Recording of Hugh Le Caine's Invocation. The piece opens with a trio of three recorded sounds: a glass that is broken with a hammer, a ping-pong ball hitting a racket, and a drop of water. These sounds are the "instruments" used throughout the piece. Drips are configured as fast ascending and descending glissandi. A series of chords is constructed from a sustained movement of glass stamps. The sound of the ping-pong ball - from the left to the right - gradually accelerates. Severe rumbling and sharp joints appears as sudden changes in channels multiply. The introduction of these gestures disrupts the orderly progression of loops and the inclusion of small strips of paper connected to the ribbon which produces rough and jerky sounds further accentuate this breaking effect. Towards the end of the piece, sustained sounds are played out in a chord, but as soon as this effect is installed, the tape slows down and stops, as if someone had unplugged the music player. Then we hear a particularly violent sound of glass breaking.