Recording of Warren Burt's 7 excerpts from "visual haïku". "Visual Haiku" was a set of 16 computer pieces made for Robert Randall's "Visual Haiku" project in 1994. All the music was made on various computer systems using software such as Band-in-a-Box, Sound Globs, M, Cool Edit and so on. Each of the "Visual Haiku" used algorithmic processes to assemble music which loudly and proudly proclaimed bad taste and slavish obeisance to commercial musical models, in keeping with the neo-Warholian aesthetic of Randall's work. "Visual Haiku" appear on the 2 CD set "Randelli's Selection" - on Scarlet Aardvark CD No. 47 A and B, available from www.warrenburt.com.

Recording of Ricardo Arias' 94 eleciones. Inspired by the fascination of the fashionable spectacle of biodiversity. Within the tropical forest, psittacine, quickly show their invasion of acoustic space with repetitive and annoying messages. Sound recordings made in the forest and recordings of paid political advertising. The composer was devoted to cutting and assembling in sequence fragments of electoral sound borders and joining mixed unaltered vocalizations of birds and other animals.

Recording of Agnieszka Waligorska's 6th day. This work is for electronics, voice, pre-recorded manipluated sound, and saxophone.

Recording of Alain Basso's Acetone. It was created essentially from sounds representative of landscapes and festivities in Haute-Savoie, this piece explores the limits of the possibilities of sound mutation. The idea is to exaggerate certain acoustic characteristics, to better control the expressiveness of these sound objects, but without losing their original nature. Thus, the listener is projected into a lyrical world, while measuring the gap that separates him from real sources that can often be identified.

Recording of Michel Tetreault's Ad vitam aeternam. This work is for electronics and pre-recorded sound. By using traditional electro-acoustic technique certain effects have allowed for pre-recorded sound fragments to transforms and change throughout the piece. While listening to these sound, fields recording of differing sonic environments are playing.

Recording of Eric Lyon's The afterbirth of appollo. This work is for electronics and has a lot of noise elements. The synthetic sounds are harsh and posses an analog sound. This sound feels continuous and even though there is movement in the sound, the construction continues to stay the same. There is a true representation of electronic sound in this work, instead of shying away from the noise, this work embraces it and explores the importance of balance and musical transitions.

Recording of Juan Carlos Pampin's Apocalypse was postponed due to lack of interest. The title refers to an idea about the state of the art within the 19th century. Algorithms written with the COMMON LISP language controlled the rhythms and production of synthesis sounds to create different textures and densities. Sound generation techniques include: Karplus-Strong Modeled Attack, Additive Synthesis Generated Body and Filtered Noise Drop. The structure of the work is that of a continuous transformation where each object is condemned to mutate over time, these mutations take place in the short and long term during the piece.

Recording of Lelio Camilleri's Arcades. This work is for electronic and pre-recorded manipulated sound. This work uses traditional electronic technique to change the sound characteristics of pre-recorded sound and use of musical space and movement, accompanied by electronically produced track.

Recording of Patrick Lenfant's Archée. The main material in this work is fire, an "electonic" fire made from exclusively analog wave generators. The second material is "time" and is an essential part of the work. This piece belongs to a collection of works the composer calls his "electronic sound paintings" which consist of pieces that suggest to the listener an image of the chosen model by stylizing it using electronic sources.

Recording of Ragnar Grippe's L'Archer coupe l'air en deux. All the material was composed by the composer. The sound include soprano voice, voice, logs, water, toys, cello, piano, and radio waves. The technique used is very much based on the composers experiences from French Groupe de Recherches Musicales. MIDI sounds were made with a digital performer, sound on sound tools II, and manipulated with Turbo Synth SC.

Recording of Andrew Lewis' Ascent. For electronics. This process was initiated by the nature of the opening sounds of the piece, which were the first to be developed. Ascent moves freely across a spectrum of musical approaches, from the purely abstract to the more cinematic: at one extreme, the exploration of texture and of static pitch structures dominates; in the middle ground, evocations of irregular rock formations, undulating topography and large geological masses are prevalent; while at its most representational, important ideas are the elements.

Recording of Maria Cristina De Amicis' Aura. This work explores the sonic possibilities of processed percussion and electronics.

Recording of Bruno Capelle's Ballade. For electronics. This work is a sonic landscape which uses sound manipulation to alter the sound environment.

Recording of Barry Truax's Bamboo, Silk and Stone. This is a collabrative work with Barry Truax, who realized the tape, and Randy Raine-Reusch who performed the source material for the tape (on the balinese suling gambuh, the Chinese guzheng, the Korean hun or ocarina, gongs and tam-tam) and who composed the live accompaniment which he plays on the first three of those instruments. The tape part is mostly improvisations gestures used by the performer. The work was realized using the composer's PODX system which incorporates the DMX-1000 Digital Signal Processor controlled by a PDP Micro-11 computer with software for real-time granular synthesis and signal processing.

Recording of Karl Friedrick Gerber's Beautiful Numbers. The work is a result of the composers experiments with algorithmic composition written with the "GFA Basic" language. The real-time improvisation program is controlled or "conducted" by altering numbers of preselected so called discrete vectors. These vectors represent states in the space of sequences formed by counting integer values in cycles. Various midi events are generated to control the sound modules. The piece was concerned for dance improvisation and has a very smooth flow with a mood of simple beautiful structures and intervals.

Recording of Lars Gunnar Bodin's Best wishes from the lilac grove. For electronics. In Swedish it means a rather tiny grove, more like an outdoor room (without a roof) where the lilac shrubbery form the walls. The intention of this piece is to radiate something of the same relaxed feeling and contemplation you may experience when visiting such a room.

Part A of the first cassette of a condensed version of John Gilliland’s 1940s Big Band Chronicles, originally produced in the early 1970s. This segment emphasizes the pre-war years through the early years of the Second World War, with musical excerpts and commentary from performers and other music industry figures. Excerpted selections include "The Last Time I Saw Paris," "I'm Dreaming of a White Christmas," "Don't Get Around Much Anymore," and "I'll Walk Alone."

Part B of the first cassette of a condensed version of John Gilliland’s 1940s Big Band Chronicles, originally produced in the early 1970s. This segment emphasizes the pre-war years through the early years of the Second World War, with musical excerpts and commentary from performers and other music industry figures. Excerpted selections include "It's Always You," "Stardust," "Blues in the Night," and "Don't Sit Under the Apple Tree."

Part A of the second cassette of a condensed version of John Gilliland’s 1940s Big Band Chronicles, originally produced in the early 1970s. This segment emphasizes the time of the Second World War, with musical excerpts and commentary from performers and other music industry figures. Excerpted selections include "Skylark," "All or Nothing At All," "Pistol Packin' Mama," and "Don't Get Around Much Anymore."

Part B of the second cassette of a condensed version of John Gilliland’s 1940s Big Band Chronicles, originally produced in the early 1970s. This segment emphasizes the time of the Second World War, with musical excerpts and commentary from performers and other music industry figures. Excerpted selections include "Poinciana," "You Always Hurt the One You Love," "The St. Louis Blues March," and "There, I've Said It Again."

Part A of the third cassette of a condensed version of John Gilliland’s 1940s Big Band Chronicles, originally produced in the early 1970s. This segment emphasizes the years immediately following the Second World War, with musical excerpts and commentary from performers and other music industry figures. Excerpted selections include "'Til the End of Time," "Laura," "It's Only a Paper Moon," and "Ole Buttermilk Sky."

Part B of the third cassette of a condensed version of John Gilliland’s 1940s Big Band Chronicles, originally produced in the early 1970s. This segment emphasizes the years immediately following the Second World War, with musical excerpts and commentary from performers and other music industry figures. Excerpted selections include "Rumors Are Flying," "Sioux City Sue," "That's My Desire," and "Puttin' on the Ritz."

Part A of the fourth cassette of a condensed version of John Gilliland’s 1940s Big Band Chronicles, originally produced in the early 1970s. This segment emphasizes the late 1940s, with musical excerpts and commentary from performers and other music industry figures. Excerpted selections include "Open the Door, Richard," "But Beautiful," "Nature Boy," and "My Happiness."

Part B of the fourth cassette of a condensed version of John Gilliland’s 1940s Big Band Chronicles, originally produced in the early 1970s. This segment emphasizes the late 1940s, with musical excerpts and commentary from performers and other music industry figures. Excerpted selections include "I've Got My Love to Keep Me Warm," "Ghost Riders in the Sky," the Spike Jones Orchestra's rendition of "My Old Flame," and "Ev'ry Time We Say Goodbye."