There is a complexity and layering that goes on with this kind of thing, so the music is slightly repetitive and when I say repetitive it's in the same tradition as people like Steve Reich or Erik Satie or even WC.

You'll get this kind of psychological relationship to the imagery of the music, but that idea is translated to iPhone apps. It's translated to the small, you know, kind of icons on your computer. You name it.

So, one, that DJ Spooky is a lot you know this sort of wilder persona and then Paul Miller is more of a nuts and bolts kind of person, meaning just making sure all these things work.

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.

So he [Sigmund Freud] called this "the uncanny" and he also referred to cities as well, like the idea of walking through the city and the way the urban landscape could lead you to a sense of disorientation and to a kind of, you know, sense of repetition. And the way a city can unfold as you walk.

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.

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.