I really like the idea of banality and repetition being used to generate the image, which are simple and unobstructed and not captivated by composition.

It might be David Adjaye talking about how the structure of jazz music informs his architecture, it might be the musician Terry Riley talking about how he thinks so much about cinema. I'd love to see more of a rupture between mediums and a flow between them.

You see someone like maybe William Eggleston. William doesn't even really talk about what he does; he just wants to make these images. He kind of hovers around a location and extracts these images.

What The Source becomes, in a physical sense, is almost like this particle accelerator. There's all these different, discrete voices and ideas. If you just saw two of them together perhaps it might seem completely diverse and like, "Why do you have these two people together?" But as it grows and as it speeds up, it kind of creates a larger dialogue.

In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that's making them

When you make work, the concept is the basis for it; all choices of aesthetics or mediums come later.

The compartmentalizing is so severe, that we kind of lose track. When you sit down to dinner with friends, you're going to talk about everything, sharing this polyphony of experiences, this spectrum of culture, and it's all cross-pollinating all the time.