Interview with Eiland Collins, a community leader, concerning his experiences as a resident of Hamilton Park, Texas from 1962 to 1991. Collins discusses his childhood in East Texas, his segregated education, Civic League and its activities, property violations, home improvements, his presidency of the Civic League, zoning problems, the "Buy Out," and current neighborhood problems.

Interview with Sheila Allen concerning her experiences as a resident of Hamilton Park, Texas from 1958 to 1991. Allen discusses her education at Hamilton Park School, the desegregation of Hamilton Park School, her experiences at Richardson Junior High, her experiences in law school at the University of Texas, the relationships between Hamilton Park and other African-American communities, school activities as a teenager, and the "Buy Out."

Interview with Vivian Starks, a schoolteacher, concerning her experiences as a resident of Hamilton Park, Texas from 1954 to 1991. Starks discusses her segregated education in Bryan, Texas, Wiley College, her teaching career in segregated Dallas schools, her decision to buy a home in Hamilton Park, transportation problems, home improvements, church activities, Civic League, the "Buy Out," zoning problems, Interorganizational Council and political activities, employment at Hamilton Park School, the desegregation of Hamilton Park School and her transfer to Richardson Independent School District, and Pacesetter.

Interview with Zan W. Holmes, Jr., a clergyman and community leader, concerning his experiences as a resident of Hamilton Park, Texas during the 1950s and 1960s. Holmes discusses his youth and adolescent years in Waco, segregated education, college at Huston-Tillotson (1952-1956), entry to Perkins School of Theology at Southern Methodist University (1956), organizing the Hamilton Park Methodist Church and his partnership there, his home in Hamilton Park, his political activities, church youth programs, zoning problems, and Hamilton Park School and desegregation.

Recording of Xavier Garcia's 6 regards sur L. This piece uses voice and manipulates the sound to create unsettling and technical passages. There is a wide use of the music technique of spatialisation.

The artwork consists of a piece of white fabric with dark stitching around the edges and some stitching in the center and the number 34.

Recording of Alain Basso's Acéré. The intention was to create a piece about war. Different object sounds were recorded in the studio, to have a wider palette of percussion sounds. The idea is that these percussions gradually change. As in the repetition of a 'kata', a movement sequence in martial arts, the concentration becomes more intense and the sounds increasingly sharp, by playing on the harmonics they contain. To give a feeling of space to this movement, transformed soundscapes create an atmosphere with a progressive opening and a greater perception of the human presence.

The view is of the bridge looking east across the old riverbed of the Turia river.

The view shows both the automobile and the pedestrian paths. The view is looking south.

The view is from underneath the bridge and looks eastward.

The view shows the pedestrian and automobile bridge at a raking angle with a person emerging from the metro station included in the architect's design.

The view is of the underneath side of the bridge and shows the Turia riverbed.

Recording of Unsuk Chin's El aliento de la sombra.

Recording of O. Powers' Alpha Eridani. This work was composed in the computer music studio of California State University, Northridge, California. Alpha Eridani is tightly structured around a small number of prominent and distinctive sounds events.

"Annazone" (Anna area), analogue concept of proximity with Amazon (Brazil equatorial forest). The singer is of Brazilian origin. During early childhood, the singer was especially impressed by the songs and cries of the birds and insects of the Brazilian forest. This sound world is entangled on several levels (vegetation, smells, noise, light, humidity in constant variation with the hours of the day and the night.) It is astonishing how much the human being is first able listen carefully to the sounds emanating from the vegetation, countless insects and multicolored birds, then imitate them, while adding their own distorting imagination In the forest the signals are slightly redundant to convey intelligibility in this complex environment. The sounds emitted may seem "vocalic" by far (allusions to our vocabulary: Kiveliukiu, Piahiuhuu, Kaijakukike, Jokokoka, Karemu, Hojonga ...), but birds and insects emit all the vocabulary of electronic music, harmonic sound more or less complex, passing through all kinds of impulse sounds until approaching the modulated noises.The volubility is so great that the listener does not succeed. s always really listen to these sound messages and tends to interpret them, especially simplify them. The singer not only imitates the song of birds, but generates, by …

"Antigone: Musique" was designed to accompany an amateur production of the Cocteau piece. Whose convoluted intervals evoke me the sweet-mean smile of the dark forces that slumber in us. The vocal enchantments the actors themselves, which allows to lengthen the actors during the representation thus creating (at least I hope!) interesting ambiguities...

This work is inspired on some pre-Columbian conceptions: man submitted to the forces of a giving universe, yet one that is demanding at the same time. In such a situation, man understands that all security is an illusion, and needs some kind of ritual in order to reconcile the opposites, and to restore the equilibrium of the cosmos. These trusts are not only protected at different levels of the musical structure of the piece, they also orient the criteria employed in the construction of sounds, in an attempt to explore the marginal zones of sound generation with digital media.

Recording of Jürgen Bräuninger and Ulrich Süsse's ...Anywhere far.

"Atlantis", as a piece of a triptych, is perhaps an offering to lost civilizations and their cultures.

Recording of Manuel Rocha Iturbide's Bandas de pueblo. The intention of this piece is to generate musical abstract ideas. The sounds hear come from music from Mexican village bands, electronic sounds, brass instruments (two saxophones, one French horn, one Tuba, and one trumpet), rattle drum, bass drum, and cymbals). Space positioning of the instruments is also an important feature of the piece.

Recording of Jack Body's Barbe à Papa (Arum Manis). The original recording forms the basis of the tape and is the sound of a two stringed fiddle played by an Indonesian seller, recorded by the composer in 1977. Carrying the already made candy floss in a bin from his shoulder the seller played the fiddle to advertise presence. The music was both improvisation and sometimes recognizable tunes, and consisted of a melody.

Recording of Gunner Moller Pedersen's Biotop I. The composer based this work on the idea of environmental health, specifically that of frog habitats. The composer uses the sounds of a pond biome to remind the listener of the importance of protecting nature from man made changes.

We invest the birds of human qualities to create imaginary connections between them and the men. This is what the old storytellers did too, but at bottom the parable spoke of the relationship between man and man. Finally - through music - this piece also speaks about them and us. His composer has tried to pay attention to what the birds themselves know and can do for themselves: the melody, the rhythm, and the possible meanings of their intonation, which have been familiar to us for so long. This is not just the usual information of a coexistence of a million years. Precisely, what we pay attention to - here and now - is not something that is outside the limited world of man. Maybe it's something that exists in humans. This is in the depth of the unconscious, on which our existence of man is constructed. Whence these particular relations, these strange rhymes between the voice of man and that of the bird come from? The birds live around the cathedral already for a very long time. They were fluttering around her already when the towers rising to the heavens were still surrounded by a forest of scaffolds, and …

Recording of Charles Norman Mason's The blazing macaw. This work is for piano and tape. The painting "Self Portrait With Bonitio" by Frida Kahlo inspired this work. The parrot on her shoulder helped guide the communication between the piano and tape. The term "blazing" refers to two things: the bright colors of the parrot, as well as the painting itself, which musically is produced by the harmonic, rhythmic and timbral choice.