Recording of René Uijlenhoet's Wired Life. An analog live-electronic ecosystem. This installation is an autonomous electric ecosystem and was inspired by recent artificial-life experiments. The musical output is sometimes percussive and fast and sometimes slow and quiet, but always with spatial development. This work was commissioned by Muziekcentrum De IJsbreker, Amsterdam and Het Haags Gemeente Museum, Den Haag. All of the equipment used is historical, modular, and analog.

Recording of Teodoro Pedro Cromberg's Arco Voltaico. This is a work for electronics that was created for cellist, Andrea Espinzo. In this piece the cello has been integrated into the electroacoustic mix. Four improvised performances of the cello were taken by the analogical recorder and then used to create different mixtures for the final product.

Audio recording of an interview with Cathy Hartman about her extensive experience as a librarian. Cathy shares insights into the early days of digitization and content preservation for government documents and journals in the library. Delve into the fascinating aspects that drew Cathy to this field and learn about her integral role in advancing digital preservation initiatives at UNT. This interview provides a glimpse into Cathy's passion for preserving knowledge and contributing to the evolution of library services.

Recording of Roger Doyle's Under the Green time. This work was commissioned by Distant Relations exhibition with funds provided by the Arts Council / An Chomhairle Ealaion. This is an electronic work for tape, flute, and Uilleann pipes.

Recording of Yves Daoust's Impromptu 2. This is a work for electronics that includes piano and keyboard instrumentation.

The National Museum of the Pacific War presents an oral interview with George McColm. McColm was born on a farm in Kansas in 1911. In 1928, he was selected to go to Washington, DC where he met President Herbert Hoover and his wife. Graduating from Kansas State College in Manhattan in 1935 he began studying terrain, weather and demand in crop growing. He tells of recognition and honors he received in the agricultural field. Soon after the war with Japan began, he was offered a commission in the US Navy to participate in a special classified project. At the time, he was in charge of crops at the Topaz War Relocation Center in Utah. McColm shares many of his experiences with the Japanese internees and expresses his opinion of the people he worked with. Upon being inducted, he went to Tucson, Arizona for boot training and then to Princeton University Naval School of Military Government. Upon completion of the training he was sent to the Civil Affairs staging area at the Presidio of Monterey, California. Upon his arrival he was assigned to a Top Secret staff working on the plans for the invasion and occupation of Japan. He concludes the …

The National Museum of the Pacific War presents a monologue by Jim Woods. Woods joined the Marine Corps in January of 1943. He served with the 3rd Marine Raider Battalion, participating in the Bougainville Campaign in November of 1943, the Battle of Guam in 1944, landing on Emirau Island, the Okinawa Campaign in April of 1945 and landing on Japan on 30 August 1945. After Bougainville, the Raiders were disbanded and Woods joined the 4th Marine Regiment for the remainder of his service. He provides vivid details of his combat missions with fellow servicemen, anecdotal stories from his squad and witnessed heavy casualties at Okinawa. Woods was discharged in late 1945.

Recording of François Bayle's Pierre. This is a work for electronics that was written as an homage to Pierre Schaeffer.

Recording of Igor de Gandarias' La Feria Fantástica. This work was realized at the University of Maryland Electronic Music Studio using a Fairlight Series III station. The sound sources come from live recordings made in 1991 during the celebration of the most important popular feast in Guatemala City, called “Feria de Jocotenago” (Jocotenango’s fair). The feast, dedicated to celebrate the city’s patron anniversary (Virgin of the Assumption), takes place in August every year, enduring the complete month. Its activities contain not only religious ceremonies and processions with their particular musical environment (choirs and processional bands) but folk dances, food, games and entertainment. The recordings include: voices of a children's choir and voices of congregated people singing into the church, Indian speaking voices, snare drum processional patterns and rolls, a popular processional band piece, and a traditional Indian marimba piece which accompanies popular Indian dances during the procession. The sound of rhythmic patterns played on the rattles by the dancers; electronic games, church bells and the little bell of an ice-cream vendor were also recorded at the fair. Other sounds coming from three musical toys, which are usually on sale on these feasts, were recorded in studio.

Recording of Serge Belimov's Vers l'autre source du flux. This work is for voice, flute, and tape and was written at the Ateliers UPIC (now CCMIX - Center for Musical Creation Iannis Xenakis). In the vocal part of this work, the composer achieves a perpetual continuum between the "breath" sound, the sung sound and the spoken sound, such as one often encounters in extra-European music. In the flute part, the same continuum is created by the interaction of several playing modes. The UPIC tape samples were created from voice and flute.

Recording of Jacob TV's Les soupirs de Rameau. This is a multimedia work for harpsichord, tape, and slide project. It was commissioned in 1995 by the Amsterdams Fonds voor de Kunst and dedicated to Annelie de man. Inspirations for this work come from "Les Soupirs" from the Suite no. 2, Pièces de Clavecin by Jean Philippe Rameau.

Recording of Alden Jenks' Menage. This work was written for synthesizer, piano, and marimba and revolves around the idea of "three". The piece includes three performers, three main parts of the piece, and three central ideas. The composer states that the work represents these things tangling and colliding with each other.

Recording of O. Powers' Ghost ship. This work was inspired by the legends surrounding the part of the Atlantic Ocean known as the Sargasso Sea. The legends speak of a fantastic graveyard of lost ships and the composer feels this work has something to do with encountering the ghost of the sailors. The sound material in this work is made up of various concrete sounds that have been manipulated.

Recording of Peter Cusack's Two small boys go shopping. The piece is a representation of composer Peter Cusack and his son simply shopping together in North London. This trip includes a visit to a toy store and a musical instrument shop where Peter tries out a guitar by playing a few notes from Stairway to Heaven.

Recording of Luigi Ceccarelli's Padova tace from "I viaggi in tasca - 20 luoghi mentali". This work is comprised of various sampled sounds and voice, performed by Giovanna Mori. It is based on text written by Valerio Magrelli and was commissioned by RadioRAI. The piece had its first radio broadcast in 1995 through RAI Radiotre.

Recording of Gary Berger's Transition. Transition is an attempt to create relationships between simple and complex sounds, and also to produce tensions between static and rhythmic events which transform into a continuum. Transition is meant to be the expression of inner intensity and change. This composition was a commission on the occasion of the 10th anniversary of the Swiss Center for Computer Music (Schweizerisches Zentrum für Computermusik). It was realized between October and December 1995 at the studios of the Swiss Center of Computer Music.

Recording of Rudolf Ruzicka's Posonensia. This work was created to honor the capitol of contemporary Slovak Republic and the composer's friends in Bratislava. The title of the piece was derived from the oldest Slavonic name of the present-day Bratislava castle and surroundings: Poson. The composition was created with the technical cooperation of Juraj Duris and Richard Sabo.

Recording of Frances White's Lesser celandines. The composer describes this work as a tiny, quiet concerto and says it's written in the same style as his previous Winter aconites. The composer dedicates this piece to the memory of his parents, Francis and Marion Josephine White.

Recording of Javier Alvarez's Overture. This work was commissioned by the Skinskateberg Electronic Music Festival. The composer used a combination of familiar Swedish and Mexican sound elements, which includes samples from a Mariachi band and a 1956 Volvo coupe.

Recording of Jep Nuix's Intervals. This work is separated into 7 movements: 1. L'Inizio, 2. Monòleg, 3. Resonanzen Für Elisabeth, 4. His Master's Voice, 5. Improvisaciò Per A Tubs, 6. Riflessi, 7. Tonightingale. The work has been recorded on solo CD's.

Recording of Catalina Peralta's Recitativo II. This work consists of the acoustical sounds of an Indian Sitar and violin. The composer describes the piece as an exchange between the different instrumental characters of a double stringbody. These characters act as the motives throughout the work as well.

Recording of Coriun Aharonian's Secas las pilas de todos los timbre. This piece comes from sound documents of different places and times connected one way or another to the composer. With one exception, all pitches have been left un-modified and while there are no electronic sounds, the piece has been composed with a computer using various software programs. The title partially quotes two lines from the lyrics of a well known tango composed by Enrique Santos DiscŽpolo in 1930, and are untranslatable. It makes reference to the idea of a society in which solidarity is scarce or difficult to find. The composer thanks the generous support of the Studio directors Georg Katzer, Georg Morawietz, and Gerd Rische, and the hospitality of the Akademie der KŸnste, Berlin.

Recording of Edson Zampronha's Modelagem V. All sounds have completely or partially the same characteristics, even with coming from different sources (synthesis, C-Sound, voice, fried eggs, metal and skin percussion instruments, noise from the proper sound system, knife sharpening, toilet flush, respiration and some others). At the same time, the whole composition has collective auto-similarity and takes the perceptual dimension and the inner grammar as the basis of the language and of the qualitative states of transformations.

Recording of Octavian Nemescu's Danielpentabsorbor. This piece was written for saxophone and tape. The composer describes the piece as a continual cycle of "filling" and "diluting" until the end of the piece when archetypal musical structures return. This work is dedicated to the French saxophonist Daniel Kentzy.