Musically, Nono began to experiment with the new sound possibilities and production at the in Freiburg. There, he devised a new approach to composition and technique, frequently involving the contributions of specialist musicians and technicians to realise his aims. The first fruits of these collaborations were "Das atmende Klarsein" (1981–82), "Diario polacco II" (1982)—an indictment against Soviet Cold War tyranny—and "Guai ai gelidi mostri" (1983). The new technologies allowed the sound to circulate in space, giving this dimension a role no less important than its emission. Such innovations became central to a new conception of time and space. These highly impressive masterworks were partly preparation for what many regard as his greatest achievement.