The world is a very, very, very big record. We just have to learn how to play it.

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.

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.

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.

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.

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

So Bach, Beethoven, Duke Ellington, Thelonius Monk, these are all people who would sort of rearrange or take riffs from people. Same thing with rock, if you look at the Rolling Stones doing a cover of Otis Redding or you know if you look at literature James Joyce is pulling fragments of text from other people.