The second law of thermodynamics, the law of entropy, tells us that events naturally progress toward chaos, and not from chaos to order. This concept is sometimes referred to as the arrow of time, and is used as a premise in arguing that reverse time travel is impossible.

Reverse Entropy is the depiction of violating the second law of thermodynamics. The piece reaches maximum entropy, or chaos, at its climax, and then reverses back into tonal stability. This climax is quite literally a mathematical equation, using cyclic permutation groups in group theory to create an auditory illusion, giving the impression of increasing sequences but which are not truly going anywhere.

A second illusion, this one a contextual-tonal illusion, occurs at the end with high notes that sound like a repeat of the same tone, while in fact, the last note is lower but sounds the same due to contextual confusion.

While the music depicts the violation of this physical law, in the end, the law of physics prevails with a final low note, suggesting entropy's return.

This composition has two main facets: one is programmatic (meaning that it depicts something), and the other is mathematical in nature. Programmatically, it tells the story of a visionary who manages to break the law of entropy and reverse time travel. This is depicted at the middle of the development section, the point of maximum entropy, at which point the chaotic and atonal music begins to reverse into something more organized. However, in the end, there is the realization that the line of possibility has been blurred and there is no recourse from oblivion.

Philosophically, the concept of existentialism is a predominant feature. The primary theme is a concise statement of individualism, which combats the progressing polyphony within the music, which alternates the number of measures for each theme and section.

The highlight, however, is the mathematical aspect of the piece. At the point of maximum entropy, the composition loses all tonal reference. Here is an auditory illusion, an effect that makes the music seem to be going in a certain direction, but in reality, is not.

This was created using permutation and cyclic groups in group theory. In a cyclic group, there is an element called the generator element, which generates the entire group under the group operation (often addition or multiplication). For example, for the group 0, 1, 2, and 3, with addition as its operation, 1 and 3 are both generators. This is because 1 + 1 gives us 2. 2 + 1 gives us 3. 3 + 1 gives us 0 since there is no 4 in the group and so we cycle back to the beginning under modular arithmetic, and have generated all the group elements. Similarly, both the chromatic scale and circle of fifths are generator elements of musical intervals. As a permutation group, the symmetrical harmonies employed within the music reflect the trigonal planar structure of compounds such as alkali borate, since the primary harmonic device employed is the augmented triad, which symmetrically divides the group of 12 chromatic notes just as the equilateral triangle divides the regular dodecagon. This augmented harmony is overlapped with other augmented harmonies along with chromatic alterings, and is then inverted (the equivalent of a group permutation).