Taking my installation from 2012, The Workshop at the Back of the Barracks, this paper discusses how my reflections on this piece influenced the development of the five subsequent electroacoustic chamber compositions. During the installation the acoustic sound materials, that is, the movements and gestures of the visitors interacting with this installation, became embedded into an ongoing automated live electronic stream of sound. This embedding created what I call alternative audio images of the movements and gestures, something more than the creation of 1-plus-1electronic processing relationships. Similarly, the acoustic materials for each of the chamber pieces were created through a series of simple reinterpretations of standard notation made during the compositional process. These reinterpretations were analogous to the parameter value shifts that produced the live electronic streams. Following some introductory remarks and a description of the installation, the original performance instructions and scores for each of the subsequent chamber pieces are presented. In addition, the main elements of the source acoustic materials for each piece and their principle reinterpretations are described. Further, each chapter includes a description of the autonomous live electronic streams that the chamber musicians - performing the reinterpreted acoustic materials - became embedded into, and the alternative audio images, which were also produced by this embedding.