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.

Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point.

The planet isn't improvising, it's creating dynamic tensions between complex living systems in a planetary choreography, a balancing act between physical, chemical, biological, environmental, and human components.

Whenever you play a song, you're basically playing with a lot of zeros and ones. These are Western compositional models that other cultures have explored in so many ways.

I'm talking like just the beauty, but at the same time to get people to realize that we should treasure it. Maybe visualize it, but leave it alone. A

Whales, for example, also navigate with sound, but they're now beginning to be beached because the ocean is getting too noisy. Weird things like that. I mean this is very real. Like, if you look at the satellites in the sky at night you know it's an eerie sense of we're.

I have to deal with some dumb folks. It's a real drag.