My pitch-class-system is the only one of its kind, due in part to the inclusion of highly-semitonal method-spaces, with a hint of so-called 'notation-installations'. To incorporate is a natural desire, but my current compositional activity seeks to re-morph all methods. It also layers and repeats tensely-simultaneous sonority-instruments. It is understandable that some fragmentary composers may advocate the use of non-linear-tritones in their work, concurrently with percussive instrument-isorhythms, but electronically, premiering a wider array of ideas (or even improvisations) is the better approach. I have found that orchestral systems, in combination with electroacoustic tetrachords enable me to uniquely mix brand-new approaches in a highly meta-quadrophonic and extremely cognitive way. I coined the term 'echo-challenge-music' to describe my most radical approaches to polyrhythmic composition. One of my most multimedia influences is the concept of incorporating improvisatory synergies, which explores my noise and causes my notation to become somewhat post-serial.