My dad was not one of these stereotypical military people - buzz-cut, rah-rah-rah.

How has the sky been transformed by drones? How has the ocean been transformed by the fact that over 90% of the world's information travels in underwater cables?

The world is constantly changing, and I feel like my job is to try to see how it is changing.

We didn't have to use technology to build a surveillance state.

Artists have historically understood images better than anyone else. This is what we do.

Images can make realities out of people and struggles - the reality we give them. Images really matter.

It's common knowledge that most of the guys at Guantanamo are nobodies. Many were turned in by bounty hunters.

In the late 19th century, Russian Cosmists such as Nikolai Fyodorov believed we need to go to space to collect all the particles of all the people who had ever lived. Cosmism says going into space is going into the past.

Art is more than a series of images that are disembodied. Art is objects that live in real places, economies, spaces, architecture.

What I thought was fascinating about comparative religion was that these were the stories that humans have told themselves about where they come from, who they are and where they're going, and what it means to be alive on the planet.

Photographs don't 'reveal' much at all but instead help us generate a kind of visual vocabulary that we can use to make sense of the world and direct our attention to certain things around us. In other words, they help us learn how to see.

I pretty much made a conscious decision to make projects a lot of people can relate to.

People like to say that my work is about making the invisible visible, but that's a misunderstanding. It's about showing what invisibility looks like.

Much of the way we understand the world is through images. That's what I think good art does - it teaches you how to see the historical moment that you live in.

I believe that art can make relevant and progressive contributions to culture and society.

Religions have always adopted rich symbolic languages to signify the different aspects of their respective forms of faith and mythology.

If we look in the right places at the right times, we can begin to glimpse America's vast intelligence infrastructure.

I think mass surveillance is a bad idea because a surveillance society is one in which people understand that they are constantly monitored.

I think that one of the most important things that art can do is give you a reason to look at something, almost give you permission to look at something.

I think that some of the earliest ideas in the modern period were actually from astronomy. You look at Galileo: He goes up and points his telescope up at Jupiter and finds out, hey, Jupiter has these moons.

What I'm trying to do is to get a glimpse into the secret state that surrounds us all the time but that we have not trained ourselves to see very well.

Every person who went into the space industry did so because they looked up at the sky and were fascinated by it - not because they wanted to make a military or commercial object.

Infrastructures of power always inhabit the surface of the earth somehow, or the skies above the earth. They're material things, always, and even though the metaphors we use to describe them are often immaterial - for example, we might describe the Internet as the Cloud or cyberspace - those metaphors are wildly misleading.

Geosynchronous spacecraft will be among civilization's most enduring remnants, quietly circling Earth until the Earth is no more.

I have to admit that I'm not very good with grammar. They taught grammar in elementary and high school, but I went to public schools, so I never really learned it.

Show me what society that ever existed that did not use the tools that they had available. Ask any person from East Germany... you will never hear somebody say, 'The Stasi never bothered me because I didn't have anything to hide.' That's not a thing that people say.

I really don't think art is good at answering questions. It's much better at posing questions - and even better at simply asking people to open their eyes.

In human geography, we think about landscapes as being political, social, cultural, economic, and physical things all at the same time. And that's the way that I wanted to approach the question of state secrecy.

American intelligence and military agencies have a huge footprint in terms of how the world works, but they're largely invisible. I'm interested in exploring those 'geographies' of secrecy from many different angles: political, legal, economic, spatial, etc., because I am fundamentally just interested in how the world works and how societies work.

Photography has become so fundamental to the way we see that 'photography' and 'seeing' are becoming more and more synonymous. The ubiquity of photography is, perhaps ironically, a challenge to curators, practitioners, and critics.

In the traditional academic literature, secrecy is thought of as a set of bureaucratic operations - hiding files and hiding information, that sort of thing.

Do cave paintings mean anything? Not really, but I, for one, am happy to have them.

I want to help develop a visual and cultural vocabulary around surveillance.

Anything humans can do in space, robots can do better.

The most famous secret base, I guess, would be Area 51, which a lot of people have heard of as a kind of mythical place. Well, it's a real place.

On one hand, the idea of sending pictures off into the vastness of space and time seems nonsensical. On the other, I felt like the gesture carried an enormous amount of responsibility.

In a democracy, the citizens are supposed to have all the power, and the government is supposed to be the means by which the citizens exercise that power. But when you have a surveillance state, the state has all the power, and citizens have very little.

Creating artworks, writing and publishing novels, poetry, music, or conducting art-historical research requires support. So does everything else in the world, from physics to fish and wildlife management to human-rights advocacy.

I would say that the fundamental question of geography is about how humans shaped the Earth's surface and how we, in turn, are shaped by the ways in which we have shaped the Earth's surface. So, for me, geography was just a set of tools that allowed me to ask these kinds of questions and to try to think through them.

For me, one of the jobs of an artist is to try to see changes taking place.

Perhaps 'photography' has become so all-pervasive that it no longer makes sense to think about it as a discreet practice or field of inquiry. In other words, perhaps 'photography,' as a meaningful cultural trope, is over.

Image-making, along with storytelling and music, is the stuff that culture is made out of.

Traditionally, images have functioned as representations of something in the world, but we are quickly approaching the point where vast majority of images are produced for other machines, and no human being will ever see them.

When we look up into the starry night sky, we tend to see reflections of ourselves.

In the very near future, I guarantee that the pictures you post on social media will affect your credit rating, health and auto insurance policies, and much more. It will all happen automatically. In a very real way, our rights and freedoms will be modulated by our metadata signatures. What's at stake, obviously, is the future of the human race!

I can't imagine anything more beautiful on this planet than looking up at the stars and seeing a kind of artificial star moving through the night sky.

Digital surveillance programs require concrete data centres; intelligence agencies are based in real buildings. Surveillance systems ultimately consist of technologies, people, and the vast network of material resources that supports them.

I think of my visual work as an exploration of political epistemology: the politics of how we know what we think we know.

I don't put work in an art gallery because the next day I want people to march in the streets.