Artisode; 2.6; Diego Romero

I'm a little bit scared... I'm a little scared... I'm a little scared... I'm a little scared... A lot of the stuff I'm focusing on is thinking about the edge of the known world. When you get to Antarctica, there's nothing there, no one there, no government. And the ice speaks to you. You're looking at geometry. So I love the fact that music, of course, is about patterns, it's about geometry. What I wanted to do was go down there, bring a studio to the ice field and not only do a scientific interpretation of the ice, but an emotive relationship or an acoustic portrait of this ice that's transforming and changing. This is the symphony of Antarctica as a homage to certain composers, certain traditions. But it's a

synthesis between hip hop, the idea of sampling, collage, and synthesis pulling together all these different traditions. The title of Taran over comes from a ship actually that was used by a group of British explorers that ended in tragedy. And what I'm thinking about is this sort of tragedy of colonialism, the tragedy of looking at how people have tried to inhabit this beautiful space that the answer that were older, the edge of all of these nation states that have tried to sort of lock the planet down into geography and ethnicity and all the stuff. And at the edge of the world, it's one of those places that just says no. The politics is about climate

change and consumerism. The politics have talked about a blank space in the human imagination. That's a revolution. And it's saying that we're hitting the reset button on how people look at the idea of the nation state and why the organizing of consumerism is destroying the planet. What happens if we put people down in this utopian space that no nation can own is that they actually end up facing nature. So maybe an article is the heart of whiteness, literally the white space of the snow and ice, the blank space on the map.