Working with dynamic tempo maps forces a disconnect from most of my compositional skill set -- many of the traditional compositional approaches and techniques do not map meaningfully to the space -- a new creation involves all the aspects of music not just the timemap space, but the timemap space demands a change in method for the composer. In Auditory Fiction, a fixed instrumentation that is not ideal to the primary software tool being developed (flute/clarinet/cello/piano) is also a big concern -- not uncommon problem in these kinds of productions.

• effective working environment for creation: align the mode of production and synchronous tool building with the actual process of creation/production of materials. Don't dive too deep into tool production until aspects are tested through practice. Test, develop and modify the working method and process in synchrony with the emerging software. A successful composition is integral and our collaborative needs of technology/creation typically fractionalize the process which contributes to a poor or compromised result.

• Existing models of successful asynchronous, polytemporal, dynamic temporal musics I am inspired by: Public bells (asynchronous time), Bali Javanese musics (dynamic tempomaps as norm), Campion pieces (tatum synchornized poly-tempos) .

• production time on this project is short -- one month (July 2010). This precludes extended testing and moves everyone right to the edge of the possible -- not uncommon problem in these kinds of productions.