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.

The most scarce resource we have these days is the idea.

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

Reality itself is [made up of] chance processes linked to sets of rules - this is what drives the world, the universe, and just about anything a human being can imagine.

So he [Sigmund Freud] called this "the uncanny" and he also referred to cities as well, like the idea of walking through the city and the way the urban landscape could lead you to a sense of disorientation and to a kind of, you know, sense of repetition. And the way a city can unfold as you walk.

On one hand you have a string quartet, which is not a symphony. On the other hand is you have me sampling them and making it sound like there is many more people playing, so the whole notion of, kind of, sampling applied to classical music is very intriguing to me because composers throughout history have borrowed motifs and quotes from one another.

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.