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 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.

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.

Antarctica, one of the things that was so remarkable about it was that the ice itself is a kind of pure geometry, so say, for example, if I was facing someone wearing I don't know, a Joy Division t-shirt with the mountains on it or something like that.

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.

Music, art, and literature are inseparable for me. How does "composition" evolve in a music and art context? It's a question we can never answer: it only asks for more information and generates more questions.

Most people walk around with headphones on. They're barely encountering or dealing with their fellow person, or if they're in a car they're in this kind of cocoon, stuck in suburban rush hour traffic or something.