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.

The most scarce resource we have these days is the idea.

Geography is crucial for my work. I went to Antarctica and took a studio to several of the main ice fields to make field recordings of ice to create a symphony - acoustic portraits of ice.

All the major social movements of the 20th century had great soundtracks - We need that. The left needs better propaganda, because we don’t have the Koch brothers. It takes a different kind of capital to fight that stuff.

You know, in the sentence of humanity this place needs to be a parentheses. And when I say parentheses I mean I'm talking like you go around it. Leave it alone. Let it exist. And what I want people to see with this film is not only a respect for this place from the bottom of my heart.

What I wanted to try and figure out was, okay, in contemporary 21st century life the alienation between the self and the land around you or the self and even the urban landscape. You name it.

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.