Recording of Coriún Aharonián's Que, spoken text performed by Armando Halty. All of the sound material, besides the spoken text, is electronically generated sounds. It was composed between July and October 1969 and was realized in the Laboratorio de Moesica Electronica of the Centro Latinoamericano de Altos Estudios Musicales of the Instituto Torcuato Di Tella in Buenos Aires.

Recording of Jon Appleton's Times Square Times Ten.

Recording of Eduardo Bértola's Penetraciones for tape.

Tape adhered to wall upon which is written a string of numbers from right to left interrupted by strings of numbers written left to right.

Recording of Gabriel 's Batucadas. This is a piece entirely composed with electronic sounds. It is an elaboration based on pulsations that occur at different speeds leaning towards density accumulation. Static, shrill and strongly aggressive material that overflows the interrupted background of pulsations. The work was composed in 1973, during the last year of existence of the Laboratory of the Latin-American Center of High Music Studies of the Torcuato Di Tella Institute.

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Recording of Christian Clozier's En avant la zizique.

Recording of Christian Clozier's Lettre à une demoiselle. This piece uses music written on a newspaper, a sheet, in an attic, in view of an open window on an impassive river, at a flowery table, around two o'clock in the morning, in a low voice, in memory of the companions of the Pleiad. There are three movements: draft, erasures, and post Scriptum. This work also uses sound samples and recorded sound to allow for the poem to reach full expression and character.

Recording of Christian Clozier's Marché calme et irrégulier.

Recording of Hugh Davies' Shozyg 1 et 2,2. This work was created by reconstructing and modifying 4 instruments (an egg slicer, Aeolian harp, guitar string, and various springs) whose sound progresses from monophonic into stereophonic. The composer intends the piece to be performed with 4 speakers.

"This piece made in 1969 with extremely modest means was integrated in 1972 into a triptych, Assemblages, which accompanied an exhibition of "Volumes éclatés" by the sculptor Michel Anasse. It can be considered the third of my "presentable" studies. “Energies” was part of the material submitted in 1988 for the first "Magisterium" of the Bourges Competition, which was obtained. "

Recording of Vittorio Gelmetti's L'opéra abbandonata tace e volge la sua cavita verso l'estreno.

Recording of Lucien Goethals's Studie VI. The basic material is rectangular waves. This material is subjected to various transformations by filtering. The octave is divided into 24 equal parts--it's quarter-tone music. Various sound layers (rhythm - melodic) are superimposed which gives form to a polyphonic playing. So it is mostly linear music with no use recorded sounds.

The porcelain tea service consists of four pieces, tea pot, tea cup with saucer, sugar bowl and creamer.

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Recording of Bengt Emil Johnson's Through the mirror of thirst.

Recording of Werner Kaegi's Hydeophonie I for 4-track tape. It was composed and realized in 1969 in the studios of the Institute of Sonology in Utrecht (Holland). The piece is based on the possibilities offered by a generator with a variable function which, at the time, preceded the digital computer. Kaegi's work is based on programmed and descriptive structures. All the musical material was generated in a purely synthetic way, all resembling the "reality" having come only from the musical structures.

Recording of Douglas Lilburn's Summer Voices.

Recording of Bohdan Mazurek's Sinfonia Rustica.

Recording of Octavian Nemescu's "Concentric. A question with two answers." for instrumental ensemble and tape. The piece is a reaction to Charles Ives' "Unanswered Question," which is, in comparison, schizoid in nature, marked by breach, discord, disparity and incommunicability. There are three layered music layers in "Concentric" which join together to create a kind of communion that is timeless through the use of resonant harmonic issued by a fundamental sound C, placed in the deepest register, like a natural archetype (of a cosmic and supercosmic presence coming from the depths of existence).

Recording of Arne Nordheim's Solitaire.

Recording of Arne Nordheim's Solitaire. The composition was composed for the opening of the Museum Sonia Henko-Niels Onstad Foundation Museum of Contemporary Art in Oslo. The primary assumption of the composer was to give the composition in audiovisual form in which the latest technical possibilities of sounds and light projection would be utilized. However, this composition exists also in concert version, deprived of extra musical elements, in which a significant role is played by the spatial configuration of the composition realized in the original in a four channel version/on the record the Solitaire has a two channel form. Insofar as the sound material is concerned, the composer utilizes equivalently electronic instrumental and concrete sound, excusing the differences, which exist between them, and creating a uniform cohesive organism. It is worth emphasizing the unnatural richness of tones changing similarly to Schonberg's "Klangfarbenmelodies". The composition was realized in 1969 by E. Rudnik at the Experimental Studio of the Polish Radio.

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Mixed Media Painting of charcoal, watercolor, gouache, ink and oil slick on paper. Black erratic mark making throughout the plane.