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Sound studies. Intrusion into the sound of each instrument. The instrument as an orchestra.
Graphical notation. attempts of notation to the diversification of an instrument in "partial instruments."
"dimensioning" of techniques for sound initiation of a phrase. This forces on a selection of the actual sound from a potential sound space. Forced improvisation; by "dimensioning" an "underdetermination" of the factual is achieved.
"Deep structures": develop a sound field after structural criteria without regard of the actual time: this structure is like an (platonic) "idea", which can not be realized in time. "Time structures" are also made: they are time-related and show no timeless entity, they are more like sound "hoses," in where a sound may move along but cannot escape.
Modality by a thirteen-toned scale. Microtonality often required.
All works underlie a structure, from which both time structuring (metric, rhythm ...) as well as harmony and timbre space, the number of instruments and length of a piece can be determined. This thirteen-linked formation is purely formal in nature and can be applied on any category.
"Dark light" mystagogy: sound development between antipodean sound spaces as rough - soft, clean - very noisy, soft - hard, shrill - reassuring, etc.
"Disritualization": cognition is recognition: prevention of recurrence (recognition) enables (anti-) structures without evidence for the structure-spoilt ear. "Ritualization" is enabling repetition/recognition /detection of structural islands in the volatile time. These elements play a crucial role: according to their "rhythmic" or unbalanced distribution in a piece, the impression of satisfied settlement or distraught searching for a halt in the time stream. These structural "ideas" antagonistically determine a higher level of the rhythm of my music.

Roland Faber 1996