Recording of Stefano Scarani's Oquedades. This video is accompanied by audio that deals with poetic texts through electroacoustic processing. The visuals of the video include the imagery of a naked woman as well as the face of the woman speaking. There are also visuals of sea life that are shown throughout as well as bookending the video as a whole.

Recording of Nikos Stavropoulos' Imago Die. According to the composer, this work is meant to represent the visual and sonic image of a form that exhibits the kinetic and morphoplastic properties of a self-defined conscious organism. The work evokes a never-ending journey; a constant universal oscillation that even when it appears to have stopped, keeps vibrating with the finest and most indiscernible movement. The imagery in this video includes that of an eye transforming into a small, circular organism and then back again.

Recording of José Lopez Montes' Sin Tesis. This is an electroacoustic work for tape only and was created from the challenge of organizing sound material that the composer has accumulated during the course of his learning with Csound and create a new piece. The materials that were combined were the residue of many hours of experimentation with Csound; it is therefore a work "without thesis".

Recording of Peng Guan's Seeking. This is a work for electronics.

Recording of Luigi Morleo's Fanes for Aenea. This work is a composition for solo tape, however it is possible to be used in a performance with any instrument. The composer describes this work as a composition that distinguishes two runs that meet and realize they cohabitate but don't create an acoustic fusion.

Recording of Ana Gabriela Yaya Aguilar's Mi Sol Menor. This work was inspired and dedicated to the composer's sister, Soledad, who plays harp. This piece is a sound portrait about the relationship between her and her instrument throughout her life. The work as a whole aims to recreate the relationship between a musician and his instrument.

Recording of Yannick Koller and Maria Leon-Petit's Movement 1. This is a co-composition that was a result from a four-handed electroacoustic improvisation worked from manipulated sound debris. This piece was broadcast and spaced in concert in 2000.

Recording of Oleg Makarov's Not to you. This is a work for electronics.

Recording of Jøran Rudi's Babel study. This work is an exploration of noise mixed with recorded elements of welding sounds. The result of noise without external references is a structured piece where the desire to create meaning in sounds where no meaning is apparent is the dominating intention.

Recording of Artem Vassiliev's In the leap second. This piece is the composer's attempt to creatively reinterpret the phenomenon of a "leap second". There are certain acoustic parameters and structural proportions in this piece which are determined by numerical relations between the two different systems of time measurement: Ephemeris Time and Coordinated Universal Time.

Recording of Asbjørn Flø's Earbitten. This composition is made up of various sound materials that the composer chose to use processing techniques on that would preserve the "ugly" character in the original material rather than the "beautiful" which is more commonly sought after. This piece reflects on the inherent aesthetics of malfunctioning technology as well by beginning with sounds of a crashing computer that turns into music.

Recording of Stefano Scarani's Oquedades. This work deals with poetic texts through electroacoustic processing. The text was recorded in various forms and subdivided according to timbre, duration, and form. Both the creation of the text and the speaking of it was done by Julia Chiner Santapau. This audio recording is also accompanied by a video.

Recording of Vincenzo Gualtieri's Field. This work was created both for tape and for prepared piano with tape. The sounds used in this piece include piano samples recorded by the composer, synthetic sounds, and sampled voice sounds from a Beckett excerpt. These sound events were then arranged through algorithms and run under Cmask.

Recording of Charles Nichols' Posture. This work is for quadraphonic computer-processed sound and was created for choreography composed by Amy Ragsdale and danced by the Montana Transport Company. Sound materials of violin, voice, and metal sounds were granulated to generate new timbres. When processing these sounds the amplitude, envelope, duration, and pitch were all varied over time within the granulated timbre.

Recording of Stephan Dunkelman's Kajsa : 3 femmes et un promeneur. This is a work for stereo fixed medium that was created as the soundtrack for a video by Jérôme Thomas.

Recording of Juan Parra Cancino's Tellura. This is an electronic composition that is the result of an exploration in natural disasters that could be associated to the disturbance of electromagnetic fields. The primary sound material is a collection of recordings of sonar stations in the Pacific Ocean which were then transformed. For the structure and distribution of the material, seismogram charts of different cities of North and South America were used.

Recording of Jummei Suzuki's Le bourdon en branle. The composer based this piece off of two natural situations: the breaking of waves and violent wind. The composer avoided directly imitating real sounds and instead used sound elements to generate an auditory illusion that is reminiscent of a tuba melody. The title refers to both the tuba itself and the metallic sound of a bell which emerges in the middle of the piece.

Recording of Tomonari Higaki's Eau de la prophétie. This is an electroacoustic work for amplified piano. This piece was inspired by the infinite variations and meanings that water has in our lives and on Earth. The instrumental and electroacoustic parts combine to express the forms and transition between the forms of water: solid, liquid, and gas.

Recording of Gabriel Gendin's Inercia. This composition is based on personal research done by the composer. The object of this research was certain voice inflections that singers of folk songs in the Northern area of Argentina make when singing coplas, bagualas, carnavalitos, and other popular rhythms. Other accompanying instruments were also observed. The material was recorded while observing the playing these instruments and the notes commonly used in an effort to maintain their natural sound and expression.

Recording of Tomonari Higaki's Le Piano - Les mélancholies de trois jeunes pianistes. This work includes quotes from the text "Les amants du Spoutnik" by Haruki Murakami. The composition is segmented into 5 movements that include 3 monologues of young people who stopped playing piano. These monologues reflect how demanding piano practice and performance is and how necessary is becomes to sacrifice everything as a pianist.

Recording of Martin Stig Andersen's Sleepdriver. This work was inspired by night drivers and commissioned by the Ton Bruynèl Foundation in Netherlands. It premiered at the International Gaudeamus Music Week 2004 in Amsterdam.

Recording of Tae Hong Park's 48 13 N, 16 200. This is a work for electronics that includes ambient sounds and spoken German language.

Recording of Edgar Guzmán's Sturm und Drang. This is a work for electronics.

Recording of Olle Aberg's INIT. This work represents the idea of initiation and starting a new phase of life. The composer states that the change is not perceptible until several days/months/years have gone by, but then by looking back we see it as "initiation". The composer has segmented this work into four parts: 1. preparations are made, 2. looking back to old things, 3. new things will appear, and 4. summary and rest.