Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Recording of Takehisa Kosugi's The fly for tape.

Guest artist recital performed at the UNT College of Music Recital Hall

Recording of David Rosenboom's "Nazca liftoff et Time Arroyo." David Rosenboom: Nazca Liftoff and Time Arroyo. Nazca Liftoff and Time Arroyo are two sections of a series of seven pieces composed for the album, "Voyage Futur." These are two examples of what the author calls "high performance." These pieces are completely based on algorithms. Direct actions to the computer have the effect of directing the algorithm process to crucial branches and selecting sets of musical materials and / or relationships with what the program performs. All sounds are created by the author with "Key" controlled by computer with digital sound generation and "Patch-IV".

Recording of Jacqueline Ozanne's "Son recif" for voice and tape. This piece comes from a work on the myth of the sirens and includes texts written on this theme in their original languages. As the singer/speaker repeats the story, it is crossed by the sounds of these languages, by songs that cannot continue, as well as successive states of emotion. The electroacoustic tape plays a constant dramatic role: sometimes worrisome, sometimes reassuring, sometimes enveloping presences, it continually influences the interpreter in their vocal and dramatic production. The performance includes a video projection.

Recording of Henry Kucharzyk's Targeting for tape. The piece is based on the composers personal observations of the presidential campaign.

Recording of Hildegard Westerkamp's A Walk through the City performed by Norbert Ruebsaat, speaker. The piece is for two electroacoustic sound tracks. The poetry was written by Norbert Ruebsaat. the piece is an urban environmental composition based on Ruebsaat's poem. It takes the listener into a specific urban location - Vancouver B.C.'s Skid Row area - with its sounds and languages. Traffic, carhorns, breaks, sirens, aircraft, construction, pinball machines, the throb of trains, human voices, and poetry are its "musical instruments." These sounds are used partly as they occur in reality and partly as sound objects altered in the studio. A continuous flux is created between the real and imaginary soundscapes, between recognizable and transformed places, between reality and composition. The poem is spoken by the author and appears throughout the piece, symbolizing the human presence in the urban soundscape. Its voice interacts with, comments on, dramatizes, struggles with the sounds and other voices it encounters in the piece. "A Walk Through the City" was composed at the Sonic Research Studio at Simon Fraser University and, in its final stage, at the CBC studios in Vancouver, with the technical assistance of Gary Heald. Many of the sounds were taken from …

Recording of David Porter's Walking Bells for tape. The piece is a tour through an environmental/concrete landscape. It is another variation on the "cumulative form." This is the second in a series of four tape pieces. As with all these pieces, this piece comments on political and compositional methods and devices. In this instance, the piece makes reference to another composer whose style is borrowed. Other than that, it is pure experience. This piece should be listened to with speakers placed well apart and volume up the the highest comfortable level at the last two minutes of the piece.