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.

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 most scarce resource we have these days is the idea.

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.

Try this experiment, closing your eyes and navigating with your ears. It's eerie because walls, you can actually hear your footstep maybe bounce off of or you can feel the vibration of your voice and help that... use that to navigate.

Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point.

Freud is usually viewed as the person who linked psychoanalysis to some issues in the environment, usually man-made. So I thought it would be fun to throw that in the mix.