I like the idea of it as a trickster motif. You know like you're kind of just messing around with people's memories of songs.

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.

You know you don't really need the band or the singer/songwriter in the same way, so you look at everything as part of your palette.

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.

When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture.

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

There is a complexity and layering that goes on with this kind of thing, so the music is slightly repetitive and when I say repetitive it's in the same tradition as people like Steve Reich or Erik Satie or even WC.