Quote

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.

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
Wind
Sheer
Water
Treasure
Thing
Breath
Kind
Breaths
Noise
Lack
Physicality
Poetry
Machinery
Pure
Urban

More quotes by DJ Spooky

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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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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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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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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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You're only as good as your record collection.
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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 have to deal with some dumb folks. It's a real drag.
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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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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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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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I'd say most of my work is just trying to make sense of the disorienting and overloaded world that we inhabit. We're bombarded with sound at every level.
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Antarctica is one of the most remote and beautiful places on earth. I don't think that everyone should go there. I also think that we need to respect it as a kind of a national park for the planet. It should be you know put in parentheses.
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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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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 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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What I'm going for with the string arrangements for my Antarctic symphony is a pun here.
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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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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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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