When I was a kid, I looked at art as a way of blending everything. One of my favorite composers is Wagner - who coined the term "gesamtkunstwerk," or "total art work." That's what was going on in the 19th century, and the 20th century just kept it going.

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.

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.

I think that electronic music mirrors the complexity of "information landscapes." You carry the terrain in your mind.

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.

Most people walk around with headphones on. They're barely encountering or dealing with their fellow person, or if they're in a car they're in this kind of cocoon, stuck in suburban rush hour traffic or something.

Antarctic symphony has a geometric relationship to the landscape. It's saying that this landscape and the minimal kind of, you know I'm talking like seeing ice, is visually kind of eerily minimal.