Quote

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.

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
People
Songs
Memories
Idea
Song
Trickster
Around
Tricksters
Ideas
Motif
Kind
Motifs
Like
Messing

More quotes by DJ Spooky

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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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You're only as good as your record collection.
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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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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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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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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.
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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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To me, the imagination is the ultimate renewable resource.
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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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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 wanted to do with Antarctica was say let's hit the reset button on that and see what happens to your creative process. Let's go to the most remote place that you can imagine, set up a studio and see what music comes out of it.
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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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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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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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The easiest thing I can say is simple, but paradoxical in this era of total sampling: Be original.
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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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I have to deal with some dumb folks. It's a real drag.
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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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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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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.
DJ Spooky