Recording of Takehisa Kosugi's Catchwave 71.

Recording of Stefan Beyst's Aguiro for tape.

Recording of Joaquin Orellana's Cantata dialetica.

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Complete texts of 123 communications to the Congress (in the original language; the majority in English, some in Russian, French), on the following topics; radiation perspective in the U.S., radiation and man, non-ionising radiation, radiation effects on animals, radiation quantities, radioecology, reactor experience, late radiation effects, dose calculations and radiation accidents.

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Recording of Jack Body's Musik Dari Jalan. This piece depicts the musical sounds and ever-varied texture of resonances of Indonesian streets. There are street sellers advertising their products and a street musician who accompanies himself with anklung (bamboo resonators which are shaken) and a small gong.

Recording of Peter Tod Lewis's Samarkandko. This piece is a linear construction on five highly contrasted sources. The affective associations of the materials may suggest a dramatic scenario which, though ambiguous, contradictory, subjective, guided the order on event presentations and their manner of juxtaposition. One evolved theory of the work had precisely to do with the use of extreme, and perhaps at first seemingly unrelated, contrast that such materials can, with care and sensitivity, work together in a composition, to see in the end, related, if only now to the whole. Samarkandko was realized in October of 1976 in the Electronic Music Studios of the University of Iowa.

Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At …

Recording of John Elmsly's Diamant. This piece was composed in 1977, using a Flemish poem written and read by Chris Dries as text. Using a simple bank of tuned oscillators, a sequencer pattern to modulate an oscillator, and very simple tape manipulations to leave the words as intact as possible the work is intended as a meditative coloring of the poem.

This Final Safety Analysis Report (FSAR) supplements the Preliminary Safety Analysis Report (PSAR), dated January 18, 1974, for Building 332, Increment III of the Plutonium Materials Engineering Facility located at the Lawrence Livermore Laboratory (LLL). The FSAR, in conjunction with the PSAR, shows that the completed increment provides facilities for safely conducting the operations as described. These documents satisfy the requirements of ERDA Manual Appendix 6101, Annex C, dated April 8, 1971. The format and content of this FSAR complies with the basic requirements of the letter of request from ERDA San to LLL, dated March 10, 1972. Included as appendices in support of th FSAR are the Building 332 Operational Safety Procedure and the LLL Disaster Control Plan.

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Pekka Sirén's "Kasaanin Synty (Genesis of Kazan)" performed by Leena Schönberg, speaker. The poem "The Founding of Kazan" is a Mordovinian poem from the collection "Heimokannel," original translation of text from Mordavinian to Finnish by Otto Maninen. Realized in Finnish Radio's Experimental Studio and at Stockholm's EMS Studio from 1978-1980

Photograph of a stone cat sculpture in the Yakushiji Temple Complex of Nara, Japan. The cat is visible in the foreground in a garden. Multiple stone lanterns (ishidoros) are visible behind the cat. A building with tile roof is visible in the background with trees behind it.

Photograph of a street scene in Kyoto, Japan. The street is visible in the foreground stretching into the background. The street is lined with shops on both sides. Numerous signs stick out from the shops. Pedestrians walk on the street.

Recording of Eugeniusz Rudnik's Moulin Diabolique" ("Devilish Mill"). The work consists of six sequence that have their own dramatic, musical, and architectural meaning independent of the piece as a whole. The piece is based on military orders in different languages, as well as the sounds emitted by human groups (soldiers), which constitute the answer itself or accompany the answer that is required. The composer processes the sounds of the orders to deepen the grotesque and lugubrious character that these orders contain.

Recording of Joaquin Orellana's "Rupestre en el futuro" for tape. Extra-musically, the piece is a "testimony of place" in a surrealist picture of a social situation, namely, the development of humans. The beginning of the piece uses phonemes in indigenous languages (Quiché, Tzutujil) and special instruments made by the composer to simulate the sounds of "a supposed primitive man."