The Sónar 2000 programme offers a whole variety of ways of approaching a similar idea with a marked tendency towards abstraction. The result is a scan of the present state of the sound art underground that goes beyond currents and tendencies to reveal the individual modus operandi of each of the artists taking part. From the manipulation of samplers and decks to the use of pedals and classic effects; from the processes of software to the resynthing of sound and image; from the diversity of sound sources on record to ambient recordings, these worlds of sound abstraction are configured.