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.

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.

DJ culture is all about collage - sampling, splicing, dicing - everything is part of the mix, and there are no boundaries between sound sources. When you apply the same logic to the environment, there's a lot of room for mapping sampling techniques to the environment itself.

When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.

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.

Watching 40 mile chunks of ice break off of Antarctica will change your life forever, but realizing that driving a car, or flying a plane, or having a nice steak, or drinking from a plastic bottle all contributed to the destruction of the environment - it's a bit complex, but music needs to pave the way for getting people to think about this kind of complexity. I'm just doing my share.

So sound art I'm always intrigued with how little we use of other senses and we just prioritize the eye and you just want to see everything and navigate. You know the art world is similar. Like I wish people would use their ears a lot more.