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.

Phonetics, you know speech, all this kind of stuff, phonograph, simple, but when you unpack the meaning it actually kind of expands out and that is what I was going for in my book "Sound Unbound" was to try and get people to figure out how do we unpack some of the meanings that go into these kinds of sonically coded landscapes.

With multimedia, everything blurs. Software takes the concept of the imagination and makes it something you can edit, tweak, and transform with digital techniques. Everything becomes an edited file.

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.

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.

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.

So by the time the 60s rolled in that became a huge art form in its own right with bands like the Beatles and the Rolling Stones and Hendrix doing total concept albums, same thing with Pink Floyd.