Recording of Grant Chu Covell's Nowhere Armchair. This work was inspired by the imagined travels that can be contemplated from the comfort of a familiar reading chair. The composer was also inspired by the power of Jules Verne's writing. The sounds of this piece revolve around the listener and were sampled from the composer's office, which lies in a regional airport's flight path.

Recording of Konstantinos Karathanasis' Obscuritas Luminosa. This work revolves around one note, B, where the instruments and electronics act like lenses and prisms that slowly change the color of this single B and magnify it to the neighboring pitch areas. The role of the electronics is to unify the instrumental fragments and provide coherence throughout the piece.

Recording of John Levack Drever's Ochlophoinc Study # 2 : Hong Kong. This piece is the second in a series of studies investigating crowd sounds. Hong Kong is one of the most densely populated areas in the world, but is also interspersed with green open spaces and sites of reflection and introspection. The sound material includes edited field recordings that aim to celebrate the sheer intensity of continuous human activity that is Hong Kong.

Recording of Gilles Gobeil's Ombres, espaces, silences. This piece was inspired by the revisiting of the music of the first polyphonies (Ars Antiqua, Ars Nova). The composer chose to explore the Christian history of The Desert Fathers who isolated themselves in order to find the answer to human destiny. The sound worlds in this piece are meant to capture the history of these men. This recording includes 4 untitled movements.

Recording of Pascale Trudel's Où as-tu caché l'engin mystérieux ?. This is a work for electronics that the composer felt inspired to write based on imaginary adventures taken when reading.

Recording of Gaël Tissot's Paysages du soir. This is a work for electronics that explores a balance between stable elements and the sudden appearance of new events interrupting the calm atmosphere.

Recording of Frédéric Kahn's Les perspectives dépravées. This is a work for electronics that includes sound samples of a stringed instrument.

Recording of Joris de Laet's Pièce pour piano et pianiste. This is a work for piano and tape that was created for the Synthèse Festival as an homage to Jules Verne. Algorithms, composed for fictional pianos, were used to create the conclusive values for the pianist's score.

Recording of Irina Escalante Chernova's Poema sin palabras. This is a work for electronics.

Recording of James Duhamel's La Radeau. This is a work for electronics that includes French spoken word.

Recording of Franco Degrassi's Refléxe I. This is a work for electronics.

Recording of Peter De Moncey-Conegliano's Repossess Reprocess II. This is an entirely abstract piece that is constructed of concrete sounds from the real world using a VCS3 synthesizer to process the sounds instead of creating them.

Recording of Clément Riot's La robotournelle des machineries ou le dernier départ du Nautilus. This is a work for electronics that includes sound samples of guitar. It explores the story of Captain Nemo and the Nautilus.

Recording of Eldad Tsabary's I, Roomba. This piece includes a recording of an iRobot Roomba Vacuum, starting with the power-on sound and followed by the Roomba noisily moving around. These sounds have been flavored with signal processing, synthesis, and automation which creates a larger and somewhat surreal ambiance.

Recording of Stefano Trevisi's Schlachthof fünf. This is a work for percussion quartet and tape. This piece is a study on metal timbres' typology and the starting material consists of a sound produced by metal objects. The formal course of the composition results from the combination of each typology's interaction.

Recording of Riccardo Santoboni's Segni dal tempo. This work deals with the taste of the earth of "Salento" in the south of Puglia, Italy. The sound elements included in this work include the rhythm and music of traditional dance and voice while electronic processing is used to modulate.

Recording of Chris De Chiara's Shadow of scartaris. This work is an exploration of a sound world contained within a single sound: a three second sample of birds landing in a marsh at dusk. The title comes from Jules Verne's "Journey to the Center of the Earth" in which Scartaris is said to be the passageway to the center of the Earth.

Recording of Peter De Moncey-Conegliano's Shape of music to come (entre la terre et la lune). This is a work for electronics that is based on the concept of traveling around the world in 80 days, via the moon. This idea comes from a novel by French author, Jules Verne. The composer mentions how much more poetic this story was to him then real space travel in 1969.

Recording of Yutaka Makino's Shapes of points. This is a work for electronics.

Recording of Igor de Gandarias' Sinfoniás del Trópico. This work is an evocation of the poetic imaginary of Flavio Herrera, attempting to crystallize the musical sensation of the tropics according to the lyrical ideas of poet, Flavio Herrera. The overall form and content of the piece follows the structure of one of Herrera's poems titled "Song to the Nahualate River" which is built on a succession of hai kais describing an imaginary journey of a river through the forest. This composition makes exclusive use of natural sounds picked up at different regions near the south coast of Guatemala.

Recording of Luis Antunes Pena's Sonorous Landscapes. The idea behind this work was to create artificial and imaginary landscapes of sound with no conscious attempt to simulate sonorous impressions of any visual "natural" landscape. The composer states that in this piece "nothing happens"; there are no contrasts, just transitions from one state to the other.

Recording of Yu-Chang Tseng's Sota Beauty. This is a work for electronics.

Recording of Jean-Yves Bernhard's Souffle. This is a work for electronics and instrumentals. It includes the sounds of clarinet, bass guitar, piano, and saxophone.

Recording of Matthias Ockert's Stretto. This is a work for 8-channel tape and was commissioned by the ZKM (Center for Arts and Media) at Karlsruhe, Germany. This work comes from a larger composition that was inspired by 12 terms from Holls essay, "Intertwining". The sound materials used in this composition came from recorded samples of electric and acoustic guitar. The title of this piece comes from the musical term "stretto" as well as the "stretto house" built by architect Steven Holl.