Recording of Miyama Chikashi's Mutation. This is a work for guitar and an interactive multimedia system. The work is built off of various sections that contain varying processes and modulations in which the computers and the guitar sound like they're exchanging in a dialogue. This work is performed with graphics that are projected behind the guitarist, containing video of the guitar player as well as images generated by an SGI computer.

Recording of Gerald Eckert's Offen - Fin des terres. This is a work for ensemble and tape and plays with the juxtaposing sounds of the instrumentals and electronics. The initial concept for this work came from the passing observation of a grafito in the ruins of a bunker: "FIN DES TERRES". This work was commissioned by the Ensemble Aventure under the patronage of "Stiftung Kunst und Kultur des Landes".

Recording of Roland Pfrengle's Innen. This work explores the behaviors of the flute and uses computer processes to modulate the sounds produced by the instrument. The electronic presence in this work is not meant to represent an opposing sound world, but instead help increase and change the presence of the flute. All sounds are produced in the moment of the performance.

Recording of Paul Rudy's Thema: omaggio. This work began as 1 minute and 45 seconds of vocal improvisations which served as a basis for this composition. The composer intended to explore improvisational methods of working with sound material in the studio and created the final product by passing the original sound material through various manipulations.

Recording of Marco Marinoni's ∆ - A study on distance. This work was originally written as a stereo piece and eventually became a piece for 8-channels. The sound materials used in this work are all instrumental in nature (piano, violin, and flute). The intention was to explore the idea of distance in terms of size as well as the space between the original source sound and its processes. The composer has included instructions for the schematics of the loudspeaker layout.

Recording of Christophe Ruetsch's V. The composition of this work began after following a dance, music, and video performance with the "Collectif Construct". The composer worked off of sound materials that were strongly associated with jazz and the dark atmosphere of post-war American thrillers.

Recording of Jacky Mérit's Epique Epoque Ethique. This is an elecroacoustic triptych that includes three movements titled: Epique, Epoque, and Ethique. These compositions explore how sound can affect a persons inner space and create an environment to channel emotions.

Recording of Erdem Helvacioğlu's Blank Mirror. This work premiered at the Microburst Electroacoustic Concert in 2002. The composer states that this piece is about a man seeking salvation in the modern world where confronting oneself is becoming increasingly difficult. The work expresses his journey of finding the meaning of his existence and ends with him finding peace.

Recording of Jean-Christophe Banaszak's Controls. This is a work for electronics.

Recording of Etienne Saur's Drames brefs deux (de Philippe Minyana). This composition was created to accompany a theatre piece by the same name and consists of eight short pieces that each represent a different major life event.

Recording of Taras Bujewski's Striking up a tune. This work contains fragments of Russian choral songs from the provinces of Belgorod and Bryansk. The elements of this music are compared to urban noises and the contradictory nature of these two sound worlds are explored.

Recording of Aleksandr Volodin's The music of my memory. This work consists of 3 parts: "Old photos", "Deep", and "monologue". The composer describes this work as being "small pieces of my small world" and used sound materials that were recorded in Kolomna City in 2002.

Recording of Gérard Torres' Shalala ware. This work reflects a love story between a virtual couple, Fred and Cathy, who sing their song "Shalala" throughout the piece. The composer has separated this work into four parts: 1. R.A.M., 2. Shalala Song, 3. Love is bossa nova, and 4. Free loop. Each part has its own mode of composition.

Recording of Juan Parra Cancino's Serenata à Bruno. This is a work for electronics that uses sample passages from "Serenata per un Satellite" by Bruno Maderna. This work serves as an homage to Maderna the composer, and Maderna the dreamer.

Recording of Beatriz Ferreyra's Cantos de antes. This work was commissioned by the Association pour la recherche et l'Expérimentation Musicale and is dedicated to Simone Rist and Roger Cochini. This piece was created from transformed texts performed by Simone Rist, the voice of Roger Cochini, and other electroacoustic sounds. The composer states that this piece speaks to very old stories lost thousands of years ago.

Recording of Rodrigo Restrepo's Omega > 1. The composer describes this work as a song to the universe and also a fantasy around the different phases of the creation of matter. The structure of this composition follows this sequence of creation from a very small material to a bigger one and backwards.

Recording of Laurent Soulie's Ecorce de lune. This is a work of mixed music that consists of 8 moments: Uchronia, Shocks, Landscape, Stardust, The colors of dawn, The pendulum, Ephemeris, and Achromia. This work is dedicated to composer and friend of Soulie, Pierre Jodlowski.

Recording of Frederick Szymanski's Friction Sticky Rough. This work is a sound and image installation for multiple video projection and loudspeakers. The sound component of this piece involves developing musical structures by manipulating interactions at the sound-particle level. The composer used this same concept to create the visual aspect. The video consists of simulations of particle paths.

Recording of Marco Marinoni's Of Shape and Action 2 - The Dying of the Light. This is a work for electronics that premiered at the Synthése Festival 2003 in Bourges, France. The underlying material of this composition is the poetry of Dylan Thomas which itself is imbued with death and a call to heroism. The first draft of this piece was finished in 2002 and lasted 1'48"; later on those materials were furthered processed to create the current version.

Recording of Apostolos Loufopoulos' Erevos. The title of this work comes from the word for "darkness" or "dusk" in Greek. In ancient Greek and Roman mythology, Erevos is mentioned as a place between earth and the underworld. The idea behind this piece refers to a journey between "natural" and "supernatural" which is presented in musical context through the combination of recognizable and unrecognizable sounds.

Recording of Kotoka Suzuki's Umidi Soni Colores. This is an electroacoustic piece for 8-channel tape and videos that consists of 3 contrasting movements that are played without interruption. This work premiered in a church in Berlin and was specifically written for that space. The focus of this collaborative work was to portray the close relationship between sound and vision in a three dimensional spatial environment while still giving both equal importance.

Recording of John Mallia's Plexus 2. This work was composed for a chamber ensemble and electronic sounds. Plexus 2 utilizes and responds to fragments of sound from Plexus, an earlier electronic work based on poetry by Dana Dalton.

Recording of Gonzalo Biffarella's Alf Tia (para flauta y soporte digital). Alf Tua is a work for transverse flute and electronics. The electroacoustic part is composed entirely of sounds that we had previously searched for and recorded together with the flutist. In the live version the instrumentalist plays along with the playback of a CD.

Recording of Valentin Lazarov's The unknown sound. This short piece is created from synthetic sound and electronic effects.