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

Recording of Rubén Hinojosa Chapel's FX 1050. This piece explores the possibility of electroacoustic music creation with limited means. The entire piece was developed from a sound fragment of a dot matrix printer. It premiered at the "XIV Festival de La Habana de Música Contemporánea" in 1999.

Recording of Rogelio Sosa's Maquinaria del Ansia. This composition is an attempt to translate into sound the sensations that are felt during a state of anxiety. The challenge was to create a musical discourse starting from a minimal number of elements, in this case only one recording of a stroke on a wood body was used. This sound, through transformation and manipulation, created all material for this piece.

Recording of Lennart Westman's Spiritus. This is a work for audio and video and consists of 3 movements: 1. Passacaglia Spiritus, 2. Spiritus Animatus, and 3. Graal Hommage. The work as a whole was inspired by the poetry of the Swedish poet, Gustaf Fröding as well as the music of Bach. All three movements premiered at ICMC2002 in Gothenburg, Sweden. The work consists of synthesized sounds as well as segments performed by a four-part choir with singers from two Stockholm choirs.

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 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 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 Serge Bouc's Vocalises.

Recording of Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

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

Recording of Lucien Goethals' Dendrofonies. This is a work for electronics.

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.

Recording of Philip Samartzis' Windmills bordered by Nothingness. The original material in this work is made up of electroacoustic transformations of guitar and percussion. The composer altered them in a such a way to suggest the flow, texture, and sound of an ancient windmill.

Recording of Elizabeth Hoffman's Ribbons. This is a work for electronics.

Recording of Fernando D. Polonuer's Rotaciones. The sounds in this work were processed in order to be listened far or near the audience. The composer used this composition as a way to branch into more abstract sounds where he could focus more on each individual element.

Recording of Miguel Azguime's Comunicacones. The sound materials in this piece come from concrete sounds from a Lisbon port, communication satellites, and texts in more than 30 different languages, as well as synthetic and instrumental sounds. This work was commissioned by the Lisbon World Fair Expo'98 and the concert version premiered at the "Musica em Novembro" festival in Lisbon.

Recording of Paul Geladi's Den devenu. This work is meant to explore history as well as looking to the present and future. The composition itself consists of different layers inspired by musical themes from the 20th century, however all sounds have been synthesized to create historical reviews in a pedantic manner.

Recording of Jean-Christophe Banaszak's Juste avant le silence. The composer describes this piece as a timeline of mankind and their efforts through history to create a great world while simultaneously destroying it. The end of the piece is the start of a new beginning where humankind finds their future in their roots.

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

Recording of Rubén Hinojosa Chapel's Scratch. This work is an homage to the scratch sound that accompanies many old songs when listening to vinyl discs, the composer considers this one of the staple sounds of the 20th century. This piece was chosen by the "Festival de Bourges 1999" and premiered in concert.

Recording of Fernando Laub's Materialismo. The composer states that this work tries to express, in sonic terms, a point of view upon the aim that rules the 20th century.

Recording of Edson Zampronha's Fragmentation. Work meant for electronics.

Recording of Philippe Moënne Loccoz's Deux mille et après ?. This piece explores the journey through the 20th century and into the 21st. It includes brief musical quotations from Debussy, Varse, Scelsi, Henry, and another work by Loccoz.

Recording of Federico Schumacher Ratti's Palabras del sur. This work was composed in response to the call for an open work "Le monde devenu Musique l'écoute du siècle". The sound materials in this piece come from instrumentals and vocals from the Kaweskar and Yamana indigenous groups as well as the Mapuche ethnic group and sheds a light on the perspective from the south.