Contents: A ride on a San Francisco cable car, California sea lions in Monterey harbour, A mockingbird in a tree, Resonating exhaust ducts at the PG&E power plant at Elkhorn Slough, Passing flocks of redwing blackbirds at dawn, Dawn in the Cliffs above the entrance to Bodega bay, Fog horns and surf under the Golden Gate bridge, Amtrak trains going through level crossings in Berkeley.

Cover: hand-painted pieced photograph by Bruce Handelsman, 30 cm, 33 RPM, 1983, KQEDFM, San Francisco.

Contents: The mating dance of Sage Grouse near Mammoth lake California, Multi-Channel recording of a woodpecker and other birds on a lake in the Adirondack Mountains, Spring peepers in the Adirondack Mountains, Birds along a River's edge in a Chaparral South of Monterey, Birds in a Rainforest in Southeastern Australia, Waves breaking on rocks along the Northeast Australian Coast.

Cover: three-color print, design; Bill Anton, photo; Luis Espinosa Casanova, 1929. 30 cm, 33 RPM, 1983, Sierra Club, San Francisco, CA.

As a composer, I have been concerned with exploring the occurrence of musical form in the ambient sounds of the natural and manmade environment. I have also been concerned with finding suitable artistic mediums in which to express these naturally occurring musical forms...

The recordings on this album were all made in natural environments, and explore a variety of natural sound textures. All of the recordings are in real time is necessary for preserving and communicating the natural symmetry of these sound textures, which like the environments they come from, possess a certain timelessness...by Bill Fontana.

The record contained in this catalogue was pressed from a tape made during an event in the Kunstakademie in Dusseldorf, Germany, November 24, 1970. The record presents the final twelve minutes of the event, which lasted approximately one hour.

The performance was a collaboration between Terry Fox and Joseph Beuys involving many elements of sound. The first sound heard on the record is Terry Fox striking an eight-inch pipe with a one-inch iron pipe. The mouth of the pipe is directed towerd a window frame containing four panes of glass. The pipe is struck and acoustically dead spots are searched for in the glass by listening to the echo. When those spots are found, the glass is shattered.

There is a candle burning behind the window frame. When all of the panes are broken, the wooden cross is knocked out of the frame and an attempt is made to bend the candle flame with the sound wave enamating from the pipe.

Then the small pipe is struck on the floor in search for the dead spots in the glass of a burning light bulb. At this time, Beuys begins eating a Cherimoya fruit, spitting the seeds one at a time into a small silver bowl at his feet. These two sounds continue simultaneously until the fruit is consumed.

Cover: Record(17 cm, 45 RPM, 1970) as supplement to the catalogue "Fish Fox Kos", 7 loose sheets(23.3 x 23.3 cm) with photos of the performance and text, DaSaisset Museum & Art Gallery, University of Santa Clara, CA.

In the field of "acoustics" and "space" Terry Fox has also made a significant contribution, quite distinct from that of other endeavors in the visual art, especially those of the Fluxus movement. Terry Fox works with acoustics as resonance, as sound produced by the space within which the resonance occurs. The space becomes a sounding box in which he appears merely as a catalyst for the sounds. Thus he makes the spatial features of resonance and sound visible, on the one hand, while, on the other, transforming space itself with acoustic devices. His material, physical intervention serves only to assist in the creation of these space instruments or spaces as instrument. His person, his body recedes more into the background than in earlier performances. The spaces are given voice and replace the actor telling his story. Thus Terry Fox still remains well within the bounds of the visual arts while opening them up to a vast field-acoustics as a spatial dimension. His work can, of course, also be seen in the light of musical development, though only if it is understood as a rejection of music in the frame of a work with acoustics. I this context, his work is revolutionary as well, since it does not reverse John Cage's slogan, "any sound is music", but turns it upside down. Not "all music is sound"; instead, the entire range of sound as such is not merely music. The installation linkage and the accompanying disc pressed here in Lucerne present an optimally record of Terry Fox's acoustic work in the exhibition at the Kunstmuseum Lucerne...by Martin Kunz.

Cover: Catalogue(31.2 x 31.5 cm), 36p.(n.pag.), with enclosed LP, 30 cm, 33 RPM, Kunstmuseum Luzern, 1982. Contents: Drumming, Pulling, Bowing, Beating, Scraping, Ether, The news the vicar and the cowboy, the bear, sign off.

Cover: b/w, diagram from a book found by Terry Fox in a Berlin fleamarket 1980. 30 cm, 33 RPM, 1988, Het Apollohuis, Eindhoven, Apollo Records AR 088807. Perf: Terry Fox, Paul Panhuysen, Jan van Riet, Mario van Horrik.