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.

I think science fiction and sound is a really interesting thing. You might as well think of it as sonic fiction.

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.

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.

What I'm going for with the string arrangements for my Antarctic symphony is a pun here.

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.