Disregard for the welfare of all aspects of the environment stem from the negative attitudes about life that prevail in our century. Champions of bloated Western consumerism are products of an age that has framed and glorified these negative attitudes in popular existentialist philosophies such as the "sex, drugs and rock 'n' roll" ethic - philosophies that serve to vindicate a short-sighted, self-centered, hedonistic indulgence in life. Caring, conscientious, forward-looking attitudes are frowned upon as naive and absurd. The physical manifestations of these negative attitudes (such as running riot with chainsaws in our life-sustaining rainforests*) have devastating consequences for the long-term health of both us and our planet. Recent climatic conditions suggest that the Earth is beginning to lose patience with humanity and is preparing to re-enact history - to flush its surfaces in one mighty cathartic ablution. But are we prepared to perish? My composition is an attempt to musically dramatize this line of thought ; it begins by presenting, in extreme form, the two conflicting ideological attitudes (the positive and the negative), and then develops into a presentation of Nature's singled-handed combat against "evil", and ends on a note of warning (i.e. the music is fictional ; in …

"Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.

Furies and Voices comprises three movements, entitled Prelude, Scherzo, and Song each lasting about three minutes. It owes its title to the progression from an anonymous, and at times furious, sound stream (highly demanding of some speaker systems) to the intimation of human song, intoned in counterpoint with relentlessly moving sound masses. The "human" sound is derived by way of digital sampling of a trombone sound from an earlier composition, In Memory. A description of the compositional process of the piece can be found in Otto Laske: Navigating New Musical Horizons, J. Tabor (Ed.), Greenwood Press, Westport, CT, 1999. The piece was commissioned by the Center for the Arts, Simon Fraser University, Burnaby, B.C., Canada, and is dedicated to Barry Truax. Furies and Voices received its premiere performance at the 10th Anniversary Concert of NEWCOMP, the New England Computer Music Association founded by Laske and C. Roads, in April of 1991. It was first performed in during the Colleque ?Musique et Assistance Informatique, Marseille? (1990). The piece is available on Neuma VI (1999).

This music piece reflects an evaluation of the Russian history on example of kremlin. Part 1: before 1917 Part 2: 1917 to 1954 Part 3: later of now

Is it in biological time? Fertile with these assets, they appear "us". They are interfering with each other. To understand our fantastic opening where each displacement answers a necessity and an instinctive choice, it is an element of power in a reciprocal attraction. In the waters of the lived feelings the souls are confused at the time of the birth of the body. Real existence is created in the power to dream its future course. The invertébé transports its molecules in the swamps to live. Green areas nourish the force of a brutal rite to the solid of the earth, the vertebrate homo-sapiens balance its animal texture. Extravagance of the imagination. Two bodies found to be born together of this limpidity to be one. Entity fed with clear water that never wears and that lava. Feminine nourishing water, wife or mistress of our common lives, ultimate axiom of existence itself – permanent ritual of substance – reason for the movement of spheres. Cold blood, warm blood, oxygen to breathe better their verticality? Germ and early fruit? Interpenetration of our love, true emergence of the man?

"So are you fire of body" - Evocation of the body which lived, of the Promethean body always consumed by the life but never resurrected. A body without function, absolute, an existing carousel for itself, drinking from the restlessness of other bodies. His cavities, his warmth, his breathing are ardent and sweet confessions that murmur desire. "Janvier - Quests of Chaleurs" is an electroacoustic production of the poem by the Quebec author Paul-Marie Lapointe. Divided into four parts, the work exposes four progressive states of an inner reality, states suggesting a confused descent into hell, dominated by desire and haunted by an insatiable thirst for abandonment to the other.

"Pain does not add" Creation in Bourges at the "Synthèse 91" festival and in Paris at the "Son-Mu" festival 1992, (I.N.A.- G.R.M., Maison de la Radio, Paris) We can say that it is a "short electroacoustic poem"

Les Stupra is a set of three poems by Arthur Rimbaud, written at the end of the 19th century. The first two poems have already been 'set' by me, working in the electronic studio of the University of Edinburgh, in 1989. Les Stupra III is the setting of the third poem, completed at the University of Birmingham in 1990. The poems have not been 'set' in the conventional manner. The tape is used to create an environment. The tape is used to create an environemtn for the poems. The poem should either be recited before a performance or should appear in the program note as such.

"..... it is not about representing things (they represent themselves), but the destiny of things." This text, extracted from one of the articles by Felix de Azua (Writer, Barcelona 1944) included in his book "The Learning of Deception" (1989), is a true mystery to me; The attraction for what we don't understand has made me write down these words on my agenda, who knows if one day...

The electroacoustic composition "Gandhi" by the Czech composer Karel Odstrčil presents the fifth part of the free cycle entitled "Cabinet of wax figures". Each of these figures is characterized using unique sound equipment. For example for the composition "Einstein" we used the sound of the bows, "Curie" the voices of birds, "Kafka" the organ, "Amundsen" the hunting horns etc. The fundamental sound ground for Gandhi composition is created by the sound of flutes. By making this composition in the electroacoustic music studio in Pilsen (belonging to the Czechoslovak Radiodiffusion) in collaboration with the sound engineer Mr. Cestmir Kadlec, we have used the mirrored effect ("Spiegeleffekt").

Recording of Tamas Ungvary's "Istenam, Uram!".

"... The watermark of a drawing fine enough to escape the bite of termites ..." (The invisible cities) "D'Italo Calvino. Rhythmic series of fragments of sounds, arranged in a certain order according to regular spacings, grouped together in independent sets, alternating with other types of sets, made of tapered sounds, modulating loops, emergences. From this thick sound appear the thread and the grain. The movement order is as follows: Zobeide - Sophronia - Antropie - Zemrude - Despina - Procode - Octavie - Ersilie - Phyllide

Eternity, which can be perceived at every moment, divine capacity embracing everything. I had set my foot in the most basic realms of human existence, on a journey to search for the true significance of living. During my journey, I had always felt in touch with something divine. Because I made my music through divine influence itself, I can say that the actual composer of this work is a divine power. I was lived and breathed by its existence. “Memories of the Universe” — we can consider them the most basic memories (realms) existing in a human being. In our modern times, the existence of these memories is about to be lost and forgotten. Not only did I want to act as an intermediary for these memories, I also wanted to try to show the implacable evidence of their existence. The tape was realized using the facilities of the Electronic Music Research Laboratory of Kunitachi College of Music in Tokyo, Japan.

Recording of Jonty Harrison's ...Et ainsi de suite...

It is one of the most recent works of P.B. Michel. It is a magnetic tape made with noises or sounds or complex sounds of electronic origin worked in many ways according to traditional methods such as modulation, multiplication, filtering, clipping, inversion, metabole, editing, mixing. At times, for example, there will be a sort of jazz drums perceived as colorful and irregular strokes; the intensity of each stroke is proportional to the melodic interval between the latter and the previous one. This tape made at the Center for Musical Research of Wallonia with Daniel Hakier as narrator serves as background and musical commentary to a text written by the composer.

Diskus is composed at EMS in Stockholm. Dizkus I is for wind-guintet and tape, while Dizkus II is for Wind Quintet alone. On layer of the Dizkus I - tape is a kind of "pace-maker", whose role is primarily to indicate tempi and to give clues of orientation to the musicians. The pace maker is entirely based on the Karjelus-Strong plucked string algorithm and the actual sounds used in the piece have been generated on the VAX 11 computer at EMS. The pace maker put of Dizkus I - tape turned out to be of more music potential than I had expected. The idea arised to elaborate this material in a third piece of the Dizkus "family", a pure tape - piece this time. Dizkus III is divided into two parts, the structures of the sound material in the first part is "triggered" by the original sequence of plucked string sounds, the second part of the piece expose the "real" string sounds in various ways.

In 1989, we celebrated the Bicentenary of the Great French Revolution. On this occasion, I composed a radio play "Mon 1989". It was a collage of electroacoustic music and documents that I recited myself. After the "little German revolution", the idea came to me, by association, to compose the current correspondent: "Mein 1989", using my voice and this time, documents recorded on magnetic tape. It is a look back on our destiny which, in East Germany, begins with the terrible legacy of Nazism. At the beginning of the play, we listen to a quote from Anaximander: "This place where things take their origin, to this place where they must also be damaged because they have to pay for them. injustice...." Thus the play refers to the difficulties of saying the word "Liberty".

Karangan is the Indonesian word for “work”, as for instance the peasants working in the rice fields. In this composition I tried to integrate the western and eastern musical traditions. Sometimes it turned out, more or less, as a confrontation between two different cultures, and other times it resulted in a synergy. I was inspired to create this piece by my trip through Indonesia in 1989, the country where I was born. It reflects the sounds I heard, the movements I saw and the thoughts and emotions I endured. The real sounds, which I used, are my own recordings, made at location.

The different sound materials of the work come from commercial synthesizers (DX7 / D50). The SAMI (Computer Assisted Music Support System), developed by Bernard Donzel-Gargand and Adrien Lefevre (IRCAM), allowed me to create this music. This instrument offers various access commands such as: - joy-sticks, - photocells, - pedals, who can each, according to our imagination, drive real-time music parameters (change of timbre, velocity, frequency according to modes, ranges, series, tempo, speed etc ...). The final version of the work is the result of mixing a 3-part score. An Arcane is a mysterious, secret operation of alchemists. Are we not alchemists of the sound world, we musicians? Eleven is, for the Arabs, the number of the knowledge of God, which passes through 11 stages: - the will corresponding to self-control, - abstinence and music that bring purification, - time, stage of the wander between self-awareness and God, - the image of God reflected in every creature, - the end of worry, - perfect tranquility and permanent ecstasy, - the outburst out of oneself, - the possibility of going up to God, - the loss of the will, - the return trip with God, - permanent contemplation giving the power to …

Concerning its basic concept,the piece should have been inspired, as the organizers of the Synthèse FIMEB suggested it, by the extraordinary events in the East European countries. Though the abrupt changes of society structure,development of political pluralism, decline of communism, separation economics from politics could be the common features of all the countries, there is something specific in the Yugoslav political situation. The changes in Yugoslavia are not so bloody as in Romania but are complex like in Russia and can be only partly expressed by musical and verbal means. Some of them are characterized in the piece by specific words, rhythms and tune fragments which are musically worked out. Thus, the Albanian separative tendency is represented by words "gjaku" /blood/and "demokracia" /democracy/ shouted out by Albanian terrorists; the Clovinian wish to join Europa - by "Europa zdaj" /Europa now/; the hegemony of Croatian chauvinistic tendency - by "HDZ " /Croatian Democratic Party/; the gratitude of Serbian people for the restoration of their rights to be Serbian - by "Slobo/Slobodan Milosevic, President Of Serbia/- slobodo/freedom", etc. All the sung and spoken material was processed by means of a sampler/Akai S 1000/ and mixed with synthetic sounds. The form of the …

This work was done by means of an IBM Music Feature Card, installed in a PC computer. "Batimentos" is a study a single sound. This sound has some of its partials slightly detuned, causing periodic variations. Because of their different rate, beatings are perceived as rhythm at lower frequencies, and as a roughness at high frequencies. Continuous changes in the detune procedure result in acceleration and deacceleration processes. The piece also explores density changes, and interaction between binary a ternary rhythms.

A very short but important piece. It was the last composition produced in our old studio (the one offered by the Di Tella Institute that you visited at CICMAT in 1974). The pointillistic piece and its editing is done exclusively by means of tape bonding and sounds from the Arpe 2600. Pozzati, in my opinion, is our best talent. He made his song as a farewell to the old studio which is now replaced by two NeXT machines. He is now one of the people working with the new programs at LISP, in use with these computers. The piece was composed in 1990 in the former LIPM laboratory, just before it was dismantled in March 1990. The sounds were produced by an Arp 2600 synthesizer and resonance filters designed in 1966 at the University of Buenos Aires. The work has a complex rhythmic structure which uses logarythmic and exponential curves. Its high speed attempts to conceal the origins of the sound sources and the transitions used between them. The work is of a humorous nature which conceals the melancholy engendered by the disappearance of the 23-year-old laboratory.

I composed this work during 1988/89 at the L.I.P.M in Buenos Aires. The electroacoustic material was mainly generated and processed with an ARP 2600 synthesizer and other analogues devices, that's why its title. The guitar part -five little pieces- belongs to a largest piece for guitar alone (Dobles A, 1988). The formal organisation keeps the articulation in five parts but, four interludes and a finale -with only electronics sounds- were intercalated and superposed, producing different kinds of imbrications with the guitar part. In the relation between guitar and tape, I hardly could ignore the two main options in this kind of works (timbrical opposition/timbrical interpenetration) yet the dialog is not based mainly in the timbrical characteristics of materials but in their structural features like articulation, velocity, density, mobility, etc...; as well as in their possibilities to execute different formal functions. There are no sounds of guitar processed in the electronic part, but its material was generated by using variations on the pitch structure of guitar parts as main sound source and also, in some cases, as a control signal for different kinds of modulations. Finally, I must say that, When I heard my piece finished, I felt very surprised by …

This piece wants to expand the soft lyric and dripping serenity of the harp, with the help of the computer introducing into the micro-world the senses of the harp and modulated these senses by the electro-acoustic means. The composition is composed of three musical layers, on the one hand harp senses modulated by the electro-acoustic means, on the other hand, synthetic senses controlled by the harp and finally the sense of the harp without any modulation. live part / In the course of this stereophonic work, nine movements succeed one another without respite. The culmination is at the end of the fifth movement. Moreover, the slow and lively structures succeed one another by movements. The piece is dedicated to Eva Maros and was made in the studios of Rion Hungarian in 1989 with the collaboration of Istvan Hervata sound engineers.