The following commentaries will examine my recent music from both technical and aesthetic viewpoints, focusing in particular on my exploration of both harmonic permutation fields and polyrhythmic space, and the various ways in which these have been used to create harmonic/temporal networks as raw material for composition. Whilst investigating the development and subsequent interactions of these two techniques, the commentary will also consider how this approach has evolved organically from the desire to create pre-compositional material which is both flexible and simple to define, but which also has the potential for diverse compositional outcomes, providing the composer a rich seam of material to work during the compositional process. In the interest of clarity, we will consider the harmonic and temporal aspects of my approach separately in sections 2.0 and 2.1, respectively, leaving section 2.2 to outline a more unified conception of working methods which have resulted from this research, building on the ideas presented previously.