeanisch. This work was commissioned by Sonoton.

Recording of Peter Tod Lewis's Signal Messe. "Signal-messe" is an attempt to make a single coherent "bi-sensory" experience from two independent media expressions. The "performers" were the creators, having long since stored their improvisations on magnetic tape or film. The "mess" of stored "signals" was severely cut, edited, processed, mixed, according to a structure that seemed to be dictated by the material itself (though, naturally, in light of subjective considerations). The structure continued to emerge when the tow elements, tape and film, were presented together. It was evident they had much in common: the film seemed, incredibly, a visual analogy of the music, their internal rhythms identical. It remained simply to synchronize the two to match certain salient audio features with video ones. The film is a movie of various video patterns produced largely through video feedback of a black and white system and then converted to color by a video color quantized, a unique device which allows the operator to assign virtually any color to any value in the video grey scale. The film provides a window into a fantastic color world that just might be the same aesthetic realm as that of the sound.

Recording of Peter Tod Lewis's Signal Messe. "Signal-messe" is an attempt to make a single coherent "bi-sensory" experience from two independent media expressions. The "performers" were the creators, having long since stored their improvisations on magnetic tape or film. The "mess" of stored "signals" was severely cut, edited, processed, mixed, according to a structure that seemed to be dictated by the material itself (though, naturally, in light of subjective considerations). The structure continued to emerge when the two elements, tape and film, were presented together. It was evident they had much in common: the film seemed, incredibly, a visual analogy of the music, their internal rhythms identical. It remained simply to synchronize the two to match certain salient audio features with video ones. The film is a movie of various video patterns produced largely through video feedback of a black and white system and then converted to color by a video color quantized, a unique device which allows the operator to assign virtually any color to any value in the video grey scale. The film provides a window (a “space gate?”) into a fantastic color world that just might be the same aesthetic realm as that of the sound.

Recording of Hubert Howe's Freeze

Recording of Alvise Vidolin's Hardlag.

Recording of Pierre Bernard's Gérémie.

Recording of Carl Stone's Etude.

Recording of Eugeniusz Rudnik's Mobile.

Recording of Jon Appleton's Stereopticon.

Recording of Gabriel Brnčić's Batucada.

Recording of Joaquin Orellana's Malebolge.

Recording of Miroslav Bázlik's Concertino.

Recording of Camilla Söderberg's Subcontra X

Recording of Peter Kolman's Omaggio a Gesualdo.

Recording of Henri Pousseur's Psych'art.

Recording of Michaël Christopher's Mithril Canticles.

Recording of John Maryn's Fantasie über Zerbrochenes glas.

Recording of Ted Dawson's Concerto grosso I.

Recording of Jacqueline Nova's Creación de la tierra

Recording of Michel Longtin's Embarque, on ira pas vite.

Recording of Dieter Kaufmann's Voix en Miroir.

Recording of Oeuvre Collective's Il paese della félicita.

Recording of Leonardo Gribaudo's Ordinali - ordinati.

Recording of Michel Longtin's Au nord du lac supérieur.