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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.

DJ Spooky

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DJ Spooky
Age: 54
Born: 1970
Born: September 6
Composer
Disc Jockey
Musician
Record Producer
Washington
District of Columbia
Paul D. Miller
That Subliminal Kid
Would
Usually
Men
Environment
Fun
Issues
Freud
Thought
Psychoanalysis
Persons
Viewed
Person
Linked
Made
Throw

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I have to deal with some dumb folks. It's a real drag.
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The easiest thing I can say is simple, but paradoxical in this era of total sampling: Be original.
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Sampling is a new way of doing something that’s been with us for a long time […] The mix breaks free from the old associations. New contexts form from old. The script gets flipped. The languages evolve and learn to speak in new forms, new thoughts. The sound of thought becomes legible again at the edge of the new meanings.
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Randomness has an incredibly powerful place in our culture. If you think about it, you can see it driving the algorithms that run our information economy, patterns that make up the traffic of our cities, and on over to the way the stars and galaxies formed.
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You know we're in a planet surrounded by certain kinds of frequencies and noise. The earth's magnetic sphere makes weird sounds. The sun you know the heart of our solar system makes noise. Even interstellar phenomena like black holes. You know people have studied them and a black hole can emit sound in like the range of 20,000 octaves below B flat.
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You're only as good as your record collection.
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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.
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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.
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You know, in the sentence of humanity this place needs to be a parentheses. And when I say parentheses I mean I'm talking like you go around it. Leave it alone. Let it exist. And what I want people to see with this film is not only a respect for this place from the bottom of my heart.
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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.
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I'm passionate about the fact that this world that we live on is a stunningly beautiful place we have despoiled at every level.
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Music, art, and literature are inseparable for me. How does composition evolve in a music and art context? It's a question we can never answer: it only asks for more information and generates more questions.
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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.
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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
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My work is all about creating new paths for thinking about the possibilities inherent in all art another world is possible!
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It's an essay that Sigmund Freud wrote about E.T.A. Hoffman's short story called The Sandman where someone mistakes an inanimate object for a living, breathing human being. And one of the things that Sigmund Freud really felt was that in modern life people assign qualities to objects around them that may not exist there whatsoever.
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Whales, for example, also navigate with sound, but they're now beginning to be beached because the ocean is getting too noisy. Weird things like that. I mean this is very real. Like, if you look at the satellites in the sky at night you know it's an eerie sense of we're.
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What I'm going for with the string arrangements for my Antarctic symphony is a pun here.
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I can only wonder what astronauts must feel like or something like that when you're really in the space of silence and you are feeling and breathing in a way that you're really aware of your muscle and bone and the breath and the body and the movement and all of those things that just you take for granted in the urban landscape.
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So yeah, how do I think of my environment and what happens with sound art? I love to play with the idea of elusive and intangible things. That could be psychological. It could be perceptual. It could be just the way your ears help you just navigate around.
DJ Spooky