suburban streets) along with snippets of text relating to the nature of place and space in music, the booklet also includes an introduction written by Charles Douglas [168] , who describes the music as "sound that frames space and the landscapes that inspired them". [169] Although the music that Douglas refers to is more ambient than dance, his description is also applicable to 'Electric Earth Pt 1' and 'Pt 2'. Unlike the music for 'Hine e Hine', which represents the culture of Aotearoa in only the most naively reductive terms, here the framing of space and place suggests the convergence of the many different sounds and rhythms that make up everyday life in New Zealand, from the natural ambience of dawn to the heightened sense of industry present in the intricate rhythms of the main 'movement' of 'Pt1' to the mellower, more organic rhythms of 'Pt 2'. As such, it achieves what Attali describes as one of the functions of music, to "make audible the new world that will gradually become visible, that will impose itself and regulate the order of things; it is not only the image of things, but the transcending of the everyday". By representing in music the various sounds connected to both time and space, 'Electric Earth', in its many mutations, can be shown to achieve a sense of New Zealandness that represents New Zealand's place in the new world. Landscaping the Future: Where to Next? Whether New Zealand music will continue to represent a distinctive