So recently I’ve been more aware of the need to consider the point at which I intervene to make the piece. I am trying to find the most efficient way of presenting the material to allow the idea to be realised, but without including any arbitrary choices. This seems to involve removing information about sounds in particular, and on occasion ways of dealing with time. On the whole this seems to work for the pieces I am making at the moment, where a process or activity is at the heart of the work, or where there is something specified which shapes the production of sound such that anything within the range of possible sounds that could be produced is acceptable. I wonder if this enough though. Is acceptable really sufficient? At the back of my mind I still have this notion that what I do as a composer should involve making scores and specifying sounds with respect to time. My job is, supposedly, to show masterful control of my material to produce novel sonic effects. I guess I could try to do that, but it comes down to specifics again. The quality of a sound or its context can be controlled in fairly specific ways, whilst retaining a wide degree of choice. All sustained sounds lasting over thirty seconds have something in common, as do all extremely high sounds, or those on the edge of audibility. I think it’s these generic characteristics which are most useful for me as parameters now as it removes the minutiae and irrelevance of decision-making. The general provides specificity, more so than the assumptions inherent in the precise.