DJ Spooky Quotes

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.

I like the idea of it as a trickster motif. You know like you're kind of just messing around with people's memories of songs.

The easiest thing I can say is simple, but paradoxical in this era of total sampling: Be original.

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

My work is all about creating new paths for thinking about the possibilities inherent in all art; another world is possible!

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

The world is a very, very, very big record. We just have to learn how to play it.

In fact, if you look at the root word of phonograph it just means phonetics of graphology, phono-graph, writing with sound, so graphology. You know graffiti, same root word.

We live in a world so utterly infused with digitality that it makes even the slightest action ripple across the collection of data bases we call the web.

What I wanted to try and figure out was, okay, in contemporary 21st century life the alienation between the self and the land around you or the self and even the urban landscape. You name it.

The idea of a visual icon that gives you a sense of information very quickly and that you can easily just say "That's what the style is."

I'm talking like just the beauty, but at the same time to get people to realize that we should treasure it. Maybe visualize it, but leave it alone. A

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.

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.

First and foremost one, I was never planning on doing this as a long term, so Spooky, I was in college... It was a fun name. I thought it was you know just a fun thing

The name [Spooky] comes from well back in university I was doing a series of essays and writing about Sigmund Freud's idea of the uncanny and I was really intrigued by this idea of "The Unheimlich".

Now if you think about the 20th century and the idea of visual vocabulary the album occupies a really important space in the cultural landscape and, above all.

Try this experiment: one day go in a record store and just try and guess what the music sounds like by looking at the album cover.

I felt like on one hand the clarity of thought was amazing, but on the other we went during Antarctic summer, so the sun didn't set the whole time we were there.

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

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.

You know you don't really need the band or the singer/songwriter in the same way, so you look at everything as part of your palette.

Usually bands would make a song to record for an album, but what happens with the deejays you say "Well the album is everything we need. Thanks band. You can go away now."

So by the time the 60s rolled in that became a huge art form in its own right with bands like the Beatles and the Rolling Stones and Hendrix doing total concept albums, same thing with Pink Floyd.

I'm passionate about the fact that this world that we live on is a stunningly beautiful place we have despoiled at every level.

Our contemporary life is based on information that can change at any time.

I was never planning on being a musician. It's basically a hobby that sprawled out of control.

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.

To me, the imagination is the ultimate renewable resource.

Reality itself is [made up of] chance processes linked to sets of rules - this is what drives the world, the universe, and just about anything a human being can imagine.

I think that electronic music mirrors the complexity of "information landscapes." You carry the terrain in your mind.

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.

The most scarce resource we have these days is the idea.

Freud is usually viewed as the person who linked psychoanalysis to some issues in the environment, usually man-made. So I thought it would be fun to throw that in the mix.

You're only as good as your record collection.

I have to deal with some dumb folks. It's a real drag.

Sleep is crucial and I tend to find when the sun is shining I find it much more difficult to get that sense of sleep.

What I'm going for with the string arrangements for my Antarctic symphony is a pun here.

Whenever you play a song, you're basically playing with a lot of zeros and ones. These are Western compositional models that other cultures have explored in so many ways.

Antarctic symphony has a geometric relationship to the landscape. It's saying that this landscape and the minimal kind of, you know I'm talking like seeing ice, is visually kind of eerily minimal.

I'd say most of my work is just trying to make sense of the disorienting and overloaded world that we inhabit. We're bombarded with sound at every level.

I always said I acted like a twelve-year old, so I decided to write like a twelve-year old.

Liu pulled her behind him