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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.
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
Music
Studio
Wanted
Studios
Imagine
Creative
Antarctica
Process
Reset
Comes
Button
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Buttons
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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To me, the imagination is the ultimate renewable resource.
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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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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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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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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.
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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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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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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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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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The easiest thing I can say is simple, but paradoxical in this era of total sampling: Be original.
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I have to deal with some dumb folks. It's a real drag.
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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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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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