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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
Arrangements
Strings
Going
Antarctic
Pun
String
Symphony

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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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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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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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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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I have to deal with some dumb folks. It's a real drag.
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To me, the imagination is the ultimate renewable resource.
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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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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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Freud is usually viewed as the person who linked psychoanalysis to some issues in the environment, usually man-made. So I thought it would be fun to throw that in the mix.
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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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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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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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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 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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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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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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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'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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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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You know you don't really need the band or the singer/songwriter in the same way, so you look at everything as part of your palette.
DJ Spooky