View my Flipboard Magazine.

A new book about Apps and the way they have changed everything! Featuring essays and articles by writers, artists, and theoreticians.

Anthology Edited By Paul D. Miller aka DJ Spooky and Svitlana Matviyenko.

DJ Spooky Secret Song iPhone App
DJ SPOOKY iPhone App

Google Play
DJ Spooky Merch!
DJ Spooky has participated in two new book projects.

One is Green Patriot Posters. DJ Spooky's Manifesto for a People's Republic of Antarctica graphic design prints are included along with several of his friends like Shep Fairey and others. Make your own poster manifesto for a better world!! Edited by Edward Morris and Dmitri Siegel

DJ Spooky also has participated in renowned photographer Lyle Owerko's new book "The Boombox Project" on the history of boomboxes.

// Read the NYT Article
Copyright Criminals Copyright Criminals - a Documentary by Ben Frantzen and Kembrew Mcleod
I'm in this movie, and I think that they did an excellent job. They have many friends and peers of mine - Jeff Chang, Chuck D (who appeared on my album "Drums of Death"), Clyde Stubblefiend, the drummer for James Brown, and many others. I HIGHLY recommend this film for anyone who is interested in digital culture.!

    Rebirth of a NationORDER NOW!!!

Sound UnboundOUT NOW! DJ Spooky's "Sound Unbound"

Creation Rebel on iTunesCREATION REBEL MIX CD on Trojan Records
// AMAZON // iTunes

Yoko OnoDJ Spooky has produced material on the new Yoko Ono album.

Origin Magazine
Rhythm Science RHYTHM SCIENCE:
Book with CD on MIT Press //website

Bookmark and Share
DJ Spooky in NYC
Here are a few selected articles from my previous writings on music, art and technology. I have written for, Index Magazine, Parkett, The Source, The Wire, Paper Magazine, The Village Voice, Artforum, and Aperture in addition to being co-Publisher of A Gathering of the Tribes.

I was also the first Editor-At-Large of "Artbyte: The Magazine of Digital Arts," and of Nest Magazine.

Last but not least, I'm also a "faculty member" of the European Graduate School, an experimental environment for discussion of issues involving contemporary culture outside of a normal academic environment - it's kind of like a "Black Mountain College" of the early 21st Century.

Miller is currently a contributing editor to C-Theory and the Executive Editor of Origin Magazine, which focuses on the intersection of art, yoga and new ideas.


Millepiano Magazine featuring DJ Spooky

by Paul D. Miller

Alessio Kolioulis: Nato come DJ, sei oggi professore di musica, artista e scrit- tore. Quali sono i pensatori e le idee che ti hanno maggiormente influenzato nel corso del tempo?

Paul D. Miller: Per me non c’è differenza tra l’idea e una sua manifestazione. Alcuni dei miei pensatori preferiti sono persone che hanno applicato le loro idee ad alcuni campi specifici, come Pitagora, Gottfried Wilhelm von Leibniz, Duke Ellington, Srinivasa Ramanujan, Bertoldt Brecht, Charles Babbage, Samuel De- lany, Nam Jun Paik, John Cage, Angela Davis, Iannis Xenakis, Cornell West, Char- les e Ray Eames, Yevgeny Zamyatin, Charles Darwin, ma questa è una lista dav- vero parziale. Tuttavia, ciò che li accomuna è un’inclinazione elementare a spin- gersi fin tanto che le idee non si manifestano. Quando lavoro, mi batto nel cerca- re artisti e creativi che siano sempre alla ricerca, e che non accettino mai di confor- marsi a ciò che va di moda. Sono molto attirato da quelle persone che non si la- sciano facilmente contenere. A proposito, non sono nato – così mi hai chiesto – “come DJ”! Ho iniziato principalmente facendo arte e scrivendo.

// DOWNLOAD PDF [italian]

Origin MagazineDJ Spooky is the Editor of Origin Magazine

Glenn O'Brien

Sound Portrait
Glenn O'Brien

Dialog with Paul D. Miller/DJ Spooky

Glenn O'Brien has been an elemental force in Downtown NY for decades. From the time when he was Editor of Interview Magazine under Andy Warhol over to the seminal batch of zany after hours DIY TV shows "TV Party" that featured downtown mainstays like Debbie Harry, David Byrne, Jean Michel Basquiat and others, he combined the prototype for Saturday Nite Live with Reality TV in a way that still has people combing YouTube for gems from the show. O'Brien has shown over the years an enduring ability to understand the currents of "Downtown" in all its manifestations.

Origin Magazine caught up with him to talk about some of his current ideas.


Origin Magazine

Plexus Nexus:
Samuel R. Delany’s Pataphysics

By Paul D. Miller aka DJ Spooky
NY 2013

”Lift up your hearts, you good dancers, high! higher! And do not forget the good laughter!"
— Friedrich Nietzsche Thus Spoke Zarathustra

This exhibition isn’t about Afrofuturism. If it was, my artwork would be in it. Instead, what it presents is an essay on objects that dip in and out of the conceptual realm that the obliquely referential term “future” is all about - with an askance towards the perpetual possibility of what Afrofuturism could be. So it’s a bit of a contradiction, but that’s kind of the point. When the curators asked me to interview Samuel R. Delany aka Chip, I said “sure!” and called him up. He was in. No problem. And that’s where this dialog and the exhibition overlap. In our era of 140 character tweets and infinite updates on Facebook, Youtube, Vine, Instagram, and Google+, getting a chance to catch up with Chip is to be treasured and absorbed slowly.

Chip Delany represents so many of the themes of what could be “Afrofuturist” - but it’s his beard that really embodies what he is up to! His beard is his most distinctive feature: it evokes his deep attention to letting things flow. In Fred Barney Taylor’s 2007 docu­mentary, Polymath, or the Life and Opinions of Samuel R. Delany, Gentleman it’s the most prominent character. He, like his beard, has lived a life that flouts whatever could be called conventional these days. He was married to a woman for twelve years and has a child, but is a gay man; he is an African American who, because of his “light” complexion, is in an ambiguous relationship with the markers that define identity in our proscribed and paradoxical United States - he’s always asked to identify his ethnicity. Whenever this happens, and, yes, it happens alot, he is always hardly bothered by these attempts to figure out who he is. Instead, he laughs with his eyes and thoughtfully strokes his beard. In the course of our dialog for this interview, when we were discussing his take on ethnicity, he wrote this after reading the material above:

Dear Paul--
Really like the introduction. The only point I'd take exception to is when you talk about people asking me my ethnicity, which, yes, as you say, they do a lot. But I never laugh and let it hang. I say straight up, front and center: "I'm black--African American." And if they press it, which they often do, I say, "Both my parents were African-American and so am I."

Really, I have no patience with "bi-racialism" or any bullshit of that sort. At the very least, that should be limited to people who come from interacial parents--and even then. My daughter, whose mother is white, self-identifies as black and was the treasurer of the Black Students' Union at Kenyon. And I won't revise that, not until both the laws and the history of this country are majorly different from what they are and have been for three hundred years. That's what both her parents taught her to do, and she's now a 39 year old doctor, and still does it.
*  *  *
All best--


I can’t think of someone whose laughter is more life affirming and genuine. It is something to be treasured when heard. In fact, the whole Afrofuturist exhibit could be an exploration of the sound forms of Delany. That would be pretty cool.

I like to think that Samuel R. Delany is a proto-myth of some of the more dynamic archetypes of the American unconscious but first and foremost you have to listen to his writing to really understand where he is coming from. He’s written somewhere in the number of over 40 books, and has been one of the most influential writers of the late 20th and early 21st century. An example: In 1974 his book Dhalgren left the keys of his typewriter and went on to become a distillation of a draft of a book he had been reworking for years. He published it with Frederik Pohl at Bantam Books, and went on to change the literary world forever. Dhalgren is the story of “the Kid,” an amnesiac who wanders through Bellona, a riot wracked shell of a city in the American Midwest that’s isolated from the world after some kind of rift in the fabric of space and time, like the United States after Martin Luther King’s assassination. Bellona is a city like New York in Sol Yurick’s 1965 novel Warriors (you know the film...) populated by a menagerie of drifters old and young, male and female, black and white, a famous poet, a slumming astronaut, warring gangs, and holographic phantasmal creatures. In Dhalgren the reader is almost certain that the novel takes place in a world where, much like JG Ballard’s ouevre, characters are confronted with an apocalyptic reality that instead of disturbing the uniquely coherent quality of how “everyday” life needs to be preserved, instead, are enraptured by the apocalyptic phenomena at hand. An example: There’s a famous (perhaps apocryphal?) story of when moving through Kennedy Airport, Delany and his family flew back to the States just before Christmas Eve in 1974, and saw copies of Dhalgren filling book racks at Kennedy Airport before they reached customs. That’s Bellona. Despite it’s epic length and arcane references, over the next decade, Dhalgren sold more than a million copies and is now called a master­piece by many critics. One of my other favorite writers, William Gibson, infamously described it as “a riddle that was never meant to be solved.” If there’s one strength his style of writing has, it’s that he is an expert on world-building, and his books like Tales of Nevèrÿon, Nova, Babel-17, The Einstein Intersection, Empire, and others all reflect this. For these novels and others he has won one of science fictions most prestigious literary honors - The Nebula Award - 4 times.

The techniques Delany uses often evoke a “droste” effect format (some call it “mise en abime” or “to put in an abyss” in French literary form) allowing him to introduce lots of information through recursion, or what you would call “polyptch” in painting - think of his works as paintings whose canvasses are not only a kind of art, but an altar display. He blends current news seamlessly with history and projects that with panache into the near and sometimes distant future. That’s what makes his work so resonant with our modern hyper saturated world. Octavia Butler once wrote in her essay Positive Obsession that when she began writing science fiction, one of the only black authors she knew of was Samuel Delany (the writings of George Schuyler’s Black No More and Black Empire were out of the pantheon because of his right wing political leanings).

“What good is science fiction to black people?” Butler asked in her essay. “What good is its tendency to warn or to consider alternative ways of thinking and doing?” One can only say, like the poet Saul Williams once wrote (yes, that’s spoken word, written) - “another world is possible, how do we make it real?” The rest, is the remix.

This is a teaser for the exhibition at the Studio Museum in Harlem. The full interview between me and Samuel Delany will be available in the Afrofuturism catalog that accompanies the exhibition in November 2013.

Origin Magazine

By Paul D. Miller

”When we separate music from life, we get art.”
— John Cage

2012 marked the Centennial of John Cage, undoubtedly one of the most important composers of the 20th century.

I caught up with the John Cage Trust to do an article about the new App they commissioned to commemorate the situation.


Kathmandu DJ Spooky

Reflections on Mortality From a Land of Ice and Snow
By DJ Spooky in The Nation

Antonino D'Ambrosio guest edited the January 28, 2013 issue of The Nation and asked me to write about my Antarctica Terra Nova project. The theme of the issue was "creative-response," which is the focus of his documentary film "Let Fury Have the Hour."

Other writers and artists included in the issue were Billy Bragg, Edwidge Danticat, Hari Kunzru, Eugene Hutz, Staceyann Chin and others from his film.

Artist Shepard Fairey created the cover art inspired by Antonino's cover story "We Own the Future: How Creative-Response Transforms Our World."


The Voice Project
The Voice Project collaborates with musicians and artists to bring awareness to the plight of child soldiers in Central Africa, and it uses song to create bridges of understanding between different artists, cultures, and compositional styles. I worked with the up and coming classical music star, Joshua Roman to do a commisioned cover of Radiohead's classic "Everything in its Right Place" - you can see the beautiful result here. The session was recorded at my home studio in Tribeca (sorry for the zillions of books and records, but hey...). Anna Gabriel (Peter Gabriel's wonderful daughter) recorded the session and is the force behind The Voice Project. She has done sessions like this with the likes of Billy Bragg, Angelique Kidjo, Emmanuel Jal, Bedouin Soundclash, and many others. Check out the video, and support their cause.
Atlanta 2/22/11 Paul D. Miller
The Book of Ice by Paul D. Miller
DJ Spooky is the cover star of ART VOICES
October/November 2012 Issue
Article by Shane McAdams.


The Voice Project
The Voice Project collaborates with musicians and artists to bring awareness to the plight of child soldiers in Central Africa, and it uses song to create bridges of understanding between different artists, cultures, and compositional styles. I worked with the up and coming classical music star, Joshua Roman to do a commisioned cover of Radiohead's classic "Everything in its Right Place" - you can see the beautiful result here. The session was recorded at my home studio in Tribeca (sorry for the zillions of books and records, but hey...). Anna Gabriel (Peter Gabriel's wonderful daughter) recorded the session and is the force behind The Voice Project. She has done sessions like this with the likes of Billy Bragg, Angelique Kidjo, Emmanuel Jal, Bedouin Soundclash, and many others. Check out the video, and support their cause.
Atlanta 2/22/11 Paul D. Miller

Kathmandu DJ Spooky

November/December 2012 issue

Art Papers asked Sarah Workneh, Director of Skowhegan Art Foundation to guest edit the magazine. She asked me, and a host of other contemporary African American and diverse artists to come up with some article ideas about post Afro-Futurism.

I wrote about my Antarctic Terra Nova project.



Origin Magazine
Subterranean Cathedral: The Lowline
The Delancey Underground Project - a new underground Park for NY by Daniel Barasch and James Ramsey
By Paul D. Miller

“Reality is not always probable, or likely...” Jorge Luis Borges

In a time when most people think about the sky as the limit, and of progress as a timeline pointing further and further towards the heavens, it’s a bit difficult to get people to look down beneath their feet to see what, perhaps, might be a different future. NY has one of the most iconic skylines in the world, and in an area as densely populated as Manhattan, finding open spaces is really about finding the hidden, invisible terrains that make up the fabric of the metropolis. Think of the idea as a kind of exercise in reverse deductive logic about the dimensions of the city that are removed from plain sight, and the rest falls into place. Continued...


Gilberto Gil
Ambushed on All Sides -
十面埋伏 (Glitch Version)

Artist Statement

The "Ambushed on All Sides" or "Ambushed on 10 Sides" is generally considered to be one of the first documented noise compositions. I was commissioned to present the piece with Beijing Central Conservatory in 2011. These are the liner notes I wrote. You can find the original score for the 3rd Century BC composition here. The remix composition I presented was based on pipa interpretations by the legendary pipa player, Min Xiao Fen, and a younger pipa player in Beijing, 王雅钰. I sampled and interacted with them "live" through my iPad software.


Gilberto GilMillepiani
Millepiano Magazine featuring DJ Spooky

Camminando su ghiaccio sottile

“Ho scoperto un fatto supremo: non è la volontà di potenza, ma è la fantasia-immaginazione a creare...L'immaginazione crea la realtà.”
Richard Wagner

Le parti più remote della Terra – come le cime di montagna, la Groenlandia, il Campo de Hielo Patagonico Sur, il circolo Artico e l'Antartico – stanno subendo dei cambiamenti tremendi, quasi che il processo di scioglimento diventi irreversibile nel giro di poco. Ai tassi attuali di surriscaldamento il ghiaccio del mar Artico dovrebbe sciogliersi intorno al 2030, e secondo le proiezioni UNEP (Programma delle Nazioni Unite per l'Ambiente) le riduzioni dei gas serra per il 2020 avviate da molti dei principali stati responsabili sarebbero sufficienti a coprire solamente i tassi odierni, un ammontare assolutamente inadeguato per prevenire un surriscaldamento di 2°C entro la fine del ventunesimo secolo. James Hansen, scienziato esperto di cambiamenti climatici alla NASA, ha commentato molto realisticamente questo scenario: “i cinque anni più caldi dell'ultimo secolo si sono verificati negli ultimi otto...” E' essenziale “un antidoto al disastro” contro eventi climatici estremi come la siccità, le alluvioni, i cambiamenti repentini di stagione – e solo stando alle attuali proiezioni. Molti scienziati ritengono infatti che la temperatura aumenterà ancora, attorno ai 6°C circa entro il 2100. Questo significa che il clima così come lo conosciamo sarà un qualcosa di remoto e piacevolmente passivo se messo a paragone con quello che i nostri antenati hanno archiviato..

// DOWNLOAD PDF [italian]
// DOWNLOAD PDF [english]

Gilberto Gil
The Sadu Scenario
Interview by Paul D. Miller

From the origins of mathematics to the rise of the telemarketing and remote information services, on over to everything from Yoga to chicken vindaloo, South Asia has had a turbulent and often times hilarious relationship with the West.

Taking a page from the likes of Sascha Baron Cohen and Kal Penn, and Aziz Ansari, Vikram Ghandi has engaged the West' s fascination with all things spiritual, and "exotic" about the world of contemporary yoga. Call him a post-modern sadu.

Origin Magazine caught up with him after the release of his new film Kumare.


Gilberto Gil
Olafur Elliason: Transformer
Interview by Paul D. Miller

Origin Magazine caught up with Olafur Elliason while he was photographing glaciers in Iceland during the summer of 2012. Worldwide categories and definitions are tricky. We live in an era that seems to be defined by what economists like to call the reign of "intangible goods." But what about one of the most common things we all share and use: the sun.The United Nations Educational, Scientific, and Cultural Organization (UNESCO) defines "Intangible Cultural Heritage" as "the practices, representations, expressions, knowledge, skills – as well as instruments, objects, artifacts and cultural spaces..." But what happens when those kinds of skills are transferred into the contemporary digital realm? Electiricity is in more demand than ever as we use more and more electrical powered devices. Solar energy is so plentiful that it has the potential to replace oil, coal and other fossil fuels as the source of most of the world's energy, if it can be harnessed more efficiently. According to The Union of Concerned Scientists, the sun emits more energy in one second than every human being has used since life on Earth began, and on top of that, enough energy reaches the surface of the U.S. every 20 minutes to power every electrical device in the entire country for approximately one year. How do we capture and efficiently use this source of totally free energy - it's a question facing our entire civilization as we move further into the 21st century.

Olafur Elliason is an artist who explores some of the themes that undergird our modern life - artificial sunlight, the use of water in urban contexts, and the depletion of natural resources. His work breaks apart the spectrum of the main colors that make up the complex interplay of visuality - how the eye perceives color, how the ear explores architecture, and how things like sunlight can be simulated. His new project "Little Sun" is part of an initiative to set up solar energy in an accessible context through the creation of solar powered flashlights throughout Sub-Saharan Africa. In many rural areas of the world, local communities use kerosene for indoor lighting - this leads to asthma, poor quality of light, and above all, a desperate cycle of trying to buy oil based products that continually degrade the environment. This project is both a real world use of solar energy for communitites desperately in need of energy, and an art project. His installtion Olafur Eliasson: Little Sun is on display on Tate Modern in London during the London 2012 Festival. It includes "Tate Blackouts" on Saturday nights, where the lights will go off in the museum and visitors can look at the works of art in the suite of galleries devoted to Tate Modern’s Surrealist collection using only the light of Little Sun, a special set-up for people to do light graffiti using the Little Sun, a seminar and the p

remiere of 16 short films on light, life, and Little Sun by filmmakers from off-grid areas around the world. Origin Magazine sat down "virtually" with Elliason to find out about the philosophy behind the device called "Little Sun." Perhaps sunlight, and its critical role in modern life is part of the intangible heritage that we all can see and share. Maybe that's another kind of intangible heritage.
Paul D. Miller NY 2012.


Gilberto Gil
Margaret Atwood
Paul D. Miller in Dialog with Margaret Atwood

Unscripted: Margaret Atwood on her new film project with Jennifer Baichwal "Payback: Debt and the Shadow Side of Wealth"

Margaret Atwood is without question one of the more important writers working in modern literature. Her novels and essays have had impacts far and wide, and above all, she has a generous spirit towards many pople in different walks of life - artists, writers, quantum physicists, and yes, economists... I thought I'd sit down with her and dialog about her new film with Jennifer Baichwal. It's a really insightful collection of thoughts on why the idea of "debt" is such an important issue in our modern hyper abstracted digital world.
Paul D. Miller aka Dj Spooky


Gilberto Gil
Gilberto Gil
Interview by Paul D. Miller

This is a dialog I had with Gilberto Gil, former Minister of Culture under President Luiz Inácio da Silva from 2003-2008.

I first was introduced to Gilberto Gil by an old friend, Lawrence Lessig. The dialog I had with him is published in the June 2012 issue of Origin Magazine.


Gilberto Gil
Ai Weiwei
Interview by Paul D. Miller

It's arguable that Ai Weiwei is now one of the most recognizable artists of the beginning of the 21st century. With art that has explored some of the most complex issues facing China, he has been unrelenting in his critique of a deeply authoritarian regime.

As an artist, I've found that he is a warm hearted and generous mentor, and he has been supportive of my work since he included it in the Gwangju Bienniale of 2011. We sat down in his studio during my visit to Beijing in Spring of 2012. The dialog I had with was published in Origin Magazine.


A dialog between Paul D. Miller and Vijay Iyer for the academic music journal: Critical Studies in Improvisation
Paul Miller (DJ Spooky), Vijay Iyer

The transcript of this actual discussion (from the 2008 Guelph Jazz Festival Colloquium) between musician-authors Vijay Iyer and Paul D. Miller continues a virtual discussion carried out in the pages of a collection of essays which Miller edited, entitled Sound Unbound: Sampling Digital Music and Culture (2008). Both Iyer and Miller contributed essays to that volume, and here they turn up the volume on their respective notions of improvisation, sometimes converging and sometimes diverging in interesting ways.


Ice, Ice, Baby
by Paul D. Miller

Frank Hurley is a legendary photographer who documented Shackleton's Imperial Transanarctic Expeditions. He was one of the first photographers to truly document the effects of how ice could be photographed and portrayed in its natural context.

Between his work on Mawson's Auatralian Antarctic Expedition expedition from 1909-1911, and his legendary photographs for Shackleton's Endurance expedition of 1914-1916, one could say he defined the vocabulary of the landscape of Antarctica for the world public.

I was asked by Aperture Magazine to write about photography in nature,and because of my own explorations in Antarctica, I chose to focus on Frank Hurley, indomitable Australian photographer.

The article appeared in Aperture Magazine


Dead Simple:
Marshall Mcluhan and the Art of the Record

by DJ Spooky

The Medium is the Massage: An Inventory of Effects is a collection of aphorisms, bold graphics and experimental layouts. It was co-created by media theoretician Marshall Mcluhan and graphic deigner Quentin Fiore, and coordinated by Jerome Agel. It was published by Bantam Books in 1967 and it's been a cult classic ever since.

The record version of the project was meant to embody some of the issues that the graphic design and radical use of new fonts and images to enhance the text of the book and create a dynamic linkage between how the fonts and graphics would work and how they could be represented in sound. I wrote the liner notes to the re-issue. Here it is.


Notes from The 2010 Cape Farewell Expedition in the Arctic


“One day differed very little from another on board the ship, and the description of one is, in every particular of any importance, a description of all.”
Fridtjof Nansen, The Farthest North (1897)

Circles within circles, points, lines, dots, fog and fjords:

I’m writing to you through a haze of disrupted Circadian rhythms – I haven’t been able to sleep much, and some of the best thoughts I’ve had on this voyage have been in the place between dreams and waking life. In fact, the landscape has come to blend seamlessly with the dreams I’ve been having. Basically my sleep has been drenched with abstract geometric, asymmetrical shadows of the Arctic landscape, blurred with various unresolved music motifs and patterns, patterns, patterns… //MORE

Interview with Paul D. Miller aka DJ Spooky
for ZEMOS98 / May 26th, 2009


Interview made as part of the work of the book Source: The Remix. DJ Spooky is a reference to ZEMOS98. He is a writer, thinker, scientist, philosopher, poet, and above all... remixer and remixable. Long live the remix ...and as Paul says ¡in peace!

Vertov Artistic Statement by DJ SpookyTerry Riley: In C
by Paul D. Miller aka DJ Spooky


This is a short description of a remix project I did with The Grand Valley State University New Music Ensemble. It's a hommage to one of my favorite composers.

Vertov Artistic Statement by DJ SpookyKino-Glaz/Kino-Pravda: remix
by Paul D. Miller aka DJ Spooky

In November of 2009, I will present a remix of the legendary films "Kino-Glaz" and "Kino-Pravda" at St. Petersburgh's The Hermitage. The curators asked me for an artist statement, and this is what I came up with.


Vertov's films are pretty amazing if you look at the way we use things like youtube in our everyday world, and well, all I can say is that I guess he would have been a good "VJ"

"Paul Miller has grabbed disparate philosophies and references from the past five hundred years and tied them into a neat and interesting narrative on music, sound, and current thought in our time. Sound Unbound is an excellent reference on art–in the popular context–in the twenty-first century." –Branford Marsalis

Sampling Digital Music and Culture
By Paul D. Miller aka Dj Spooky


Edited by Paul D. Miller
Foreword by Cory Doctorow
Introduction by Steve Reich

MIT Press May 2008
Includes Audio CD

David Allenby Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda, Cory Doctorow, Eveline Domnitch Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige, Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, Joseph Lanza, Jonathan Lethem, Carlo McCormick, Moby, Naeem Mohaiemen, Alondra Nelson, Keith and Mendi, Obadike, Hans Ulrich Obrist, Pauline Oliveros, Philippe Parreno, Ibrahim Quraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, Nadine Robinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams, Jeff E. Winner.
By Paul D. Miller aka Dj Spooky


Shake yourself free from the manikin you create out of a false interpretation of what you do and what you feel, and you'll at once see that the manikin you make yourself is nothing at all like what you really are or what you really can be!
Ciascuno a Suo Modo (Each in His Own Way) 1924

Picture this: "Sometimes a cigar is just a cigar." This quote is often attributed to Sigmund Freud to show that even a famous psychoanalyst can freely admit that not everything has profound meaning – realism has its drawbacks; Some times we just want to experience something for what it is. This is the remix.

Fluid Neon Bright Shadows: The Music of Iannis Xenakis

//English Version
//Espagnol Version

Xenakis spoke back in 1955 of a kind of "social turbulence" that informs his creative strategies, and these liner notes to Krannerg (performed by Dj Spooky and the ST-X Ensemble) give you a sense of what forces drove this composer to create a milieu where math, music, and high science were all seamlessly blended to create some of the most haunting music of the 20th century.

Rhythm Science
by Paul D. Miller


Ghost World: A Story in Sound for the Venice Biennal 2007
by Paul D. Miller


Brian Eno once famously remarked that the problem with computers is that there isn't enough Africa in them. I kind of think that its the opposite: they're bringing the ideals of Africa: after all, computers are about connectivity, shareware, a sense of global discussion about topics and issues, the relentless density of info overload, and above all the willingness to engage and discuss it all - that's something you could find on any street corner in Africa.

I just wanted to highlight the point: Digital Africa is here, and has been here for a while. This isn't "retro" - it's about the future.
In The Realms of The Imagination
Harry Smith: American Media Artist

by Paul D. Miller


I first got into Harry Smith in the mid 90’s. It was a different time: The U.S. wasn’t an occupying power in the Middle East, the price of gas was reasonable, and people all thought vinyl was going to be obsolete. How different things are today!

I tend to think that Harry Smith was a walking remixologist – his memory, as I’m told was legendary: he’d be able to hear a record that he hadn´t heard in decades and would be able to tell you who made it and when, plus what edition the recording came out of. I like stuff like that.
Jean Baudrillard: Philosopher of the mash-up - In Memoriam
by Paul D. Miller

// English
// Francais

Jean Baudrillard passed away on March 6, 2007. I like to think of him as the philospher of the "mashup" - he created a place in contemporary thought where uncertainty about analysis became part of the way we think about all phenomena in the digital era. As with some of my other favorite thinkers like CLR James, and Marshall Mcluhan, the response to his writings has always been controversial. Which is a good thing. Sylvère Lotringer, former head of Columbia University's French Department, and founder of the legendary publishing imprint, Semiotext(e), organized a group of writers and artists to respond to his passing. This is the piece I wrote in memoriam for Baudrillard for the French newspaper, Le Nouvel Observateur.
Heel up, Wheel up, come back, rewind: Trojan Records
by Paul D. Miller


Trojan Records asked me to do a "selections" mix of their archive, and these are the liner notes to the project. I spent almost every summer when I was a kid in Jamaica, and all I can say is that when I was putting together this compilation, it was kind of like a time warp back to a different era. Check it!
Gilles Deleuze and Félix Guattari
Interview with Paul D. Miller aka DJ Spooky

by Carlo Simula


(excerpt)..."Basically I look at Deleuze/Guattari as two figures who act as translators of European philosophy and aesthetics into some kind of exit for people who are concerned with humanism. Think: Frantz Fanon wrote about this as a kind of update on Existentialism - the "gaze" that defines the world today is "brown" - but it is contained in a strange cadence. It's a visual rhythm that extended the idea of philosophy into spectrums that have yet to be mapped out. European philosophy has usually been totally eurocentric for the last several centuries, and Deleuze and Guattari are the two philosophers who have taken the idea of philosophy past the limits of previous thinkers. "
Rebirth of a Nation - Paul D. Miller remixes
D.W. Griffith's 1915 film"Birth of a Nation"


(excerpt)...Griffith was known as “the Man Who Invented Hollywood,” and the words he used to describe his style of composition -“intra-frame narrative” or the “cut-in” the “cross-cut” – staked out a space in America’s linguistic terrain that hasn’t really been explored too much. Griffith’s films were mainly used as propaganda – “Birth of a Nation” was used as a recruitment film for the Ku Klux Klan at least up until the mid 1960’s, and other films like “Intolerance” were commercial failures, and the paradox of his cultural stance versus the technical expertise that he brought to film, is still mirrored in Hollywood to this day.
Remixing the Matrix
An Interview with Paul D. Miller, aka Dj Spooky

by Erik Davis


This is a conversation between myself and Erik Davis (Author of the book "Techgnosis: Myth, Magic and Mysticism in the Age of Information," Davis - sometimes editor of Wired and other journals of strange culture, sometimes journalist, and dabbler in what I like to call "consciousness retro-engineering modifiers," did the piece for Trip Magazine. It's about a lot of different themes in contemporary art and media - but most of all it's a dialog about the different worlds of aesthetics and technology seen through the prism of psychedelic culture. Trip Magazine - a web-zine/journal that focuses on - yep, you guessed it - psychedelic culture, commissioned the piece.
Errata Erratum - Paul D. Miller remixes Marcel Duchamp's music composition sculptures and visual artworks at L.A.'s Museum of Contemporary Art Digital Gallery

//Errata Erratum at MOCA

The Duchamp remix was all about dub. I took alot of his material written on music and flipped it into a dj mix of his visual material - with him rhyming! Needless to say it was a fun project. These are the notes for the project, and if you want to check out the actual project go to Errata Erratum on the Museum's website. The website was coded by the San Francisco based web guru Andrew Enoch a.k.a. aenoch who has hooked up cool graphics for alot of record labels, and I provided all visual material and remix stuff.

Loops of Perception
Sampling, Memory, and the Semantic Web

by Paul Miller, aka DJ Spooky published in HorizonZero


"free content fuels innovation" - Lawrence Lessig, The Future of Ideas

I get asked what I think about sampling a lot, and I've always wanted to have a short term to describe the process. Stuff like "collective ownership", "systems of memory", and "database logics" never really seem to cut it on the lecture circuit, so I guess you can think of this essay as a soundbite for the sonically-perplexed. This is an essay about memory as a vast playhouse where any sound can be you. Press "play" and this essay says "here goes":

Flip Mode - a conversation between Paul D. Miller, Ad Astra, and DJ Spooky that Subliminal Kid


This was an interview between Paul D. Miller, Dj Spooky that Subliminal Kid, and Ad Astra (an alternate persona of Paul's...) that was commisioned by Russel Simmon's "One World" Magazine for their art issue. Basically they asked me to dialog about my last mix CD "Modern Mantra" - yes, there's a sense of humor going on here...
Dialectics of Entropy: a conversation between Paul D. Miller a.k.a. DJ Spooky that Subliminal Kid and Matthew Shipp


There's a funny convergence going on these days in the electronic music scene. I like to call it "the artist as shareware" or something like that. Think about when Duke Ellington used to talk about Marshall Mcluhan and flip it into Anthony Braxton's jazz symbol systems, and voila! Welcome to 21st century "Nu-Bop." Jazz, after all, is derived from the French verb "jazzer" - which translates simply as "to have a conversation." This dialog took place in NYC and basically, this is a conversation between the jazz composer Matthew Shipp and me about compositional strategies in digital media and contemporary sound art. Shipp is working on a series of jazz projects incorporating electronic media into a jazz context. He's considered to be one of the premier young jazz composers in New York. More info on him can be found at
Music and Technology: A Roundtable Discussion between Phillip Glass, Paul D. Miller (Dj Spooky), Morton Subotnick, John Moran, and Michael Riesman


This is an online discussion on music and technology Phillip Glass set up - it's an open ended scenario between a couple of my favorite philosophers of music and digital culture... if you have a moment, check it out! The dialog is for the start a magazine on classical music and sound art and the first issue is under Philip Glass' guest editorship, which kicks off the series. Carte Blanche will be sort of a calling card for andante's online magazine. Future editors will include choreographer Mark Morris, composer John Adams, writer Susan Sontag and director Jonathan Miller.

Andy Warhol's American Dream: A remix by Paul D. Miller a.k.a. DJ Spooky that Subliminal Kid


This is an essay I wrote as a performance statement for my show at the Andy Warhol museum in Pittsburgh. To me Warhol was one of those artists who touched on so many nerve points of modern culture that he's almost like an exact mirror held up to a world gone completely blind - its eyes have been replaced by the lens, the computer screen, the random ad in Times Square, the constantly updated website... or whatever central focal point you want to focus on. You name it, he's echoed it. Almost no other artist can compare. Yes, Duchamp made room for the found object in the fine arts. Yes, all manner of painters and artists changed the way we percieve reality - but Warhol was a figure who towered over them all in his ability to absorb it all... that's why I consider him to be the first truly 21st century artist: he lived by osmosis. When I did my show at the Museum the room was decked out in all of his camouflage paitings and some of his "Christ" last supper paintings (a pun on the word Mass in "mass culture"). There's an image of me playing in front of his paintings in the "photos" section.

Interview with the Harvard Advocate


An interview of Paul D. Miller by Eva Marie Pinon for the Harvard Advocate. The Advocate dedicated an entire issue to exploring contemporary African American intellectual culture and its relationship to electronic
Kut Culture - Blood Simple


Repohistory's Recombinant art of transfusions and truisms on the Web takes aim at the core of the world market for blood in Manhattan. Check the flow.
Thoughtware vs Shareware


Comments on the Elementz: DJ Toolz Series, An Interview with FAQT MagazineComments on the Elementz: DJ Toolz Series, An Interview with FAQT Magazine

"Pass The Mic": Photo Portraits of The Beastie Boys
by Ari Marcopoulos (Power House Press)


The Beastie Boys are one of those groups that have become the basic fabric of the hip-hop medium. From b-boys to Buddhists, from Punk to ska to dub - these gents have done their thing since I was back in Washington D.C. listening to go-go groups like Trouble Funk and Rare Essence (late 80's to mid 90's D.C. had a pretty diverse scene that included bands, dj's etc etc it was mad a mad fun time....). Ari is a friend of mine who does cool photos for alot of different situations - sports, music, you name it.... Anyway, he asked me to do this piece for the Beastie Boys book, so here it is... The Raw Uncut.

Across the Morphic Fields: The Art of Mariko Mori


I wrote this catalog essay back in 1996 for an group exhibit at the Harvard ICA that included Mariko Mori. She also sang a Buddhist mantra called "Mono Ni Kami" (a chant that invokes the idea of spiritual and psychological recycling, a kind of Eastern invocation of loops in identity) on my album Riddim Warfare. Basically, she is one of my favorite artists. Her aesthetic is a complex and incredibly well researched foray into Japanese culture. Japan - it's a land of intense paradoxes, and considering that it's a place that's given us and artforms as diverse as karakuri (a mime dance in which the actors are mechanical dolls that musicians perform for), and Akio Morita and Masaru Ibuka (who developed the prototype of the "walkman" cassette players that essentially created personalized sound environments) - it's one of the few places on the planet that truly embraces the future while holding respectfully holding the past firmly in place - in the present. Mariko's work stands as a filament in a web of situations and environments - it is truly "ambient" (not in the Brian Eno/ Western European sense, but more in the immersive aspects of repetition from forms as diverse as Japanese "gagokou" or court music, or West and Central African nmbira music) - and by playing off of our sense of time unfolding in sound, she shows us how to navigate the striated realms of the digital present. I like to think of her work as an investigation into what I like to call "the prolonged present."
Notes towards a New Conceptual Art

by Paul D. Miller

Future Tense : An Interview with Bruce Sterling
by Paul D. Miller


Bruce Sterling is one of the seminal figures of the "cyberpunk" sci-fi literary genre, and he's also a gifted critic, theorist, and all around essayist. This conversation is about his style of mirroring contemporary digital media culture, graphic design, and industrial design in his writings. More can be found at The Mirrorshades Postmodern Archive and at his WIRED Magazine Blog

Web Notes for The Quick and the Dead


Comments on a collaboration between Scanner and Dj Spooky that Subliminal Kid exploring urban transmission/reception sound patterns and codes
by Paul D. Miller
Dark Carnival
by Paul D. Miller


Essay on and interview with Manuel deLanda
Discussing "One Thousand Years of Non-Linear History"

by Paul D. Miller

Notes from the 4th World
Shirin Neshat's Video Ariller


Deep Shit
A Conversation with Chris Ofili


Due to the controvery that surrounds almost any dynamic critique of Afro-Diasporic Culture, Chris doesn't normally do interviews. This is a peek into the mind of an intense and interesting painter - one whose work "The Virgin Mary" caused such a culture storm in New York that our beloved Mayor Guiliani called for an entire museum show to be cancelled. I like to think of these conversations as templates for a more progressive view of Afro-Diasporic culture in a dynamic context.
Material Memories

// English Version
// Espagnol Version
// Deutsch Version

Time and sound, memory and matter - for me, it's all a mix. I look at film as the central myth processing site for the 20th century's subconscious, and if there's anything dj'ing brings home it's how much our memories and lives have been inundated with media culture from the very beginnings of consciousness. We're probably the first generation to grown up with electronic media at every angle. Satellites, cell phones, t.v. telephones, fiber optic cables etc etc You name it, we remember it. Call it the archeaology of the viral virtual or whatever. Film was just the beginning. The nextsituation - vj's & dj's net mixes etc etc... check the situation.... - we're just getting started.