The Contemporary Classical Composer's Bullshit Generator

Except in rare cases (for example, when you are re-layering a particularly theoretical set of procedures), contemporary composers of 'fundamental-music' should avoid the use of synergies. I build upon the so-called 'phrases of resonant interactions', and transform them into what I term 'digital-cognitive echo-installations', which I see as a distinct improvement. My work is primarily concerned with site-specific sound. The unifying features of my output include the re-arranging of spaces as an element within the motif-orchestrating process, and a constant use of the 'improvisation-platform', in which complex patterns generate meaning. My most personal composer always features strongly in any of my stereophonic compositions. Recently, I have started to embrace instrumentations as a strongly-electroacoustic alternative to established forms of site-specific module-dyads, which has made my work post-Schoenbergly melodic.