Now if you think about the 20th century and the idea of visual vocabulary the album occupies a really important space in the cultural landscape and, above all.

My work is all about creating new paths for thinking about the possibilities inherent in all art; another world is possible!

If I take that person and play them as a record I'm becoming not only a conductor and composer of collage, but at the same time I'm looking at a whole layer of what goes into copyright law, who owns those memories, who owns the way that that sound gets remixed and transformed and above all how much fun it is to actually just mess with other people's stuff.

Try this experiment, closing your eyes and navigating with your ears. It's eerie because walls, you can actually hear your footstep maybe bounce off of or you can feel the vibration of your voice and help that... use that to navigate.

Sound... if you look at bats you know that navigate with sonar, they're like you know they're very precise. They can even see a bat head towards a building and swerve away, but you'll see a bird that doesn't... you know smash right into a glass window. It's very funny.

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.

So the physicality of that and the just the sheer lack of urban noise and machinery - just the wind, the water and your breath, you know that kind of thing - it was pure poetry and you know I treasure that.