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  • (Non English)

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

  • ici faire Des choses on peut manger.

  • (French) Mais quand tu esché avec quelqu'un

  • c'est pas passé the first time.

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

  • about this convention.

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

  • (Laughter)

  • But it is within our self-interest

  • to understand the topography of our lives

  • unto ourselves.

  • (Laughter)

  • The future states that there is no time

  • other than the collapsation of that sensation

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

  • (Laughter)

  • Common knowledge,

  • but important nonetheless.

  • (Laughter)

  • As we face fear in these times,

  • and fear is all around us,

  • we also have anti-fear.

  • It's hard to imagine or measure.

  • The background radiation is simply too static

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

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

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

  • But -- you know what I'm saying?

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

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

  • Like so I wrote a song,

  • and I hope you guys dig it.

  • It's a song about people

  • and sasquatches --

  • (Laughter)

  • And other French science stuff.

  • That's French science.

  • Okay, here we go.

  • (Singing) I've been trying inside

  • I know that I'm in trouble

  • (Applause)

  • that I'm in trouble

  • by myself

  • But every time it gets me

  • (Vocalization)

  • (Beatbox)

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

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

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

  • And you can do anything

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

  • (Beatbox)

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

  • Because if you were [unclear]

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

  • I give you what I want to be

  • (Music)

  • (Music ends abruptly)

  • (British accent) And it's like,

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

  • (Applause)

  • And the computer models,

  • no matter how many that you have

  • and how many people that you use,

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

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

  • and I arrived at a conclusion.

  • (Laughter)

  • Tomorrow is another day.

  • (Laughter)

  • Not just any day,

  • but it is a day.

  • It will get here, there's no question.

  • And the important thing to remember

  • is that this simulation is a good one.

  • It's believable, it's tactile.

  • You can reach out -- things are solid.

  • You can move objects from one area to another.

  • You can feel your body.

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

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

  • over to another location, at will.

  • (Laughter)

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

  • Now with the allocation and the understanding

  • of the lack of understanding,

  • we enter into a new era of science

  • in which we feel nothing more

  • than so much so as to say

  • that those within themselves,

  • comporary or non-comporary,

  • will figuratively figure

  • into the folding of our non-understanding

  • and our partial understanding

  • to the networks of which we all draw our source

  • and conclusions from.

  • (Laughter)

  • So, as I say before the last piece,

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

  • rather an infinite plane which has the illusion

  • of leading yourself back to the point of origin.

  • (Laughter)

  • Once we understand that all the spheres in the sky

  • are just large infinite planes,

  • it will be plain to see.

  • (Laughter)

  • (Audience) (Laughter)

  • This is my final piece.

  • And just remember,

  • everything you are --

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

  • as music is only the division of space;

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

  • which gives us the information in comparison to something other

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

  • wants to be.

  • So please, without further ado.

  • (Applause)

  • Thank you.

  • (Applause)

  • This is a fun one.

  • It goes like this.

  • (Beatbox)

  • (Gibberish)

  • (Music ends)

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

  • this one goes very similar to this.

  • I hope you guys recognize it.

  • Here we go.

  • Okay, that still works. Okay, good.

  • All right, here we go.

  • (Laughter)

  • (Beatbox)

  • Here we go.

  • (Beatbox)

  • Yeah, yo, yo, yo

  • (Gibberish)

  • (Music fades out)

  • Thank you. Enjoy the rest.

  • (Applause)

(Non English)

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A2 初級

TED】レジー・ワッツが最高に面白い方法であなたをそらす (【TED】Reggie Watts disorients you in the most entertaining way)

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    Max Lin に公開 2021 年 01 月 14 日
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