My goal for this was to create a work that could be heard and analyzed in a variety of different approaches and the only way I could attain this honestly was through form. It is how I start nearly every piece: mapping out proportions, durations, and relations. The title comes from a quote by Canadian painter Joseph Plaskett regarding cubism, "Cubism came about because, in the process of analyzing form, something that lay in the form, a plane, could be lifted out to float on its own..." Without diving into the minutia of the organization, there are some aspects of special note.

The odd movements (1, 3, 5, 7, 9, 11) make up a Baroque dance suite and are monothematic. The theme, obscured a bit at first, shows itself in its purest form in the Sarabande (mvmt. 7, starting in m.777 in alto flute and moving to flute).

The even movements (2, 4, 6, 8, 10) make up a five-movement symphony with an overall symmetrical relation. The second theme of the Sonata-Allegro (mvmt. 2) becomes the  ritornello for the Rondo (mvmt. 10). The subject for the Fugue (mvmt. 8) is a retrograde of the ground bass in the Passacaglia (mvmt. 4). The Scherzo (mvmt. 6) is the most independent movement in the entire work, which is why it is placed in the center. It is a palindrome, mirroring itself at the division of the 8th-note (so that off-beats become down-beats and vice-versa).

Range is also an important organizational tool. The work opens with its widest range (E1-E7) and narrows, movement by movement until it converges on a single pitch (E4) in the middle of the Scherzo (and the center of the entire work). From there, it gradually widens until the end, where it nearly reaches the vastness of the beginning (G1-E7).
The most important goal, however, was to create a substantial and enjoyable piece of music.