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.

I wanted to do with Antarctica was say let's hit the reset button on that and see what happens to your creative process. Let's go to the most remote place that you can imagine, set up a studio and see what music comes out of it.

To me, the imagination is the ultimate renewable resource.

I think science fiction and sound is a really interesting thing. You might as well think of it as sonic fiction.

When you're coming up with different ways of getting old memories to transform - you're scratching, you're doing all this kind of sampling - what ends up happening is that you're becoming a kind of writer with sound.

I'd say most of my work is just trying to make sense of the disorienting and overloaded world that we inhabit. We're bombarded with sound at every level.

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.