Geography is crucial for my work. I went to Antarctica and took a studio to several of the main ice fields to make field recordings of ice to create a symphony - acoustic portraits of ice.

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

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.

Whales, for example, also navigate with sound, but they're now beginning to be beached because the ocean is getting too noisy. Weird things like that. I mean this is very real. Like, if you look at the satellites in the sky at night you know it's an eerie sense of we're.

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.

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.

We live in a world so utterly infused with digitality that it makes even the slightest action ripple across the collection of data bases we call the web.