Recording of Frederick Szymanski's Friction Sticky Rough. This work is a sound and image installation for multiple video projection and loudspeakers. The sound component of this piece involves developing musical structures by manipulating interactions at the sound-particle level. The composer used this same concept to create the visual aspect. The video consists of simulations of particle paths.

Recording of Laurent Soulie's Ecorce de lune. This is a work of mixed music that consists of 8 moments: Uchronia, Shocks, Landscape, Stardust, The colors of dawn, The pendulum, Ephemeris, and Achromia. This work is dedicated to composer and friend of Soulie, Pierre Jodlowski.

Recording of Rodrigo Restrepo's Omega > 1. The composer describes this work as a song to the universe and also a fantasy around the different phases of the creation of matter. The structure of this composition follows this sequence of creation from a very small material to a bigger one and backwards.

Recording of Beatriz Ferreyra's Cantos de antes. This work was commissioned by the Association pour la recherche et l'Expérimentation Musicale and is dedicated to Simone Rist and Roger Cochini. This piece was created from transformed texts performed by Simone Rist, the voice of Roger Cochini, and other electroacoustic sounds. The composer states that this piece speaks to very old stories lost thousands of years ago.

Recording of Juan Parra Cancino's Serenata à Bruno. This is a work for electronics that uses sample passages from "Serenata per un Satellite" by Bruno Maderna. This work serves as an homage to Maderna the composer, and Maderna the dreamer.

Recording of Gérard Torres' Shalala ware. This work reflects a love story between a virtual couple, Fred and Cathy, who sing their song "Shalala" throughout the piece. The composer has separated this work into four parts: 1. R.A.M., 2. Shalala Song, 3. Love is bossa nova, and 4. Free loop. Each part has its own mode of composition.

Recording of Aleksandr Volodin's The music of my memory. This work consists of 3 parts: "Old photos", "Deep", and "monologue". The composer describes this work as being "small pieces of my small world" and used sound materials that were recorded in Kolomna City in 2002.

Recording of Taras Bujewski's Striking up a tune. This work contains fragments of Russian choral songs from the provinces of Belgorod and Bryansk. The elements of this music are compared to urban noises and the contradictory nature of these two sound worlds are explored.

Recording of Etienne Saur's Drames brefs deux (de Philippe Minyana). This composition was created to accompany a theatre piece by the same name and consists of eight short pieces that each represent a different major life event.

Recording of Jean-Christophe Banaszak's Controls. This is a work for electronics.

Recording of Erdem Helvacioğlu's Blank Mirror. This work premiered at the Microburst Electroacoustic Concert in 2002. The composer states that this piece is about a man seeking salvation in the modern world where confronting oneself is becoming increasingly difficult. The work expresses his journey of finding the meaning of his existence and ends with him finding peace.

Recording of Jacky Mérit's Epique Epoque Ethique. This is an elecroacoustic triptych that includes three movements titled: Epique, Epoque, and Ethique. These compositions explore how sound can affect a persons inner space and create an environment to channel emotions.

Recording of Christophe Ruetsch's V. The composition of this work began after following a dance, music, and video performance with the "Collectif Construct". The composer worked off of sound materials that were strongly associated with jazz and the dark atmosphere of post-war American thrillers.

Recording of Marco Marinoni's ∆ - A study on distance. This work was originally written as a stereo piece and eventually became a piece for 8-channels. The sound materials used in this work are all instrumental in nature (piano, violin, and flute). The intention was to explore the idea of distance in terms of size as well as the space between the original source sound and its processes. The composer has included instructions for the schematics of the loudspeaker layout.

Recording of Paul Rudy's Thema: omaggio. This work began as 1 minute and 45 seconds of vocal improvisations which served as a basis for this composition. The composer intended to explore improvisational methods of working with sound material in the studio and created the final product by passing the original sound material through various manipulations.

Recording of Roland Pfrengle's Innen. This work explores the behaviors of the flute and uses computer processes to modulate the sounds produced by the instrument. The electronic presence in this work is not meant to represent an opposing sound world, but instead help increase and change the presence of the flute. All sounds are produced in the moment of the performance.

Recording of Gerald Eckert's Offen - Fin des terres. This is a work for ensemble and tape and plays with the juxtaposing sounds of the instrumentals and electronics. The initial concept for this work came from the passing observation of a grafito in the ruins of a bunker: "FIN DES TERRES". This work was commissioned by the Ensemble Aventure under the patronage of "Stiftung Kunst und Kultur des Landes".

Recording of Miyama Chikashi's Mutation. This is a work for guitar and an interactive multimedia system. The work is built off of various sections that contain varying processes and modulations in which the computers and the guitar sound like they're exchanging in a dialogue. This work is performed with graphics that are projected behind the guitarist, containing video of the guitar player as well as images generated by an SGI computer.

Recording of Etienne Saur's Le Cheval. This work was created for the retirement of the composers teacher, Pierre Boeswillwald. The composition was an exercise given by his instructor to new students and consisted of cutting and editing snippets of spoken text to create an original phrase or concept.

Recording of Jean-Claude Risset’s Resonant sound spaces. Resonant sound spaces is a spatialization of Resonant Soundscapes. The work can also be presented in 4 tracks and in 6 tracks, 5.1 format (movements 2,3 and 5 were recorded in the latter format). Without being a systematic study, the work essentially uses natural or synthetic sound materials referring to resonance processes: percussion and plucked strings, brass and horns, resonant filters, reverberation. The piece cites sound elements: variants of the initial bell sound of the Pome Électronique de Varse, percussion from Thierry Miroglio's instrumentarium , and symphonic bell concerts by Llorenc Barber.

Recording of Etienne Saur's Longue est la course du soleil. This work was created as part of the open work at the Bourges Festival, "Synthse", whose theme was the seasons. This piece is based specifically on summer and includes fragments of Vivaldi's The Four Seasons: Summer.

Recording of Pekka Siren and Agnieszka Waligorska's Chorus of Spring Ice Run. This work was composed for the IMEB Synthese project and its premiere. It represents the beginning of spring and the changes in nature that come with it.

Recording of António de Sousa Dias' Quand trois poules vont au champ. This work plays on the sound of a rooster and draws its inspiration from a children's song, which the title of the work refers to.

Recording of Marco Marinoni's To walk the night. This work was created for amplified quintet and 8-channel tape, with live sound projection of the quintet's signal. The work premiered at the International Gaudeamus Music Week in Paradiso, Amsterdam. The composer has included schematics for how the speakers should be arranged when performed.