NEW ground will be broken by the Discovery Series when the Philip Glass Ensemble accompanies live screenings of the silent films Koyaanisqatsi (Life out of Balance) and Powaqqatsi (Life in Transformation) at the Arts Festival. America's acclaimed contemporary music personality Philip Glass wrote award-winning scores for the films, which were shot in locations all over the world, including Hong Kong, to help emphasise global unity. They effectively contrast man-made urban life with the ordered natural world. The scores blend Western melodies with pounding native rhythm. Koyaanisqatsi is an unconventional work conceived by Godfrey Reggio in 1974 as a non-verbal film to integrate images, ideas and music. Together with Glass and cinematographer Ron Fricke, Reggio completed his monumental project to see it voted one of the best films of 1983, winning the Audience Award for Best First Feature at Filmex, while Glass' score was voted Best Original Film Score by the Los Angeles' Film Critics. The film was also named Best Film at the Sao Paulo Film Festival; won the Critics' Award at the Lisbon Film Festival, and the Grand Prize and the City of Madrid award at the Madrid Film Festival. Koyaanisqatsi - almost to be mirrored by the Hong Kong Arts Festival - sold out for its two performances at the Avery Fisher Hall in 1985. Powaqqatsi, the second part of Reggio's trilogy, bears some obvious resemblance to Koyaanisqatsi, as both are without plot or dialogue and both are scored by Glass. With a more global view, this second work focuses on the negative transformation of land-based, human-scale societies into technologically-driven, urban clones. It shows how ''progress'' is luring more and more people into a pattern of meaningless consumption in place of real values. Of the work, Reggio said: ''Powaqqatsi is an impression, an examination of how life is changing. Audiences are free to make their own conclusions. The film emphasises our unanimity as a global community.'' To research and develop the score, Glass went to Peru, Brazil and west Africa and chose to use many indigenous instruments integrated with African, Latin, Indian and Middle Eastern rhythms.