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.

You're only as good as your record collection.

With multimedia, everything blurs. Software takes the concept of the imagination and makes it something you can edit, tweak, and transform with digital techniques. Everything becomes an edited file.

What I wanted to try and figure out was, okay, in contemporary 21st century life the alienation between the self and the land around you or the self and even the urban landscape. You name it.

You know, in the sentence of humanity this place needs to be a parentheses. And when I say parentheses I mean I'm talking like you go around it. Leave it alone. Let it exist. And what I want people to see with this film is not only a respect for this place from the bottom of my heart.

Phonetics, you know speech, all this kind of stuff, phonograph, simple, but when you unpack the meaning it actually kind of expands out and that is what I was going for in my book "Sound Unbound" was to try and get people to figure out how do we unpack some of the meanings that go into these kinds of sonically coded landscapes.

The most scarce resource we have these days is the idea.