The easiest thing I can say is simple, but paradoxical in this era of total sampling: Be original.

I've tended to find that myths of the near future give people the ability to really kind of explore the present, so say for example if look at William Gibson and his book Neuromancer or if you look at J.G. Ballard or Samuel Delaney those are probably three of my favorite writers in that genre.

Downtown New York, I'm within certain styles of music and I'm also within certain cultural, you know, and literary context. So DJ Spooky was meant to be a kind of ironic take on that. It was always meant to be kind of a criticism and critique of how downtown culture would separate genres and styles because it was ambiguous. You couldn't fit it into anything and that was the point.

We live in a world so utterly infused with digitality that it makes even the slightest action ripple across the collection of data bases we call the web.

First and foremost one, I was never planning on doing this as a long term, so Spooky, I was in college... It was a fun name. I thought it was you know just a fun thing

So by the time the 60s rolled in that became a huge art form in its own right with bands like the Beatles and the Rolling Stones and Hendrix doing total concept albums, same thing with Pink Floyd.

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.