The Contemporary Classical Composer's Bullshit Generator

It is plainly obvious that the act of studying random mechanisms causes one to become graphic (and sometimes even stereophonic), which is why I deny this approach, preferring instead to simply develop critically. My work has been seminal in the development of 'non-linearly-theatrical electronic-music', a highly intellectual, and rather symmetrical genre. My aim is simple - to create all Stockhausenesque post-serial-noises, whilst simultaneously (and modernistically) modulating the idea of 'transdisciplinary-motif-colours'. Unlike traditional aerophones, I aim to develop textures, including a highly bitonal idiophone that arranges all notions of aesthetic hemiolas. The unifying features of my output include the re-perceiving of arts as an element within the passage-challenging process, and a constant use of the 'source-polyphony', in which digital chordophones generate meaning. It is clear that unique asymmetrical compositional approaches are often compromised by an over-abundance of popularly aesthetic notations, particularly when dealing with large numbers of multi-literal reverberations.