Recording of Gonzalo Biffarella's Los 7 Espejos. This work was composed for 6 instruments and electronics. This work is based on the idea of the computer "mirroring" each of the instruments presented in the piece. The composer purposefully makes the instrumental material stray from their traditional sounds, creating a confusing listening experience for the audience.

Recording of Sten Hanson's 8 variations sur une polska de Hammerdal. This work is part of a series called "recycling" where material from traditional music is brought into the world of electroacoustics and made to fit into that genre of music. This piece specifically uses material from a polka and is played with a willow flute. The recording of the willow flute was made 40 years ago and is the only one of its existence.

Recording of Harry-Ed Roland's N.A.M.A.: "booty" don't walk. The composer dedicates this work to the memory of Michael Schleiter. The inspiration behind this piece is the experience of the composer living as a person of color and continuing to deal with inequality everywhere he goes. The work is about "creating inequality and its seemingly intrinsic hypocrisy and irrational fears".

The main front view of the guitar is visible with its red body.

The dissertation argues that the development of the British abolition movement was based on the abolitionists' perception that their actions were kairotic; they attempted to shape their own kairos by taking temporal events and reinterpreting them to construct a kairotic process that led to a perceived fulfillment: abolition. Thus, the dissertation examines the rhetorical strategies used by white abolitionists to construct an abolitionist kairos that was designed to produce salvation for white Britons more than it was to help free blacks. The dissertation especially examines the three major texts produced by black persons living in England during the late eighteenth centuryIgnatius Sancho's Letters of the Late Ignatius Sancho (1782), Ottobauh Cugoano's Thoughts and Sentiments on the Evil of Slavery (1787), and Olaudah Equiano's The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789)to illustrate how black rhetoric was appropriated by whites to fulfill their own kairotic desires. By examining the rhetorical strategies employed in both white and black rhetorics, the dissertation illustrates how the abolitionists thought the movement was shaped by, and how they were shaping the movement through, kairotic time. While the dissertation contends that the abolition movement was rhetorically designed to provide redemption, …

Recording of Germán Toro Perez's Akustisch-visuelle Fragmente aus einer experimentellen Animation. This is a work for electronics and consists of 12 untitled movements.

Recording of Michèle Tadini's L'albero capovolto. This piece is an improvisation scheme for the Virtuosi di Nuova Consonanza. Recorded using magnetic tape and live electronics. This piece uses a combination of synthetic sounds and natural instruments.

Recording of Antonio Ferreira's Ambidecst. This composition is based on rhythmic cells produced using several contrasting concrete and synthetic sound objects. Several episodes are assembled between them in order to create abrupt feelings of running and escaping. This composition was made using Csound, Cecilia and Metasynth and was globally mixed for Ambisonics UHJ stereo compatible. Final mixing and mastering done in Protools LE.

Recording of Trevor Wishart's American Triptych. The composer describes the aim of this work as to "recreate and transform the voices of well-known public figures in order to comment on them or their social context".

Voudou (an older spelling of voodoo)—a pantheistic belief system developed in West Africa and transported to the Americas during the diaspora of the slave trade—is the generic term for a number of similar African religions which mutated in the Americas, including santeria, candomble, macumbe, obeah, Shango Baptist, etc. Since its violent introduction in the Caribbean islands, it has been the least understood and most feared religion of the New World—suppressed, out-lawed or ridiculed from Haiti to Hattiesburg. Yet with the exception of Zora Neale Hurston's accounts more than a half-century ago and a smattering of lurid, often racist paperbacks, studies of this potent West African theology have focused almost exclusively on Haiti, Cuba and the Caribbean basin. American Voudou turns our gaze back to American shores, principally towards the South, the most important and enduring stronghold of the voudou faith in America and site of its historic yet rarely recounted war with Christianity. This chronicle of Davis' determined search for the true legacy of voudou in America reveals a spirit-world from New Orleans to Miami which will shatter long-held stereotypes about the religion and its role in our culture. The real-life dramas of the practitioners, true believers and skeptics of …

‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.

Recording of Jean-Christophe Banaszak's Angustia. This work puts emphasis on the relation of space and the composer states that most of the piece has been processed in 3D, putting much of the sound in the background while only a sound resembling a slamming door remains in the foreground.

In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even …

Recording of Anne Scarlett Harris' Aquarius. This work mixes the world of the "great outdoors" and the multifarious sounds of indoor life, using sound materials from different sources of water. The composer states that this piece reflects not only the fluid side of nature, but is also a tribute to the time it was written.

Recording of Rudolf Ruzicka's Aranea. This composition was inspired by the comparison of the spider and the possibilities of the world wide web. The title is Latin for "cobweb" and gives tribute to this concept. The work attempts to express both the characteristics of a spider and the typical features of the modern era amplified by the Internet.

The sculpture depicts a white handkerchief on a black pedestal and is situated outdoors. The handkerchief is extremely over-sized.

The white handkerchief detail shows the smooth texture of the sculpture.

Recording of James Dashow's ...at other times, the distances. Quadraphonic electronic music. This work is a re-working of the electronic materials from FAR SOUNDS, BROKEN CRIES, for 12 instruments and electronic sounds. With the exception of a single cello note, the sounds were produced by the composer's MUSIC30 language for digital sound synthesis, and subsequently elaborated by additional signal processing.

Recording of Agnés Poisson's Attendre et espérer. This recording was produced within the framework of the open work "Le monde devenu musique l'écoute du siècle". Throughout this recording, the composer's father speaks about his time during war as a prisoner in a concentration camp. The piece overall touches on the horrors and tragedies of war around the world.

Recording of José Miguel Fernández's Attract. This work was composed in 1999 as part of a FONDART project of the Ministry of Education of the Chilean government, on the use of mathematical models (chaotic and stochastic) for musical composition and interaction with the computer. For this work, the composer used two chaotic models (torus and logistic map) for the clarinetist's score and random models (Brownian, 1/f and white noise) for the spatialization of the sound. The samples were made with Csound, Audiosculpt, Peak and Protools (for some editing). A pitch-to-MIDI converter triggers MIDI events on a proteusFX with a random beat. The computer keyboard triggers the samples as well as a Max sequence made with the torus model X n+1 = X n + Ksen Y n. The title for this composition is taken from the strange attractors which have recursive equations and fractals; it is also drawn from the attraction which produces some sounds in the unfolding of the work and in the interaction.

Narrative of Dr. Leonard A. Charpentier. The narrative includes a monologue of Charpentier's experiences as a P-47 fighter pilot in the European Theater during World War II. Charpentier talks about basic training, flight training, fighter pilot training, his assignment to the 86th Fighter Squadron on Corsica, the P-47 Thunderbolt, various missions, his being shot down on a mission over southern France and being captured, the treatment of his wounds at a German field hospital, and his postwar medical career.

Recording of Edmund Campion's L'autre. This work explores the similarity between "consciousness and the unconscious" and the "contention for ascendancy between poetry and music". The piece begins with an emergence of consciousness - the birth of language out of sounds and syllables and dives into the development of the two elemental principles.

Recording of Carlos Cerana's Avaricum. This work refers to the historical continuity of the city Bourges. The composer was inspired by its history and tumultuous past.

In October of 1989, the State of Texas set Kenneth Allen McDuff, the Broomstick Murderer, free on parole. By choosing to murder again, McDuff became the architect of an extraordinarily intolerant atmosphere in Texas. The spasm of prison construction and parole reforms—collectively called the “McDuff Rules”—resulted from an enormous display of anger vented towards a system that allowed McDuff to kill, and kill again. Bad Boy from Rosebud is a chilling account of the life of one of the most heartless and brutal serial killers in American history. Gary M. Lavergne goes beyond horror into an analysis of the unbelievable subculture in which McDuff lived. Equally compelling are the lives of remarkable law enforcement officers determined to bring McDuff to justice, and their seven-year search for his victims. “Texas still feels the pain inflicted by Kenneth Allen McDuff, despite the relentless efforts of law enforcement officials to solve his crimes and bind up its wounds. Bad Boy from Rosebud is an impeccably researched, compellingly detailed account of the crimes and the long search for justice. Gary Lavergne takes us directly to the scenes of the crimes, deep inside the mind of a killer, and in the process learns not only …