1
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(Non English)

2
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(French) Mais Des fois on peut voir
parce Que Les gens

3
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ici faire Des choses on peut manger.

4
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(French) Mais quand
tu es fâché avec quelqu'un

5
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c'est pas passé the first time.

6
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(British English) And that's one
of the things that I enjoy most

7
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about this convention.

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It's not so much, as so little
has to do with what everything is.

9
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(Laughter)

10
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But it is within our self-interest

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to understand the topography of our lives

12
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unto ourselves.

13
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(Laughter)

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The future states that there is no time

15
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other than the collapsation
of that sensation

16
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of the mirror of the memories
in which we are living.

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(Laughter)

18
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Common knowledge,

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but important nonetheless.

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(Laughter)

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As we face fear in these times,

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and fear is all around us,

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we also have anti-fear.

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It's hard to imagine or measure.

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The background radiation
is simply too static

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to be able to be seen
under the normal spectral analysis.

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(American accent) But we feel
as though there are times

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when a lot of us --
you know what I'm saying?

29
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But -- you know what I'm saying?

30
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Because, as a hip hop thing,
you know what I'm saying,

31
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TED be rocking --
you know what I'm saying.

32
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Like so I wrote a song,

33
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and I hope you guys dig it.

34
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It's a song about people

35
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and sasquatches --

36
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(Laughter)

37
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And other French science stuff.

38
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That's French science.

39
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Okay, here we go.

40
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(Singing) I've been trying inside

41
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I know that I'm in trouble

42
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(Applause)

43
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that I'm in trouble

44
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by myself

45
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But every time it gets me

46
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(Vocalization)

47
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(Beatbox)

48
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(Singing) And I've been trying
to be the one that you believe in

49
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And you're the one
that I want to be so saucy

50
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And you're the one
I want to [unclear], baby

51
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And you can do anything

52
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as long as you don't get hurt
along the way back

53
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(Beatbox)

54
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If I survive, I'm going
to tell you what is wrong

55
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Because if you were [unclear]

56
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And I think that you're looking
like a [unclear]

57
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I give you what I want to be

58
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(Music)

59
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(Music ends abruptly)

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(British accent) And it's like,

61
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you could use as many
of those things that you want.

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(Applause)

63
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And the computer models,

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no matter how many that you have

65
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and how many people that you use,

66
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are never going to be able to arrive
at the same conclusions.

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Four years ago I worked with a few people
at the Brookings Institute,

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and I arrived at a conclusion.

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(Laughter)

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Tomorrow is another day.

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(Laughter)

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Not just any day,

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but it is a day.

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It will get here, there's no question.

75
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And the important thing to remember

76
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is that this simulation is a good one.

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It's believable, it's tactile.

78
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You can reach out -- things are solid.

79
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You can move objects
from one area to another.

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You can feel your body.

81
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You can say, "I'd like to go over
to this location,"

82
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and you can move this mass
of molecules through the air

83
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over to another location, at will.

84
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(Laughter)

85
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That's something
you live inside of every day.

86
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Now with the allocation
and the understanding

87
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of the lack of understanding,

88
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we enter into a new era of science

89
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in which we feel nothing more

90
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than so much so as to say

91
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that those within themselves,

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comporary or non-comporary,

93
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will figuratively figure

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into the folding of our non-understanding

95
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and our partial understanding

96
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to the networks
of which we all draw our source

97
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and conclusions from.

98
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(Laughter)

99
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So, as I say before the last piece,

100
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feel not as though
it is a sphere we live on,

101
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rather an infinite plane
which has the illusion

102
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of leading yourself
back to the point of origin.

103
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(Laughter)

104
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Once we understand
that all the spheres in the sky

105
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are just large infinite planes,

106
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it will be plain to see.

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(Laughter)

108
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(Audience) (Laughter)

109
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This is my final piece.

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And just remember,

111
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everything you are --

112
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it's more important to realize
the negative space,

113
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as music is only the division of space;

114
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it is the space
we are listening to divided as such,

115
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which gives us the information
in comparison to something other

116
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that gives us the idea of what the idea
that wants to be transmitted

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wants to be.

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So please, without further ado.

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(Applause)

120
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Thank you.

121
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(Applause)

122
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This is a fun one.

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It goes like this.

124
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(Beatbox)

125
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(Gibberish)

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(Music ends)

127
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Okay, for the last piece I'd like to do,

128
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this one goes very similar to this.

129
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I hope you guys recognize it.

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Here we go.

131
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Okay, that still works. Okay, good.

132
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All right, here we go.

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(Laughter)

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(Beatbox)

135
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Here we go.

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(Beatbox)

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Yeah, yo, yo, yo

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(Gibberish)

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(Music fades out)

140
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Thank you. Enjoy the rest.

141
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(Applause)