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.

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.

I wanted to do is kind of invoke that and then dive into that kind of repetition as a DJ thing because DJing you hear beats, like "boom, boom, boom, bap, bap." You know hip hop, house, techno. So how do you translate between those electronic motifs and the motifs of the landscape itself? That is what I wanted to go for.

For me, DJ culture - with its obsession with collecting records and archiving everything - predated the "cloud" concept with primitive material like the mixtape. Now we would call it "collaborative filtering" or something technical, but the impulse is the same - gather fragments, make something new. That is how you will bypass the climate-change skeptics: render them totally obsolete.

So sound art I'm always intrigued with how little we use of other senses and we just prioritize the eye and you just want to see everything and navigate. You know the art world is similar. Like I wish people would use their ears a lot more.

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.

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.