So yeah, how do I think of my environment and what happens with sound art? I love to play with the idea of elusive and intangible things. That could be psychological. It could be perceptual. It could be just the way your ears help you just navigate around.

I'd say most of my work is just trying to make sense of the disorienting and overloaded world that we inhabit. We're bombarded with sound at every level.

There is a complexity and layering that goes on with this kind of thing, so the music is slightly repetitive and when I say repetitive it's in the same tradition as people like Steve Reich or Erik Satie or even WC.

I've tended to find that myths of the near future give people the ability to really kind of explore the present, so say for example if look at William Gibson and his book Neuromancer or if you look at J.G. Ballard or Samuel Delaney those are probably three of my favorite writers in that genre.

I felt like on one hand the clarity of thought was amazing, but on the other we went during Antarctic summer, so the sun didn't set the whole time we were there.

I think record cover sleeves really led towards, but at the same time the album as we know it didn't come into being until mainly after the Second World War because record labels realized they'd be able to make a lot more money putting all the singles of an artist onto one album and selling the whole album as a kind of a concept.

In fact, if you look at the root word of phonograph it just means phonetics of graphology, phono-graph, writing with sound, so graphology. You know graffiti, same root word.