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

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.

In my book "Sound Unbound" we traced the guy who actually came up with the main concept for the graphic design of the record cover sleeve. His name is Alex Steinweiss. And one of the things in my book that we really tried to figure out was the revolution in graphic design that occurred when people put images on album covers.

I usually am very specific about how I engage information, how I engage people, what context I'm engaging and, above all, the research that goes into each of those.

For me, DJ culture - with its obsession with collecting records and archiving everything - predated the "cloud" concept with primitive material like the mixtape. Now we would call it "collaborative filtering" or something technical, but the impulse is the same - gather fragments, make something new. That is how you will bypass the climate-change skeptics: render them totally obsolete.

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.

You know we're in a planet surrounded by certain kinds of frequencies and noise. The earth's magnetic sphere makes weird sounds. The sun you know the heart of our solar system makes noise. Even interstellar phenomena like black holes. You know people have studied them and a black hole can emit sound in like the range of 20,000 octaves below B flat.