I don't want to fool people. If I wanted to do that, I would be working with virtual reality. I want to operate on the other level, the other end of the illusion spectrum. I want to create the worst possible illusions so it doesn't really fool people, but instead give people a measure of their own belief. It makes them aware of how much they need to be fooled in order to understand the world around them.

I think that the development of any culture has something to do with the way people deal with the concept of illusion. The fact that the sound of my voice and the way I modulate it creates pictures in your head... in order for us to accumulate knowledge, we have to create symbolic exchanges that let ourselves be fooled temporarily by something that's not there - by a substitute for reality. When you talk about representation, you're talking about language.

Only in the 20th century, artists started taking the study of perception in a more humane way. They were thinking about the eye as being an instrument, the whole body as being a visual instrument. That sort of gave way a little bit with Cartesian­ - the "Cogito ergo sum" argument. It's not, "I think therefore I exist." It's, "I feel therefore I think therefore I exist."

I'm not creating art that starts with politics or starts with ethics. I feel I am a conceptual artist because my art is more concerned with epistemology than ethics or politics or even aesthetics.

The moment when one thing turns into another is the most beautiful moment. A combination of sounds turns into music. And that applies to everything.

I'm a student of media and I've always been one. I'm fascinated by the way we make the world around us based on pictures and how can we improve our perception of this picture world.

It's not about fooling somebody, it's actually giving somebody a measure of their own belief: how much you want to be fooled. That's why we pay to go to magic shows and things like that.