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What I'm going for with the string arrangements for my Antarctic symphony is a pun here.

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
String
Symphony
Arrangements
Strings
Going
Antarctic
Pun

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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 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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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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I think science fiction and sound is a really interesting thing. You might as well think of it as sonic fiction.
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You're only as good as your record collection.
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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.
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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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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'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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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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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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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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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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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 have to deal with some dumb folks. It's a real drag.
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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