I was never planning on being a musician. It's basically a hobby that sprawled out of control.

Antarctica, one of the things that was so remarkable about it was that the ice itself is a kind of pure geometry, so say, for example, if I was facing someone wearing I don't know, a Joy Division t-shirt with the mountains on it or something like that.

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.

To me, the imagination is the ultimate renewable resource.

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.

On one hand you have a string quartet, which is not a symphony. On the other hand is you have me sampling them and making it sound like there is many more people playing, so the whole notion of, kind of, sampling applied to classical music is very intriguing to me because composers throughout history have borrowed motifs and quotes from one another.

I'd say most of my work is just trying to make sense of the disorienting and overloaded world that we inhabit. We're bombarded with sound at every level.