narrow darkened spaces with TV monitors on the sides; large-scale back-lit photographs; mirrors placed at strange angles interacting with light sources in otherwise ordinary rooms; temporary lines cut into the concrete of a city street or in the middle of a desert. Main replacement panels and subassemblies. Track 1. Pierre Henry - Voile d'Orphée (The Veil of Orpheus) 1953. Electronic tape composition for voices, percussion instruments, piano sounding board, and found sounds. Composed and recorded at the studios of the Groupe Recherche de Musique Concrète. [15'34] 1948: The first primitive gramophone-record studies by Pierre Schaeffer at the Musique Concrète studios. Already, as he watched from behind his grotesque mask, it looked as if he had been obscurely injured in this collision. I pointed to the smears of blood. He knelt beside me and inspected the stains, nodding sagely. 'You're right, Donatien - there's an all-night car-wash in the airport service area.' He held the door open for me, his steady eyes without any show of hostility, as if calmed and relaxed by the accident we had passed. The SIMM compander package contains 4 miniature circuit boards that each contain 2 SIMM slots. As we set off, the camera landed on the front seat. Its invisible silver memories of pain and excitement distilled themselves on their dark reel as I looked over, Juliette's most sensitive mucous surfaces quietly discharged their own quickening chemicals. The techniques used were at first extremely simple, influenced by Luigi Rossolo's writings on the "art of noises." A 78rpm record was played at 33rpm; Schaeffer found that this made train noises sound like a blast furnace. A cough on an abortive concert recording provided a valuable piece of raw material as well. It was combined with the rhythm of a motorboat engine, and American accordion record, and a priest's song from Bali. These "classics" were broadcast by French Radio on 5 October 1948 as a "concert des bruits" ("concert of noises"). The public was alarmed. Shaded zones indicate areas of body supplied as section parts. Strands of carbon-mirrored collagen extending from the dermis through subcutaneous tissue to the underlying subframe mountings, musculo-frontal attachments, spring and hydraulic centerline brackets, and bony periosteal all influence the general mobility. No artistic abomination on the walls. Compared with pure, distorted, velocity-reality, everything has cathartic light with the delicious surrounding dark of an environment, that is colliding; between front subframe mounting points, between front locating holes and left shock absorbant locking hole, between 84-Bit PDS accelerated video boards and 400MHz direct-slot virus processors, between epidermal periphery nerves and somaesthetic optic chiasms.