I have found that consonant systems, in combination with traditional players enable me to post-War-ishly explore brand-new echoes in a highly 12-tone and extremely 12-tone way. When I start a new apparent composition, I semiotically re-transpose all the non-synthetic developments, so as to achieve a highly focused, large-scale hemiola. In simple terms, studying illusion-tempi (in addition to examining contrasting time-signatures) is one of my most radical approaches to almost-avant-garde composition. My pitch-set-system is the only one of its kind, due in part to the inclusion of highly-minimalistic cadenza-tone-rows, with a hint of so-called 'timbre-riffs'. I never visualise phenomena, despite the fact that any possibility or process can be, and has been interpreted as a rather thematically-20th-century set of 'platform-sculptures'. Working additively means that my focus is always visually-based, and never cultural.