Recording of Mathew Adkin's Noumena. "Noumena" was a term used by Kant referring to the things that underline our experience both of the physical world and of our own mental state. This work is a number of short discrete sections that play continuously, with the sections alternating between "inner" and "outer" senses.

Recording of Mathew Adkins' Breaking. This work mixes electronic sounds with those of classic R&B music.

Recording of César Amiguet Puig's Kontinuum. This work was made for electronics.

Recording of Linda Antas' A river from the walls. This work was inspired by rivers, both visually and philosophically and the composer attempts to create an image of water condensing into a powerful river.

Recording of Per Arvidsson-Bremmers' The rosary sequel.

Recording of Ron Averill's Tasting the crocodile's breath. There are two parts of this recording: the first is the electronic tape with piano accompaniment on top of it, and the second is the electronic tape only.

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.

Recording of Natasha Barrett's Viva la Selva!. This work consists of 4 continuous sections: 1. Morning introduction, 2. Midday heat, 3. Dancing at night, and 4. Dawn and rain. The sound sources in this work were recorded in a Central American rain forest, where the composer and their colleague traveled to record said samples. This work was commissioned by NICEM with support from the Norwegian composers' fund.

Recording of William Beck's in a pond or a cauldron ?. This is a work for electronics.

Recording of David Berezan's Unheard voices, ancient spaces.

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 Rainer Boesch's Espaces V. The composer based this work on the sound of wing beats from pigeons.

Recording of Rainer Boesch's Souvenir (20e siècle). The composer describes this work as "prophetic" and gives reference to his own memories.

Recording of Serge Bouc's Vocalises.

Recording of Matthew Burtner's The Winter raven. This recording is a collection of excerpts from a live performance of the opera. This is a large-scale multimedia composition for voice, instrumental ensemble, electronics, dance ensemble, video projection, and theatrical staging. The three act composition metaphorically connects an Inuit creation story, in which the world is created by "Raven" with snow, with the ecological seasonal approach of winter. Each act contains a chamber music piece with video and a "story" involving music, dance, and interactive video. This piece was inspired by the composers home in Alaska and was written as part of his dissertation at Stanford University. It premiered at the University of Virginia in 2003.

Recording of Christian Calon's Time well (la fontaine du temps). This work was commissioned by Ina-GRM with the help of the CAC and premiered at the Maison de Radio France in 2002. This work belongs to both a radio work (z | s) and sound installation (Time Corridor) that act as projects centered on the question of time. This piece is meant to create awareness of time through listening and is segmented into 4 tracks.

Recording of Guto Caminhoto's Paisagens Londrinenses 2. This piece is the second of a series of compositions based on soundscapes of Londrina city. The sound material uses recorded nature sounds as well as urban soundscapes. These sounds were then processed and synthesized over other sounds.

Recording of Luigi Ceccarelli's Respiri. This recording was made for amplified horn and pre-recorded horn sounds and was commissioned by the "Fondazione Dragoni - Centro Studi Armando Gentilucci". The composer states the necessity of complete symbiosis between player and instrument when playing a wind instrument and attempts to expand on that idea with this piece. This work includes 6 tracks that are meant to be played in different areas across the listening space while the live horn is amplified across 4 speakers.

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.

Recording of Pablo Cetta's Como explicar el Rojo. This is a work for alto saxophone and electronic sounds and is divided into three sections. The first and third sections are constructed by structuring pitch in sets that modulate in terms of consonance or dissonance. The central part, in contrast, is developed around slightly tonic sounds or variable pitch sounds. The title of the piece alludes to the question and the answer as well as the difficulty to describe what is perceived by the senses.

Recording of Yuanlin Chen's Couleur de Pékin. This is a work for electronics.

Recording of Enrico Cocco's Le rêve de Chuang Tzu. This piece is part of a larger musical theatre work with the same name and is inspired by the famous tale of J. Louis Borges. The work was commissioned by Borges Foundation and will be presented in Geneva on the centenary birth of Borges.

Recording of Grant Chu Covell's In Distress, In Disgrace or Three Entries to Form a Diary of Automatic Writing. This work was written for Kazumi Umeda and used sources from New Providence's 'Near Summit'. It's comprised of three movements that each contain manipulated sound segments.

Recording of Grant Chu Covell's Machina ex Deis. This work consists of eight movements that run together without pause: I: Introduction, II: Tocsin, III: Voyage, IV: Salon, V: Scherzo I, VI: Litany, VII: Scherzo II, and VIII: Apotheosis. The work as a whole includes both concrete sounds and computer-generated sounds.