Doug Aitken

It's very easy to lose track of the environment around you, to lose touch with the present.

I love art that haunts me, that stays with me, that is left embedded in my mind. I don't really think there is any use for owning or collecting art; it is more about remembering and preserving it in the minds eye and allowing it into your cultural DNA.

The idea of a 'happening' is that there is little distance between the viewer and it, whatever 'it' is. It's an experience that's on-going and evolving.

I see life as a burning meteorite that you can climb all over, and feed off, as it is falling to earth.

In our daily lives, we see ourselves often in very reductive ways. I want to explore motion, change and flux, whether we are looking in the mirror or seeing ourselves in our surroundings. The singular view of self contradicts the act of living.

Station to Station' came out of a sense of urgency - a sense that culture, be it art, film or architecture, has become so compartmentalised. For this project, we wanted to break that and create a language that is more nomadic and less materialistic and really empowering for the creators and the audience.

Our culture is not this thing to be seen from a distance. We need to be embracing the friction of it all - that is where the energy is.

I always thought about 'Station to Station' as an approach. It was about creating an alternative platform for culture where different mediums could co-exist.

We're living in a tremendously new landscape, and the possibility of what can be created is immense. These tools of the moving image have a relatively short history in art, and what we can do with them is still largely unknown. We are still innovating and finding ways to tell stories.

I don't really care about interruptions. I accept technology, and I don't turn things off. I've found a peace with fragmentation and a harmony with switching gears quickly to other things.

We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling - religious myths, opera, film - and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.

Station to Station' is a series of happenings that go across the landscape. What is a happening? A happening is a moment in time. A moment in time that is not choreographed, where you don't know precisely what's going on. Where there are aspects of different layers of culture.