JAC interview of Donald Davidson discussing communicative interaction in relation to writing, philosophy, and rhetoric.

JAC interview of Stephen Toulmin discussing postmodernity and rationalism in relation to writing, philosophy, and rhetoric.

Sound recording of Dr. M. Ray Perryman's seminar, "The Economic Imperative: A Look Into the Future," part of the Texas Association of Museums' annual meeting held in Waco from March 31-April 3, 1993.

Audio cassette from The Black Academy of Arts and Letters recorded during the 10th annual Black Music and the Civil Rights Movement Concert hosted by the Junior Black Academy of Arts and Letters on January 17, 1993 at the Morton H. Meyerson Symphony Center. The tape includes two well recorded tracks of gospel and jazz style music featuring Jennifer Holliday and a 200-voice choir.

Audio cassette from The Black Academy of Arts and Letters recorded during the 10th annual Black Music and the Civil Rights Movement Concert hosted by the Junior Black Academy of Arts and Letters on January 17, 1993 at the Morton H. Meyerson Symphony Center. The tape includes two well recorded tracks of gospel and jazz style music featuring Jennifer Holliday and a 200-voice choir.

Audio cassette from The Black Academy of Arts and Letters recorded during the 10th annual Black Music and the Civil Rights Movement Concert hosted by the Junior Black Academy of Arts and Letters on January 17, 1993 at the Morton H. Meyerson Symphony Center. The tape includes two well recorded tracks of gospel and jazz style music featuring Jennifer Holliday and a 200-voice choir.

Recording of Juan Blanco's Cinco Epitafios. This work was recorded in real time with processing and digital synthesis. It is separated into 5 movements.

Recording of Pavel Kopecky's The Still Life with Pierot. This is a work of three movements that consist of a chamber sound with a prominent piano solo part. The EA sound acts as accompaniment to the piano and can be recorded live by a microphone.

Recording of Fernando Pablo Lopez Lezcano's Espresso machine II. This work was created for electric cello (celletto), midi controlled synthesizers, and PadMaster.

Recording of Teodoro Pedro Cromberg's Gritos y Gritarras. This is a work for electronics that includes voice and guitar as well as sound samples from Jimi Hendrix, Led Zeppelin, and Deep Purple songs. The composer has attempted to make these songs and motifs recognizable without compromising the independence of the electroacoustic piece itself. The title is a play on words that is untranslatable; "Gritarras" is a made-up word that means something like the cry of the guitar.

Recording of André Serre-Milan's Musica par ninos (1). This work is part of a collection of piece translating to "music for children". The piece uses electronic sound and pre-recorded electronically manipulated sound. There is a childish sound to this piece, which incorporates harmony, texture, and electronic orchestration to create a fun and upbeat sound environment for the listeners.

Recording of Alistair MacDonald's Kilim. In electroacoustic music lies the ability to deal with illusion in sound. Illusions of surreal or transformed things and illusions of abstract things: objects, spaces or events, instruments. Rather than articulating the traditional materials of music, the sounds articulate snapshots of the instruments. The piece is built around a series of trajectories which act as triggers and cadences, or underpin longer passages, steering the pacing of the music using dozens of short sounds combined to make dramatic gestures or textures.

Recording of Edward Sielicki's Soundcruncher. For electronics. This work uses an electronic instrument to create a harmonic soundscape with interrupting pre-recorded sounds.

Recording of Josefina Puncele De Benedetti's La muerte del Delfin. This work is a musical reflection of when the composer and Venezuela (1993) had to watch the killing of a baby dolphin in the hands of unscrupulous fisherman, through TV. The composer created this piece as an homage to the animals which are unable to defend themselves from human brutality.

Recording of Ron Averill's Painting legs on a snake. This work refers to an exercise in futility, which describes why the composer came to appreciate piano composition. Many literary works of the 19th century deals with the piano reflecting a dissatisfaction linked to the timbre of this instrument, which sparked questions about tonal modes and tone color. Rather than composing a tonal piece on the piano, modified already existing piano works were put through the NEXT computer and organized to create this work.

Recording of Simo Lazarov's Cardiofonia. This work is an interactive sound space composition. The Work is based on really cardiographs modulated by sounds. The used sounds from different human emotions. Interactive multitrack version is available by the participation of audience.

Recording of Pete Stollery's Shortstuff. The composer wanted to make a piece consisting of material which would draw the attention of the listener, consistently keeping these sounds in the foreground and avoiding dense musical textures. Also, throughout the piece, there are sections where gestures are separated by periods of silence or limited sonic activity, which allows the listener to take stock of what has already happened and to anticipate what's to come. The nature of the material being used determines the character of the piece as very "staccato", but drones and longer sounds appear through extremely fast repetitions of short sounds.

Recording of Thomas Gerwin's DingKlang-Klangding. Made up of 3 Preludes (the sound of a book, the sound of a salt box, and an apple). The 4th movement is a triple fugue with "perfect counterpoint" in the sense of J. S. Bach. Scales of noise for each sound sources (book salt box, apple) and then composed a strict fugue with 3 voices. The 5th movement then frees the concrete sounds again from their bondage into the strict tonal form and scale by letting them explode into space.

Recording of Bernard Donzel-Gargand's Eloge de la folie. There are no vile or glorious acts that are not inspired by it: Madness. Absurd and radiant arrows seek their target among hearts overjoyed, overwhelmed with grief resting on a tree of illusions. The spoken and processed voice is used extensively. All of the processing is computer-assisted, using the MAX language, (warping, stretching, real-time playback of variable windows on various samples).

Recording of Katharine Norman's London E17. This piece take pre-recorded audio from London which is accompanied by electronics. There is a traditional electronic technique and unprocessed acoustic sound.

Recording of Vincent Laubeuf's Diogène le cynique. This work is for electronics in stereo and written in four movements. While also being a homage to Diogenes the Cynic or Diogenes of Sinope, who was a Greek philosopher and a founder of Cynic philosophy.

Recording of Enrique Belloc's Para Bla. This work is dedicated to the composer's daughter, Barbara. This composition does not intend to transcribe the spirit of poetry into musical discourse, but rather to pay homage to the creative nature of the writer. The work offers both, and in a veiled way, the use of a certain rhythmic gesticulation specific to techno music and the use of pitch as a type of sound material, without letting it appear for so much the notion of tonality.

Recording of Rodrigo Cicchelli Velloso's Cymbal: reminiscencia. The piece is divided into two movements: Ostinato and Reminiscences. The first begins with a repeated phrase, performed by a pair of cymbals, punctuated by strong attacks. As this short talk progresses with the cymbal intervention becoming hectic and irregular, the initially limited spatial perspective widens when the first cymbal strike occurs. As the piece develops, new sounds enter the scene, interacting with each other and creating a dense musical texture. One of the important characteristics of the piece is the simultaneous exploration of different materials with very particular and contrasting spatial behaviors.

Recording of Johannes Goebel's Après les grands tours. This piece is a reference to tours that have crossed the Alps with the use of walking sounds and spoken word taken from "Germania" by P. Cornelius Tacitus.