Hey, thanks 
Im aware of the work of trevor wishart and his use of waveset transformations and also of curtis roads writings on microsound and electronic composition where you would divide time in micro, meso and macro time. You can already find this in stockhausens kontakte and his famous essay how time passes by.
In this piece you can for example hear the continuous transition between rhythm and tone in one of its freely improvised electronic parts (min 16:50 - 17:55).
This idea of organising music across multiple time scales came to new live with the nuPG lately and was also presented in this talk by marcin pietruszewski.
I think its difficult for a lot of people to translate these lower levels of organisation like synthesis (microtime) and patterns (mesotime) into musical form which is the essence of composition and i havent seen any good examples in SC which are doing that. For some people sonification seems to work, but i often times find this only conceptually appealing but not perceptually appealing. I think there is no shortcut.
If you want to be an author, painter composer etc. you have to know what others have written, painted or composed, so you can place your own upbringings in the historical context of art. What is of interest to me is how one would then at some point formulate own ideas instead of pure imitation.
In this thesis by Peter Hoffmann which deals with Xenakis - Gendy3 he is defining Explicit Computer Music like this:
This attitude, put forward by some computer music composers aims at creating music which is specific
to machines, stressing the computational aspect in its composition, by
using rigorous formalisms, machine sounds which have no equivalent in
Nature, and by conceptualizing and problematizing the use of computers
in music.
instead of Disguised Computer Music which he defines like this:
This majority trend in computer music strives at emulating human music making by computers, e.g.
by using Artificial Intelligence, Expert Systems, Neural Networks, Psy-
choacoustics, and Cognitive Sciences. These people want the machines to
do what humans do. Humans are supposed to appreciate the machine’s
artifacts within their inherited cultural framework.
Already in the post war era old musical forms like the sonata which are not only based but can only exist within tonal harmony have been abolished and timbre with its negative definition (everything which is not pitch or amplitude) has been the main interest in composition.
I think one key concept of creating musical form within this Explicit Computer Music definition is to make gradual transitions of musical parameters across multiple time scales.
The setup which im currently using for composition and which i have explained in detail above solves some of these issues but not in the best way i can imagine. Interestingly enough because it does not work with audio rate triggers, one could not use it for the continuous transition between rhythm and tone like in stockhausens kontakte.