This dissertation offers an analytical and ontological insight into my compositional method and creative process. Focusing on three compositional projects produced at UCSD between 2018 and 2020, this dissertation details the synthesis of acoustic and electronics components utilized in my work. Giving special emphasis on the exploration of the facilitation of technology, and annotating the creative journey embarked upon through collaboration, this dissertation outlines the stages of creative process; from the initial creation of a work, to the final presentation of a composition. Structured into three distinct chapters, each chapter provides a detailed analysis of an individual composition with the main principles discussed within each chapter relating to my compositional process. Common themes seen throughout each chapter are concerned with granularity, sound sculpting, and spatialization. Through this dissertation I endeavor to provide detailed explanations of each of these techniques and how they are incorporated into my work. This dissertation is primarily about exploration and intuition. Through unpacking the elements of my compositional practice, I have endeavored to embark on new sonic terrain, situating my work not only within the boundaries and traditions prevalent in Western Art Music, but as an attempt to also expand the compositional dichotomy of acoustic and electronic mediums.