So the physicality of that and the just the sheer lack of urban noise and machinery - just the wind, the water and your breath, you know that kind of thing - it was pure poetry and you know I treasure that.

Whenever you play a song, you're basically playing with a lot of zeros and ones. These are Western compositional models that other cultures have explored in so many ways.

Try this experiment: one day go in a record store and just try and guess what the music sounds like by looking at the album cover.

Sleep is crucial and I tend to find when the sun is shining I find it much more difficult to get that sense of sleep.

So yeah, how do I think of my environment and what happens with sound art? I love to play with the idea of elusive and intangible things. That could be psychological. It could be perceptual. It could be just the way your ears help you just navigate around.

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.

I wanted to do is kind of invoke that and then dive into that kind of repetition as a DJ thing because DJing you hear beats, like "boom, boom, boom, bap, bap." You know hip hop, house, techno. So how do you translate between those electronic motifs and the motifs of the landscape itself? That is what I wanted to go for.