69. Warren Burt - Eva Karczag - Dancehouse, Melbourne, 13 July 2002

This live performance for computer, voices, samples of hip-hop, CPE Bach, and Villa-Lobos, chord harmonica, music box springs, baritone ukelele, piano and footsteps marks the 25 th anniversary of the sound-movement collaboration of Burt and Karczag. Recorded live in performance at Dancehouse, the 50 minute piece covers a wide range of emotional territory, from conventional prettiness to noisy, scratchy textures, to some moments of ethereal beauty.

55. Sorrento Suite (1998-99)

Seven improvised computer music pieces, on a marine theme, for seven dancers to solo with. Also, portraits of the dancers in musical form. First performed at Conundrum, in Melbourne in 1999. Experimental music for experimental dancing - one of Burt's specialties.

52. Diversity (1997-98)

Burt's political multimedia theatre from 1998, directed by the late Sylvia Staehli. At times satirical, at times direct and hard hitting, “Diversity” pulls no punches in its attack on the domination of contemporary politics by economics and business culture.

50. A 90s Miscellany

Fourteen short pieces, mostly made for mail art and collective sound art projects. Includes “With Proper Regard for Copyright”, Burt's 1996 plunderphonic collaboration with Tim Kreger, and “A Little Lullaby for Lev and Clara, Reunited in Heaven”, where Burt plays “der Russian perfesser”, in an homage to Leon Theremin, who was one of the folks who got this whole thing started.

49. Two Installation Pieces 1997

“Pi and the Square Root of Two #2" is almost New Age Ambient Chill Out (add other terms as needed here) in its absolute glacial calm, as two parallel harmonic series of piano notes spin out the random digits of Pi and the square root of 2 for half an hour. A darker vision is offered with “Reality Check”, an interactive installation about the absolute futility of playing along with the system. The system, as always, has a way of persisting.....

43. Music from Movement 1993-1995

Back when interactivity had not yet become an empty buzzword, Burt was exploring the interface between sound and movement with a series of elegant, beautiful, and challenging soundscapes - all triggered off by the movements of his (“ageing, ungraceful” to quote one critic) body. Don Buchla's Lightning movement sensor controls a variety of samplers, analog synthesizers, and laptop computers. (Remember the 286 laptop that weighed 8 kg?) Seen in many performance venues in Melbourne (and around the world), this is the complete collection of these pioneering pieces.

41. Horizon Rerun (1994)

Burt and choreographic co-conspirator Eva Karczag have been making sound and movement magic happen together since 1977. This piece features Karczag's stream of consciousness poetry, environmental sounds, and a series of electric piano pieces by Burt. Karczag uses a theremin to trigger off electric piano sounds, Burt tracks her movement with a Buchla Lightning, and the two of them interact with the machines in an engrossing soundscape.

21. Four Pieces for Synthesizer (1981)

Four major analog synthesizer pieces from the early 80s, mostly made without keyboards, where the synthesizer is treated like an analogue computer, and is programmed to control itself. Two of them were dance scores for choreographer Eva Karczag, and are definitive early minimalist pieces. The other two pursue a more complex path - Simultaneous Portraits features intense polyrhythms, and Harmonies at Launching Place uses the sound of rain and lyrebirds in the Victorian bush to trigger off and control walls of glittering sound.

20. Explorations of 31 (1981)

A set of four 15 minute drone pieces using the subharmonic series. Burt and Julian Driscoll had designed a frequency divider to produce precisely tuned subharmonic intervals. This piece, in which long stable chords hang in space, is the first outing of these modules. In performance the piece was played with loudspeakers swung on the ends of long chords, or with a dancer moving in front of the speakers, or with the audience moving about the space. A long lost and now recovered essential piece of tuning and synthesizer history.

11. Pastorale (1977-78)

A more gentle set of pieces for concrete and electronic sounds. Two minimalist dance scores for choreographer Eva Karczag; a patch which gets the synthesizer to laugh, and compositions for environmental sounds and percussion make a suite which could almost, but not quite, (just a bit too subversive, it is!) fit into the New Age bin.