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.

Phonetics, you know speech, all this kind of stuff, phonograph, simple, but when you unpack the meaning it actually kind of expands out and that is what I was going for in my book "Sound Unbound" was to try and get people to figure out how do we unpack some of the meanings that go into these kinds of sonically coded landscapes.

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.

With multimedia, everything blurs. Software takes the concept of the imagination and makes it something you can edit, tweak, and transform with digital techniques. Everything becomes an edited file.

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.

And when I say permanent afternoon, you know, I’m talking like crystal clear, crispy blue sky. All the sudden you didn’t need to sleep as much because it just was difficult. And how that translated into my creative process I still am not quite sure, but it made my relationship to sleep a kind of abstract you know bizarre…

I'm passionate about the fact that this world that we live on is a stunningly beautiful place we have despoiled at every level.