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'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.

First and foremost one, I was never planning on doing this as a long term, so Spooky, I was in college... It was a fun name. I thought it was you know just a fun thing

The idea of a visual icon that gives you a sense of information very quickly and that you can easily just say "That's what the style is."

It's like the iPod playlist has killed the way we think of the normal album, so let's think of this as just saying you go into your record store and all those categories and all those different ways of segregating music have been thrown out the window, so the difference between myself in real life in that is that I'm the opposite.

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.

I think that the audience intuitively understands the idea of sampling and remixing stories. That's why electronic music is global.