What I'm going for with the string arrangements for my Antarctic symphony is a pun here.

Antarctic symphony has a geometric relationship to the landscape. It's saying that this landscape and the minimal kind of, you know I'm talking like seeing ice, is visually kind of eerily minimal.

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.

It's strange to think that culture is simply a matter of millions of files flying around, but we now think in terms of networks for everything.

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.

One of the main things that differentiates them [artists of 70s] from artists before is that they made albums based on the fact that they didn't care about the band as a thing in its own right. They cared about manipulating the recording and that became the album.

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.