Recording of Warren Burt's 7 excerpts from "visual haïku". "Visual Haiku" was a set of 16 computer pieces made for Robert Randall's "Visual Haiku" project in 1994. All the music was made on various computer systems using software such as Band-in-a-Box, Sound Globs, M, Cool Edit and so on. Each of the "Visual Haiku" used algorithmic processes to assemble music which loudly and proudly proclaimed bad taste and slavish obeisance to commercial musical models, in keeping with the neo-Warholian aesthetic of Randall's work. "Visual Haiku" appear on the 2 CD set "Randelli's Selection" - on Scarlet Aardvark CD No. 47 A and B, available from www.warrenburt.com.

Recording of Alain Basso's Acetone. It was created essentially from sounds representative of landscapes and festivities in Haute-Savoie, this piece explores the limits of the possibilities of sound mutation. The idea is to exaggerate certain acoustic characteristics, to better control the expressiveness of these sound objects, but without losing their original nature. Thus, the listener is projected into a lyrical world, while measuring the gap that separates him from real sources that can often be identified.

Recording of Michel Tetreault's Ad vitam aeternam. This work is for electronics and pre-recorded sound. By using traditional electro-acoustic technique certain effects have allowed for pre-recorded sound fragments to transforms and change throughout the piece. While listening to these sound, fields recording of differing sonic environments are playing.

Recording of Eric Lyon's The afterbirth of appollo. This work is for electronics and has a lot of noise elements. The synthetic sounds are harsh and posses an analog sound. This sound feels continuous and even though there is movement in the sound, the construction continues to stay the same. There is a true representation of electronic sound in this work, instead of shying away from the noise, this work embraces it and explores the importance of balance and musical transitions.

Recording of Juan Carlos Pampin's Apocalypse was postponed due to lack of interest. The title refers to an idea about the state of the art within the 19th century. Algorithms written with the COMMON LISP language controlled the rhythms and production of synthesis sounds to create different textures and densities. Sound generation techniques include: Karplus-Strong Modeled Attack, Additive Synthesis Generated Body and Filtered Noise Drop. The structure of the work is that of a continuous transformation where each object is condemned to mutate over time, these mutations take place in the short and long term during the piece.

Recording of Lelio Camilleri's Arcades. This work is for electronic and pre-recorded manipulated sound. This work uses traditional electronic technique to change the sound characteristics of pre-recorded sound and use of musical space and movement, accompanied by electronically produced track.

Recording of Patrick Lenfant's Archée. The main material in this work is fire, an "electonic" fire made from exclusively analog wave generators. The second material is "time" and is an essential part of the work. This piece belongs to a collection of works the composer calls his "electronic sound paintings" which consist of pieces that suggest to the listener an image of the chosen model by stylizing it using electronic sources.

Recording of Andrew Lewis' Ascent. For electronics. This process was initiated by the nature of the opening sounds of the piece, which were the first to be developed. Ascent moves freely across a spectrum of musical approaches, from the purely abstract to the more cinematic: at one extreme, the exploration of texture and of static pitch structures dominates; in the middle ground, evocations of irregular rock formations, undulating topography and large geological masses are prevalent; while at its most representational, important ideas are the elements.

Recording of Maria Cristina De Amicis' Aura. This work explores the sonic possibilities of processed percussion and electronics.

Recording of Bruno Capelle's Ballade. For electronics. This work is a sonic landscape which uses sound manipulation to alter the sound environment.

Recording of Barry Truax's Bamboo, Silk and Stone. This is a collabrative work with Barry Truax, who realized the tape, and Randy Raine-Reusch who performed the source material for the tape (on the balinese suling gambuh, the Chinese guzheng, the Korean hun or ocarina, gongs and tam-tam) and who composed the live accompaniment which he plays on the first three of those instruments. The tape part is mostly improvisations gestures used by the performer. The work was realized using the composer's PODX system which incorporates the DMX-1000 Digital Signal Processor controlled by a PDP Micro-11 computer with software for real-time granular synthesis and signal processing.

Recording of Karl Friedrick Gerber's Beautiful Numbers. The work is a result of the composers experiments with algorithmic composition written with the "GFA Basic" language. The real-time improvisation program is controlled or "conducted" by altering numbers of preselected so called discrete vectors. These vectors represent states in the space of sequences formed by counting integer values in cycles. Various midi events are generated to control the sound modules. The piece was concerned for dance improvisation and has a very smooth flow with a mood of simple beautiful structures and intervals.

Recording of Lars Gunnar Bodin's Best wishes from the lilac grove. For electronics. In Swedish it means a rather tiny grove, more like an outdoor room (without a roof) where the lilac shrubbery form the walls. The intention of this piece is to radiate something of the same relaxed feeling and contemplation you may experience when visiting such a room.

Recording of Jorge Rapp's Biosfera una. In this piece natural sounds which are playing all around us are combines with the human beings that reside with it. This environment is accomplished by using sounds from nature, animals, and people and our continuous soundscapes. Contrast and camouflage relations prevail, where human voices become the foreground; these encounters culminates with guttural animal sounds.

Recording of Juan Reyes' Boca de Barra. The sound events of the piece are based on visual images. These images were produced by elements and objects of a natural landscape. When the viewer concentrates on a particular event, the system destabilizes and events, like images in an exhibition, begin to arrive. La Bocca de la Barra is a geographical beach in the Caribbean, where salty sea water mixes with fresh water from the swamps and, where vegetables become seaweed, frogs become fish, and lobsters look like crabs. In this electroacoustic composition, the composer presents macro-acoustic organizations.

Recording of Werner Cee's Braindrops. This work is an interactive, audio-visual performance. The installation makes spatial-temporal patterns of the impact of raindrops falling on various sound-making surfaces, creating a complex multitude of generated sound and light structures. Various psycho-physiological signals of the subject are measured using sensors and correlated. Changes in the individual's psycho-physical state are thereby fed back into the audio-visual event itself (biofeedback).

Recording of Ton Bruynel's Brouillard.

Recording of Jan Pascal Alagna's C'est en forgeant. Sound allegory around the forge, fire, and the transformation of energy, of acoustic exploration of the last forge still in activity in Marseille. Based on the recording of sounds from the forest of pastre, an allegoric journey is offered where the various stages of transformation of metal, water and fire are presented. Other sound's include the Kalevala, Greece index, Gamelan, etc. These instruments represent the historical tradition enlightened by the myth of the blacksmith.

Recording of Benjamin De La Fuente's Ce doux nectar fleurant le miel. This work was made using pre-recorded audio and with the utilization of electronic processing, the sound are transformed.

Recording of Hiroki Takeishi's Les cellules.

Recording of Michael Ward-Bergeman's Children in the Garden. This piece is created using solely electronically-made sounds. The sounds are made up of instruments using the technique "frequency modulation synthesis" to resemble the sound of acoustic instruments. This almost 8-bit sound piece helps paint the titles picture.

Recording of Mathew Adkins' Clothed in the Soft Horizon. The work presents a communitive interaction between electronically built sounds and the original unprocessed sounds, which are modelled after water droplets and the motion of a wave that builds, crashes, and breaks. This use of processed and unprocessed sound is the overall bas of the work and also the Spectro morphological design of many of the individual sounds. Overall, the work is both a physical representation of the flow and motion of the water and a personal response to it.

Recording of Rajmil Fischman's Cold fire. This piece is the first of a cycle of three pieces for string quartet and tape. The tape part was produced at Keele University studios on a Composers’ Desktop Project system. Most of its material consists of two main sources - a recording of ice cubes falling into a glass of water and a blow-torch - which were manipulated and processed in order to create diverse textures as well as gestural material. In spite of its remote timbral origin, the tape interacts with the string quartet either by merging and enhancing spectral areas of its morphology or by providing contrasting rhythmic elements which act as counterpoint to the gestural discourse of the quartet. Cold Fire received 2nd prize ex aequo in the instruments and tape category of the First International Competition of Computer Music “Pierre Schaeffer,” Accademia Musicale Pescarese, 1998. It was issued on CD, MV001-1998-SIAE, Accademia Musicale Pescarese, Italy. Performances include the International Mediamix Weekend, York, 1996 (Vlns: Nicky Haire and Rachel Eaton; Vla: Clare Catchpole; Vlc: Peter Nicholson; Cond: Hector Macandrew) and the Australian Computer Music Association conference 1996, Queensland, Australia (Kiros quartet).

Recording of Philippe Moënne-Loccoz's Complainte Apocalyptique. This work is developed around the torments, fears and abominations that people can cause through their anxieties and ideologies. The sounds merge, distinguish themselves, then transform into a great diversity of colors and timbres with electronics. The materials are an assembly of electronic sounds and recordings shaped over time. This lament is the musical discourse resulting from a visceral anthropological observation, the end bringing the song of appeasement, humble and human.