Recording of José Manuel Mondragon Cruz's Gaia. For electronics as well as both unprocessed and processed pre-recorded audio.

Recording of Edgardo Hugo Martinez's Arrok. The composer notes the title as being "the primitive sea", the first element of nature in the creation of the cosmic worldview of the Tehuelches, an indigenous community from the south of Argentina.

Recording of Beatriz Ferreyra's Jazz't for Miles. The composer states this work is a tribute to one of the greatest jazzmen of the 20th century, spilling over into the third millennium.

Recording of Grant Chu Covell's Monday Morning: A Creation Myth. This is a work inspired by the beginning of a work week and all the feelings that come with Monday morning's. The composer uses sounds from his own life, including sounds from his home, an office, and a restaurant. This work premiered at the 31st Festival Synthèse Bourges 2001 in Bourges, France.

Recording of David Behar's Ouvrir une brèche, la peur. This is a work for electronics and was created for the Futura France Festival.

Recording of Florivaldo Menezes' Stream from outer space. This work was composed within the framework of the project: "The Creation of the World", proposed by the Institute of Experimental Music in Bourges, France. The piece is derived from the end of "Harmonia das Enferas", another electroacoustic work. The composer states similarities between this work and his first electroacoustic composition and makes references to it within "Stream from outer space".

Recording of Frank Corcoran's Sweeney Creates his world by the force of his creative will. This work is part of a series of compositions based on the character, Sweeney, from the Irish epic "Buile Suibhne". In the poem, Sweeney develops Schizophrenia at the Battle of Maigh Rath and the composer uses this work to tell the story of Sweeney "saying farewell to the world of his senses".

Recording of Karl Friedrich Gerber's Emergence of number five. This work was inspired by the significance of the number five, in both a numerical sense and a musical one. The composer explores the various representations of the number five in music with different intervals and sequences that prioritize that number.

Recording of Frédéric Kahn's Scivias. This work was inspired by the text "Scivias" written by Saint Hildegard of Bingen.

Recording of Pierre Bernard's Spanda. The composer was inspired to write this piece after experiencing and dreaming of new worlds beyond Earth under the Shaivism tradition of "Spanda". In this work, the composer describes one of the worlds he has crossed during his journey.

Recording of Friedrich Guen's Byzantine. A central sound material used in this work is Byzantine chant, which the composer used as a way to highlight the Byzantine culture and it's significance in the "creation of the world". This work focuses on the combination of speech and music.

Recording of Jean-François Minjard's Petits chronique des trous noirs. The composer was inspired to write this piece by his interest in black holes and attempts to create a piece that represents them.

Recording of Eric Mulard's Alphamega. This work was produced in 2001 as part of "The Open Work on the Creation of the World", proposed by the IMEB. This work represents the birth of speech by using articulated language to showcase the alphabet.

Recording of Jos Janssen's Vivre à gogo. This piece is derived from a Gendèr solo in the piece "Zone" for metallophones and computer by Jos Janssen and Paul Goodman. A choir like sound and a Midim duplication of a Gendèr mellophone are used.

Recording of Jean-Louis Belmonte's Electronic Sun. This work was inspired by the weakening of the ozone layer and the new electronic replacements being built around the world to protect from the sun's radiation.

Recording of Leif Brush's Marsmoonsnatch. This work includes two movements: 'Marsmoonsnatch' and 'Marsmoonsnatch positioning'. The composer was inspired to create this work when hearing the plans of a Florida Professor to put a Mars moon in Earth's orbit. The composer compared this conceptual challenge to his own personal findings when it came to adjusting and learning new compositional techniques (most of which include nature and the environment).

Recording of Norman Skipp's Te Kore. This work was inspired by the idea of a never-ending process of growth and decay and the question of whether or not mankind is part of that process. The composer gives a special thanks to John Elmsly, Peter Kerr, and the School of Music staff at the University of Auckland.

Recording of Pierre Boeswillwald's La création ; Madame !. This work was written for an openwork during the Synthèse Festival in Bourges, France.

Recording of César Daniel Alarcón's Calvario. This work started as an exploration of sound sources from everyday life. The composer recorded various items while walking through his house and due to their strong identity, found he could barely transform them, and so their original sounds were kept throughout the work.

Recording of Marcin Wierzbicki's A World: An imaginary place between Creation and Destruction for tape. This is a work for tape. This work was inspired by the relationship between creation and destruction and the nature of that relationship in the Universe and on Earth.

Recording of Etienne Saur's Quanta sonorum. This work is a tribute to the composer Iannis Xenakis. Saur describes this piece as being built on the idea of playing with finite quantities of energy, represented by small fragments of sound that vary in their duration and timbre. This piece was composed for the Bourges Synthesis Festival within the framework of the open work "The Creation of the World".

Recording of Boncheol Goo's Electricity-Novelty-Beauty-Sound. This is a work for electronics.

Recording of Shintaro Imai's Metal mosquito. This is a work for electronics.

Recording of Christophe Dupuis' Grand Cordel. This is a work for electronics.