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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.

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
Form
Albums
Floyd
Right
Total
Hendrix
Thing
Stones
Rolled
Time
Concepts
Beatles
Like
Became
Pink
Band
Bands
Huge
Rolling
Art
Concept

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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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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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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.
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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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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.
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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.
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Most people walk around with headphones on. They're barely encountering or dealing with their fellow person, or if they're in a car they're in this kind of cocoon, stuck in suburban rush hour traffic or something.
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The planet isn't improvising, it's creating dynamic tensions between complex living systems in a planetary choreography, a balancing act between physical, chemical, biological, environmental, and human components.
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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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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.
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Sound... if you look at bats you know that navigate with sonar, they're like you know they're very precise. They can even see a bat head towards a building and swerve away, but you'll see a bird that doesn't... you know smash right into a glass window. It's very funny.
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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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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.
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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.
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It's like the iPod playlist has killed the way we think of the normal album, so let's think of this as just saying you go into your record store and all those categories and all those different ways of segregating music have been thrown out the window, so the difference between myself in real life in that is that I'm the opposite.
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I wanted to do is kind of invoke that and then dive into that kind of repetition as a DJ thing because DJing you hear beats, like boom, boom, boom, bap, bap. You know hip hop, house, techno. So how do you translate between those electronic motifs and the motifs of the landscape itself? That is what I wanted to go for.
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So sound art I'm always intrigued with how little we use of other senses and we just prioritize the eye and you just want to see everything and navigate. You know the art world is similar. Like I wish people would use their ears a lot more.
DJ Spooky
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To me, the imagination is the ultimate renewable resource.
DJ Spooky
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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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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.
DJ Spooky