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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
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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
Well
Usually
Need
Band
Needs
Records
Deejays
Make
Song
Bands
Would
Away
Album
Happens
Albums
Wells
Thanks
Everything
Record
More quotes by DJ Spooky
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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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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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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There is a complexity and layering that goes on with this kind of thing, so the music is slightly repetitive and when I say repetitive it's in the same tradition as people like Steve Reich or Erik Satie or even WC.
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So the physicality of that and the just the sheer lack of urban noise and machinery - just the wind, the water and your breath, you know that kind of thing - it was pure poetry and you know I treasure that.
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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.
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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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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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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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What I'm going for with the string arrangements for my Antarctic symphony is a pun here.
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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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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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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.
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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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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.
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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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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.
DJ Spooky
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