So sound art I'm always intrigued with how little we use of other senses and we just prioritize the eye and you just want to see everything and navigate. You know the art world is similar. Like I wish people would use their ears a lot more.

So Bach, Beethoven, Duke Ellington, Thelonius Monk, these are all people who would sort of rearrange or take riffs from people. Same thing with rock, if you look at the Rolling Stones doing a cover of Otis Redding or you know if you look at literature James Joyce is pulling fragments of text from other people.

When you say what is the difference between me and my stage name the idea is that as a musician you always think of yourself as inhabiting a certain cultural space in the kind of a cultural landscape, so when I say cultural space what I mean to imply there is that you exist within certain parameters of how people think of culture.

I usually am very specific about how I engage information, how I engage people, what context I'm engaging and, above all, the research that goes into each of those.

I think science fiction and sound is a really interesting thing. You might as well think of it as sonic fiction.

I think that the audience intuitively understands the idea of sampling and remixing stories. That's why electronic music is global.

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.