WEBVTT 00:00:00.830 --> 00:00:05.798 (Non English) NOTE Paragraph 00:00:24.712 --> 00:00:28.940 (French) Mais Des fois on peut voir parce Que Les gens 00:00:28.964 --> 00:00:31.271 ici faire Des choses on peut manger. NOTE Paragraph 00:00:31.737 --> 00:00:35.269 (French) Mais quand tu es fâché avec quelqu'un 00:00:35.293 --> 00:00:37.161 c'est pas passé the first time. NOTE Paragraph 00:00:37.185 --> 00:00:40.454 (British English) And that's one of the things that I enjoy most 00:00:40.478 --> 00:00:43.185 about this convention. 00:00:43.963 --> 00:00:50.531 It's not so much, as so little has to do with what everything is. NOTE Paragraph 00:00:51.028 --> 00:00:52.707 (Laughter) NOTE Paragraph 00:00:54.728 --> 00:00:56.838 But it is within our self-interest 00:00:56.862 --> 00:00:59.792 to understand the topography of our lives 00:00:59.816 --> 00:01:01.210 unto ourselves. NOTE Paragraph 00:01:01.596 --> 00:01:05.851 (Laughter) NOTE Paragraph 00:01:05.875 --> 00:01:09.935 The future states that there is no time 00:01:09.959 --> 00:01:13.261 other than the collapsation of that sensation 00:01:13.285 --> 00:01:15.907 of the mirror of the memories in which we are living. NOTE Paragraph 00:01:15.931 --> 00:01:19.283 (Laughter) NOTE Paragraph 00:01:19.307 --> 00:01:21.144 Common knowledge, 00:01:21.168 --> 00:01:22.684 but important nonetheless. NOTE Paragraph 00:01:22.708 --> 00:01:26.098 (Laughter) NOTE Paragraph 00:01:26.122 --> 00:01:28.456 As we face fear in these times, 00:01:28.480 --> 00:01:30.490 and fear is all around us, 00:01:30.514 --> 00:01:32.378 we also have anti-fear. 00:01:33.085 --> 00:01:35.562 It's hard to imagine or measure. 00:01:35.586 --> 00:01:38.682 The background radiation is simply too static 00:01:38.706 --> 00:01:42.209 to be able to be seen under the normal spectral analysis. NOTE Paragraph 00:01:42.929 --> 00:01:45.769 (American accent) But we feel as though there are times 00:01:45.793 --> 00:01:48.246 when a lot of us -- you know what I'm saying? 00:01:48.270 --> 00:01:50.114 But -- you know what I'm saying? 00:01:50.138 --> 00:01:52.677 Because, as a hip hop thing, you know what I'm saying, 00:01:52.701 --> 00:01:54.962 TED be rocking -- you know what I'm saying. 00:01:54.986 --> 00:01:57.888 Like so I wrote a song, 00:01:57.912 --> 00:01:59.990 and I hope you guys dig it. 00:02:00.014 --> 00:02:02.236 It's a song about people 00:02:02.260 --> 00:02:04.013 and sasquatches -- NOTE Paragraph 00:02:04.037 --> 00:02:07.291 (Laughter) NOTE Paragraph 00:02:07.315 --> 00:02:09.776 And other French science stuff. 00:02:09.800 --> 00:02:10.863 That's French science. 00:02:10.887 --> 00:02:13.030 Okay, here we go. NOTE Paragraph 00:02:14.990 --> 00:02:21.209 (Singing) I've been trying inside 00:02:21.939 --> 00:02:27.621 I know that I'm in trouble NOTE Paragraph 00:02:27.645 --> 00:02:28.955 (Applause) NOTE Paragraph 00:02:28.979 --> 00:02:33.942 that I'm in trouble 00:02:34.925 --> 00:02:37.838 by myself 00:02:39.113 --> 00:02:42.755 But every time it gets me NOTE Paragraph 00:02:42.779 --> 00:02:50.484 (Vocalization) NOTE Paragraph 00:02:53.183 --> 00:02:55.293 (Beatbox) NOTE Paragraph 00:03:23.189 --> 00:03:27.485 (Singing) And I've been trying to be the one that you believe in 00:03:28.690 --> 00:03:33.882 And you're the one that I want to be so saucy 00:03:33.906 --> 00:03:38.697 And you're the one I want to [unclear], baby 00:03:38.721 --> 00:03:41.162 And you can do anything 00:03:41.186 --> 00:03:44.035 as long as you don't get hurt along the way back NOTE Paragraph 00:03:44.059 --> 00:03:45.415 (Beatbox) NOTE Paragraph 00:03:45.439 --> 00:03:49.361 If I survive, I'm going to tell you what is wrong 00:03:50.200 --> 00:03:55.044 Because if you were [unclear] 00:03:55.068 --> 00:04:00.798 And I think that you're looking like a [unclear] 00:04:00.822 --> 00:04:06.082 I give you what I want to be NOTE Paragraph 00:04:06.106 --> 00:04:08.545 (Music) NOTE Paragraph 00:04:19.569 --> 00:04:21.220 (Music ends abruptly) NOTE Paragraph 00:04:21.244 --> 00:04:23.196 (British accent) And it's like, 00:04:23.220 --> 00:04:26.062 you could use as many of those things that you want. NOTE Paragraph 00:04:26.086 --> 00:04:30.508 (Applause) 00:04:30.532 --> 00:04:32.150 And the computer models, 00:04:32.174 --> 00:04:33.708 no matter how many that you have 00:04:33.732 --> 00:04:35.304 and how many people that you use, 00:04:35.328 --> 00:04:38.241 are never going to be able to arrive at the same conclusions. 00:04:39.112 --> 00:04:42.744 Four years ago I worked with a few people at the Brookings Institute, 00:04:42.768 --> 00:04:44.431 and I arrived at a conclusion. NOTE Paragraph 00:04:44.886 --> 00:04:50.199 (Laughter) NOTE Paragraph 00:04:52.344 --> 00:04:53.962 Tomorrow is another day. NOTE Paragraph 00:04:53.986 --> 00:04:56.678 (Laughter) NOTE Paragraph 00:04:56.702 --> 00:04:58.401 Not just any day, 00:04:58.425 --> 00:04:59.702 but it is a day. 00:05:00.580 --> 00:05:03.211 It will get here, there's no question. NOTE Paragraph 00:05:04.353 --> 00:05:06.432 And the important thing to remember 00:05:06.456 --> 00:05:09.627 is that this simulation is a good one. 00:05:10.162 --> 00:05:12.716 It's believable, it's tactile. 00:05:12.740 --> 00:05:14.621 You can reach out -- things are solid. 00:05:14.645 --> 00:05:17.134 You can move objects from one area to another. 00:05:17.866 --> 00:05:19.404 You can feel your body. 00:05:19.428 --> 00:05:21.882 You can say, "I'd like to go over to this location," 00:05:21.906 --> 00:05:25.117 and you can move this mass of molecules through the air 00:05:25.141 --> 00:05:27.087 over to another location, at will. NOTE Paragraph 00:05:27.431 --> 00:05:30.577 (Laughter) NOTE Paragraph 00:05:30.601 --> 00:05:33.136 That's something you live inside of every day. 00:05:34.969 --> 00:05:37.772 Now with the allocation and the understanding 00:05:37.796 --> 00:05:39.246 of the lack of understanding, 00:05:39.270 --> 00:05:41.837 we enter into a new era of science 00:05:41.861 --> 00:05:44.473 in which we feel nothing more 00:05:44.497 --> 00:05:46.726 than so much so as to say 00:05:46.750 --> 00:05:48.852 that those within themselves, 00:05:48.876 --> 00:05:51.964 comporary or non-comporary, 00:05:51.988 --> 00:05:53.489 will figuratively figure 00:05:53.513 --> 00:05:56.737 into the folding of our non-understanding 00:05:56.761 --> 00:05:58.598 and our partial understanding 00:05:58.622 --> 00:06:01.885 to the networks of which we all draw our source 00:06:01.909 --> 00:06:03.207 and conclusions from. NOTE Paragraph 00:06:03.231 --> 00:06:04.774 (Laughter) NOTE Paragraph 00:06:04.798 --> 00:06:08.412 So, as I say before the last piece, 00:06:09.872 --> 00:06:13.277 feel not as though it is a sphere we live on, 00:06:13.301 --> 00:06:17.349 rather an infinite plane which has the illusion 00:06:17.373 --> 00:06:20.033 of leading yourself back to the point of origin. NOTE Paragraph 00:06:20.057 --> 00:06:21.390 (Laughter) NOTE Paragraph 00:06:21.414 --> 00:06:23.749 Once we understand that all the spheres in the sky 00:06:23.773 --> 00:06:25.842 are just large infinite planes, 00:06:25.866 --> 00:06:27.288 it will be plain to see. NOTE Paragraph 00:06:27.312 --> 00:06:28.313 (Laughter) NOTE Paragraph 00:06:28.337 --> 00:06:30.446 (Audience) (Laughter) NOTE Paragraph 00:06:30.470 --> 00:06:31.939 This is my final piece. 00:06:32.359 --> 00:06:33.928 And just remember, 00:06:33.952 --> 00:06:35.798 everything you are -- 00:06:35.822 --> 00:06:40.568 it's more important to realize the negative space, 00:06:40.592 --> 00:06:43.474 as music is only the division of space; 00:06:43.498 --> 00:06:46.506 it is the space we are listening to divided as such, 00:06:46.530 --> 00:06:50.135 which gives us the information in comparison to something other 00:06:50.159 --> 00:06:53.877 that gives us the idea of what the idea that wants to be transmitted 00:06:53.901 --> 00:06:54.951 wants to be. 00:06:54.975 --> 00:06:56.593 So please, without further ado. NOTE Paragraph 00:06:56.617 --> 00:06:58.657 (Applause) NOTE Paragraph 00:06:58.681 --> 00:06:59.757 Thank you. NOTE Paragraph 00:06:59.781 --> 00:07:01.933 (Applause) NOTE Paragraph 00:07:04.039 --> 00:07:05.833 This is a fun one. 00:07:05.857 --> 00:07:06.871 It goes like this. NOTE Paragraph 00:07:06.895 --> 00:07:10.214 (Beatbox) NOTE Paragraph 00:07:13.912 --> 00:07:16.467 (Gibberish) NOTE Paragraph 00:07:31.758 --> 00:07:33.281 (Music ends) NOTE Paragraph 00:07:33.305 --> 00:07:35.456 Okay, for the last piece I'd like to do, 00:07:35.480 --> 00:07:37.906 this one goes very similar to this. 00:07:37.930 --> 00:07:39.331 I hope you guys recognize it. 00:07:39.355 --> 00:07:40.370 Here we go. 00:07:45.433 --> 00:07:47.772 Okay, that still works. Okay, good. 00:07:47.796 --> 00:07:48.850 All right, here we go. NOTE Paragraph 00:07:48.874 --> 00:07:50.836 (Laughter) NOTE Paragraph 00:07:52.306 --> 00:07:54.992 (Beatbox) NOTE Paragraph 00:08:03.741 --> 00:08:04.956 Here we go. NOTE Paragraph 00:08:04.980 --> 00:08:08.042 (Beatbox) NOTE Paragraph 00:08:13.337 --> 00:08:16.495 Yeah, yo, yo, yo NOTE Paragraph 00:08:16.986 --> 00:08:19.725 (Gibberish) NOTE Paragraph 00:09:03.549 --> 00:09:04.890 (Music fades out) NOTE Paragraph 00:09:05.454 --> 00:09:07.193 Thank you. Enjoy the rest. NOTE Paragraph 00:09:07.217 --> 00:09:09.950 (Applause)