Minton, Dresser, and Hemingway recorded separate improvisations with no instruction from Ostertag; using the earliest digital audio workstation software, Ostertag blew up the recordings into fragments which he stitched back together as ensemble compositions, which was released as Say No More in 1993, again using art by Wojnarowicz on the cover. Ostertag then gathered the musicians and, using the computer recording as a "score," rehearsed and toured the music, eventually recording a live performance which was released in 1994 by ORF Radio as Say No More In Person. Ostertag then took that recording, blew it up, and put the pieces back together in a new composition released in 1996 as Verbatim, a live performance recording of which was released in 2000 as Verbatim Flesh & Blood. The All Music Guide states, "With Say No More, Ostertag elevated the sampler to the rank of musical instrument and gained recognition as a true visionary that cannot be ignored. The border between free improvisation and musique concrete will never be the same. Any serious fan of avant-garde music needs to hear this, one of the rare avant-garde albums where the relevance of the artistic argument equals the relevance of the result." In 2012 Ostertag developed this method of composing with fragments of recorded improvisations further with A Book of Hours. Commissioned by WDR 3 open: studio akustische kunst in Köln, the work was a collaboration with Theo Bleckmann, Shelley Hirsch, and Phil Minton (voice), and Roscoe Mitchell (reeds). The British music magazine The Wire said A Book of Hours delivered “the sophisticated and earnest best of what experimental music always offers but rarely delivers. 50 minutes of thought, weirdness, and formal precision.” Of all Ostertag's project, perhaps the most unlikely was PantyChrist, a completely improvised trio featuring Tokyo-based DJ and guitarist Otomo Yoshihide and transgender cabaret icon Justin Vivian Bond. At the end of the 1990s, Ostertag combined his music and multi-media work with his international journalism in the creation of Yugoslavia Suite, his reaction to the civil wars that broke up former Yugoslavia. His journal of his harrowing concert tour of Yugoslavia Suite in ex-Yugoslavia shortly after the fighting ended was published first as a cover story of The Wire, and then included in his book Creative Life: Music, Politics, People, and Machines. In 2000, Ostertag began a twelve year collaboration called Living Cinema with Quebecois film maker Pierre Hébert. Using a