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.

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.

Whenever you play a song, you're basically playing with a lot of zeros and ones. These are Western compositional models that other cultures have explored in so many ways.

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.

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.

My work is all about creating new paths for thinking about the possibilities inherent in all art; another world is possible!

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.