If you don't understand the past, the future won't make much sense either.

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.

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.

If I take that person and play them as a record I'm becoming not only a conductor and composer of collage, but at the same time I'm looking at a whole layer of what goes into copyright law, who owns those memories, who owns the way that that sound gets remixed and transformed and above all how much fun it is to actually just mess with other people's stuff.

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.

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…

Sound... if you look at bats you know that navigate with sonar, they're like you know they're very precise. They can even see a bat head towards a building and swerve away, but you'll see a bird that doesn't... you know smash right into a glass window. It's very funny.