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Jerry Hunt, well-known composer of interactive computer music and intermedia works, as well as an extraordinary performer, died in November of 1993 at his home near Canton, Texas. Hunt was born in Waco, Texas in 1943 and studied piano and composition at the University of North Texas (then North Texas State University). He developed into an accomplished pianist, performing widely his own and other contemporary works by American and European composers. But it was as a general solo performer: speaking, playing keyboards, banging on suitcases, making obscure adjustments to various computers, racing back and forth across the stage with strangely lit objects in hand, ritualistically presenting to the audience homemade icons, or continually gesturing -- becoming in the process a modern-day shaman conjuring spirits -- that the brilliant and original magic of his work became stunningly apparent. To have witnessed a Hunt performance was thrilling, and to have seen him on a "good" night was to overhaul one's ideas about music and performance. His compositions display a number of interests: including theatrical/ritual work, visual images, and computer-assisted mathematical techniques. Hunt's pieces are grouped into families related by central, generating concepts and processes. These "cores" formed the bases for a number of "derivatives and transformations". For example, a 1972 commission from the Scottish Arts Council and the British Computing Society resulted in the use of a process called "Haramand Plane: parallel/regenerative" which was the source for the Cantegral Segment(s) series (1973-1978). Hunt worked as a composer for video and film production companies and as technical consultant for audio and video instrumentation companies. He was artist-in-residence at the Video Research Center in Dallas from 1974-77, and in recent years he devoted himself full-time to fulfilling commissions and working on collaborative projects with such people as visual artist Maria Blondeel (Gent), performance artist Karen Finley (New York), and composer and software designer Joel Ryan (Amsterdam). His work with Finley brought him into conflict with the National Endowment for the Arts (USA) and resulted in him becoming one of a number of litigants in a law suit against the then Director of the agency. While I have not encountered aural recordings of Hunt's work that fully convey the power of This double CD-set is the companion to the final book reporting on the activities of Het Apollohuis. The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera)