This submission takes the form of a) ten compositions written between 2001 and 2006; b) an 11 ,ODD-word commentary, and c) audio-visual documentation (one audio CD of .aiff files and one data CD of a .mov file (QuickTime». . The commentary is in interview format and discusses the following issues and topics representative of fi~ years of thought and research about composing: cliche, pastiche, critique, purity in musical modernism, informal process music, obfuscation, satire, absurdity, subverting constructs, modernism with inappropriate material, sampling, technological metaphors, information theory, redundancy, ambiguity of 'serious' and 'funny', locating musical meaning, 'overmodemism', violence, recognising 'the new', sequelae of established models, value judgments, politics an.d music, waking up the audience, contextual dissonance, theatre and comedy, performers under duress, recontextualising performance parameters, post-tonality, structure and form, Logic Audio, computer-driven music, the cover version, conceptually-driven music, regUlar phrase-lengths, repetition, instinctive behaviour, Eros and Thanatos, musical teleology, pleasure and pain, aesthetic differences between countries, aesthetics and morality, naivety and sophistication and speaking to the heart.