When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture.

I wanted to do is kind of invoke that and then dive into that kind of repetition as a DJ thing because DJing you hear beats, like "boom, boom, boom, bap, bap." You know hip hop, house, techno. So how do you translate between those electronic motifs and the motifs of the landscape itself? That is what I wanted to go for.

So, one, that DJ Spooky is a lot you know this sort of wilder persona and then Paul Miller is more of a nuts and bolts kind of person, meaning just making sure all these things work.

Antarctica is one of the most remote and beautiful places on earth. I don't think that everyone should go there. I also think that we need to respect it as a kind of a national park for the planet. It should be you know put in parentheses.

When you're coming up with different ways of getting old memories to transform - you're scratching, you're doing all this kind of sampling - what ends up happening is that you're becoming a kind of writer with sound.

I wanted to do with Antarctica was say let's hit the reset button on that and see what happens to your creative process. Let's go to the most remote place that you can imagine, set up a studio and see what music comes out of it.

When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.