THE END OF THE LOOP: FINAL GRAND REMIX

ALL THE EPISODES HERE AND BELOW ==> https://zuperwok.com

Transcription and data analysis below.

ALL THE SHOWS ==> https://www.mixcloud.com/toutvabiensepasser/playlists/zuper-wok/

ALL THE ARTICLES ==> https://cashmereradio.com/shows/zuper-wok/

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ZUPER WOK diverges — completely.

This remix is the last remix: Ten episodes, 900 minutes of transition, chaos, beauty, philosophy, sweat, breathwork, heartbreak, quantum poems, and collapsing modernity compressed into 90 minutes of pure voltage. 90 of music mostly with some extracts of the previous shows. Plus extracts of an interview made with Gilbert Dietrich.

Gilbert Dietrich — yes, that Gilbert, the sharp Berlin mind behind Geist und Gegenwart — sits with me for an ongoing interview that cuts through the whole show.

Intro and explaination of the why.

Present after all

Dancing Machine

Fluidity and the kids

It’s an interview, but also a mirror, a duel, a dérive.

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ALL THE ZUPER WOK SAISON 01 : REORDER.

A fluid manifesto, the season breaks down into eight movements:

00. ESCAPING THE DARK HOLE

We start in the middle of the collapse. “ESCAPE THE DARK HOLE” is one of the longest episodes and statistically the most “dark” in vocabulary: “dark” appears 15 times, “hole” 18 times, and the expression “dark hole” repeats like a refrain. It is also where “modernity” hits its record: “modern/modernity” appears 25 times, matched by 26 uses of “fluid/fluidity”. The duel is explicit: old world vs new way of moving. Emotionally, this is one of the most tense episodes: about 1.75% positive words vs 0.77% negative. The ratio is still in favour of the light (about 2.3 times more positive than negative), but the difference is thinner. “World” appears 32 times, “Berlin” 14 times, “quantum” 15 times. The hole is not purely psychological; it is historical, urban, geopolitical. The data says: this is the tunnel where the end of modernity and the possibility of fluidity collide.

01. SPRING YOUR MOJO

“SPRING YOUR MOJO” is where the world comes back. It’s the episode that says “world” the most: 40 occurrences, more than anywhere else. “Quantum” is also at its maximum (15 times, tied with the dark hole episode), and the pronoun “we” is relatively strong compared to the rest of the season. The emotional climate is already clearly positive: roughly 1.9% positive words vs 0.5% negative (a ratio of about 3.7 to 1). Here the data shows a move from pure survival to re-connection. The language starts to stretch from “I am broken” to “the world speaks to me again”. The tone is exploratory: world, quantum, body (23 mentions), love (22). The modjo is not ego; it is the capacity to resonate again.

02. FIND PEACE, KNOW LOVE

This is the outlier of the season. Statistically, “FIND PEACE, KNOW LOVE” is a healing ritual. Nearly 4% of all words in this episode are explicitly positive (love, peace, breath, free, soft, care) while only about 0.4% are negative. That is roughly ten times more light than dark in the vocabulary. “Love” appears 127 times in one episode. “Peace” appears 27 times. The breath vocabulary explodes: more than 70 occurrences of “breath / breathe / breathing”. Interestingly, the word “body” almost disappears here (only 3 times). The pronoun “you” dominates: almost half of all personal references are addressed to “you”, while “we” shrinks. In data terms, this is not a confession, it is a protocol. A guided session. ZUPER WOK becomes a place where someone speaks to you directly to pull you out of the hole with breath and love.

03. CHILD IN CHILD OUT

Then the children take over. “CHILD IN CHILD OUT” saturates the text with childhood: 71 direct mentions of “child / children / kid(s)”, which is huge for less than 10 000 words. Only here “we” rises again next to “you” and “I”. The emotional climate stays very bright: a bit more than 3% positive words vs only 0.3% negative – around 9.4 times more positive than negative vocabulary. The data confirms what the concept says: this is the manifesto moment for “Maison Fluide”. Children, inner life (“inner” appears 16 times), care (13 times), world (17 times), radio (22 times). The algorithm doesn’t see cute parenting; it sees a cluster: child + care + inner + we. The child is not a topic; it is a structural force in the language.

04. UNTITLED

The “UNTITLED” episode is statistically the moment where the “I” really takes the front seat. Almost half of the personal pronouns are “I”; “we” drops under 15%. At the same time, “radio” hits its all-time record: 37 mentions. “Body” is very present (28 occurrences), “dark” remains (12), but “trust” also appears (8). The emotional balance is more fragile: around 1.6% positive vs 0.7% negative. The ratio is still in favour of light, but this is clearly more ambivalent than the child or love episodes. Read as data, “UNTITLED” looks like an audio diary of a body in front of a microphone. Less revolution, more exposure: me, my body, the dark, the antenna.

05. STRECH AND DECENTRALIZE

Here the tension goes into the muscles. “STRECH AND DECENTRALIZE” is the most “negative” episode in relative terms: about 2% positive words vs 0.85% negative. Still more positive than negative, but this is where the bad feelings speak the loudest. At the same time, the body vocabulary reaches its absolute peak: “body” appears 35 times, the highest count in the whole season. “Trust” also hits a record with 14 occurrences. The pronoun “I” dominates more than ever (over half of the personal pronouns), “we” almost disappears. The data portrait is clear: this chapter is the somatic struggle. Stretching, decentralising, holding the tension between self and world, trying to trust while everything pulls apart.

06. DREAM & ECCE HOMO

“DREAM & ECCE HOMO” is one of the shortest episodes, but it is densely packed. “Dream / dreams” appear 53 times. “Love” appears 50 times. At the same time, the density of “dark” is the highest of the whole season (12 “dark” in a shorter text). The emotional ratio stays clearly positive (about 2.5% positive vs 0.7% negative), but the shadow is closer. Children, father, mother are explicitly present; family vocabulary concentrates here. It’s also one of the episodes where “I” and “you” are almost perfectly balanced. The algorithmic reading: this is the reconciliation chapter. Dream and dark, love and pain, parents and children, self and other – everything is held together in one final inner dialogue.

07. THE REVOLUTION WILL NOT BE TELEVISED, IT’S ALREADY HERE

In pure numbers, this is the core theoretical episode. It contains the highest count of “fluid / fluidity” (39 occurrences) and the second-highest count of “modern / modernity” (23). It also addresses “you” very strongly, almost as much as the dark hole episode. Emotionally, it stays in the same band: around 1.8% positive vs 0.4% negative. This is where the season stops being a private trip and declares its thesis: the end of modernity is not coming, it is already here—and so is fluidity. The revolution is not on a screen, it is in the way we breathe, love, move, parent, stretch, dream and speak to each other.

In short: a data-driven wave

What does the data say about ZUPER WOK as a whole? It says that for every 1 word of darkness, there are about 4 words of light. It says that the body is named twice as often as the mind. It says that children, love, trust and fluidity are not just themes, they are statistical patterns that run through the entire season. It says that this project is not only a radio show, but the documentation—almost frame by frame—of a transition out of a collapsing modernity into something more fluid, more embodied, more relational. The revolution is already here; the numbers just confirm it.

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Fragments, lines and ideas co-written or voiced through AI-edited clones of:

Judith Butler, Hartmut Rosa, Krishnamurti, Tim Ferriss, Alan Watts, Bernard Stiegler, Isaac Newton, Albert Einstein, Brooke Candy, FKA twigs, Simone Weil, Karl Marx, Miguel Benasayag, Slavoj Žižek, Marisol Michaud, Maya Angelou, Oscar Wilde, Buddha, James Baldwin, Pierre Corneille, Lucille Ball, David Bowie, Alain de Botton, Gil Scott-Heron, Erich Fromm, Carl Rogers, Antonio Damasio, Thomas Moore, Charlotte Wells, Virginie Despentes, Daniel Siegel, John Leduff, Richard Linklater, Terrence Malick, Hayao Miyazaki, Bessel van der Kolk, Hannah Arendt, Michel Foucault, Gilles Deleuze, Jean-François Lyotard, Immanuel Kant, Sabrina Calvo, Simone de Beauvoir, Byung-Chul Han, Ocean Vuong, Kae Tempest, Descartes, Bruce Lee, Thomas Hobbes, Satoshi Nakamoto, Ibrahim Traoré, Philippe Nassif, Stromae — with Emilie Péricard, Gilbert Dietrich, Carmen Meyerssel van der Kolk, Hannah Arendt, Michel Foucault, Gilles Deleuze, Jean-François Lyotard, Immanuel Kant, Sabrina Calvo, Simone de Beauvoir, Byung-Chul Han, Ocean Vuong, Kae Tempest, Descartes, Bruce Lee, Thomas Hobbes, Satoshi Nakamoto, Ibrahim Traoré, Philippe Nassif, Stromae — with Emilie Péricard, Gilbert Dietrich, Carmen Meyer.

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At the beginning, ZUPER WOK was a radio show.
A live space.
A place to breathe, speak, improvise, glitch, listen.
Episodes were moments: conversations, spoken word, philosophy, bass, accidents.
Nothing was fixed. Everything could still change.

But over time, something happened.

The themes started to repeat.
The words came back in different forms.
The same cracks, the same questions, the same loops.
Modernity breaking.
The body answering before the head.
The inner child knocking again and again.

At some point, the show stopped being just a broadcast.
It became a process.

Moving from radio to an album was not a marketing choice.
It was a structural shift.

Radio is flow.
An album is condensation.

The album allowed us to freeze the movement,
to RE-organise the chaos without killing it,
to turn episodes into chapters,
intuition into structure, into METAphore.
Noise into a path.

Each track comes from the radio,
but the album goes further:
it closes a loop,
it tells a full story,
from collapse to fluidity.

So yes —
we moved from emissions to an album
because the journey demanded a body of its own.

The radio was the lab.
The album is the artefact.

Same energy.
Different density.

And now the music can travel
without needing a microphone switched on.

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HOW TO TURN A RADIO SHOW INTO AN AI ALBUM — TUTORIAL

Goal: convert live, messy radio into a coherent, loop-ready album — and get it out into the world.
Tools: transcripts, editing brain, Suno prompts, mastering, Bandcamp, DistroKid, Diggers Factory.

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1) CAPTURE THE RAW VOICE

Record the shows. Transcribe everything: spoken word, pauses, laughter, doubt. Don’t hunt for “lyrics”. Hunt for states (collapse, desire, relief, trust). If it reads alive on paper, it can live in sound.

1.5) RUN A DATA ANALYSIS PASS

Do a light data analysis on the transcripts: word frequencies, recurring images, emotional spikes, silence markers, motifs. This is the real turning point: it forces a deep read and opens the door to serious content work. Once patterns are visible, editing becomes surgical instead of hopeful.

2) REORDER BY INNER TIME

Forget broadcast dates. Arrange the material by journey: breakdown → crack → sensation returns → desire → grounding → fluidity → exit. That spine turns “a pile of moments” into an album arc.

3) CONDENSE WITHOUT EXPLAINING

Cut hard. Remove pedagogy and clever context. Keep short lines, repetition, body-first phrasing. Each song text should be readable in 30–60 seconds and survive looping.

4) ONE TRACK = ONE STATE

Don’t narrate inside a track. Pick one dominant state (fear, calm, hunger, softness, release) and let it loop as a condition. Modern club music is a state machine, not a three-act play.

5) BUILD THE SUNO INPUT (THE 3-PART PROMPT)

Text: 4–12 lines, charged, loopable, spoken-word friendly, multilingual if needed.
Style tags (pick 5–8): conscious techno, dark club electronic, spoken word techno, minimal, hypnotic, UK bass, footwork, Baltimore club, baile-funk-lite, afro house (dark/slow), breakbeat techno, after-hours, intimate, lucid, post-club.
Voice/Energy: flat/embodied delivery, half-whispered, mantra-like, no pop chorus.
Bonus: feed your style choices back into your DATAanalysis notes to keep prompts coherent across tracks.

6) GENERATE WIDELY, CURATE NARROWLY

Spin multiple versions in Suno. Listen quickly. Trust the body. Keep what still feels honest after three plays and loops well. Everything else goes in the bin. Curate the signal.

6.5) NEW TRACKS, SAME SOURCE

Everything comes from the radio shows — every word, every state. Some tracks won’t carry episode titles: they emerged from content analysis (connectors, breathers, loop-breakers revealed by the album map). Different titles, same source.

7) LOCK THE SEQUENCE

Place strong openers/closers, then arrange tension and release like a live set. Check flow at three zoom levels: track → pair/transition → full arc. Trim seconds, not ideas.

8) MASTER THE IDENTITY (TEXT + TAGS)

Write a one-line state description for each track (what the body feels) and a tight two-liner for the album (what passage it documents). These lines will guide platform metadata and visuals.

9) VISUALS THAT ECHO THE SOUND (RUNWAY.AI)

Sound first. When it holds without visuals, it holds for real. Then use concise track descriptions and lyrics to craft image prompts. ChatGPT proposes tailored prompts; you run them in Runway.ai for single/album covers. Result: visuals that mirror the music’s states — same source, same spine.

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THE LOOP YOU’LL REPEAT

Live → Transcribe → DATAanalysis → Condense → Prompt → Generate → Curate → Sequence → Visuals → Distribute (Bandcamp + DSPs) → Press Vinyl.

Do this, and the radio remains your laboratory while the album becomes the artefact — same energy, different density — and now, a real distribution spine.

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Zuper Wok as an AI MUSIC ALBUM

ZUPER WOK – THE END OF THE LOOP is the first concept album by Xavier Faltot —
20 tracks, 69 minutes, one continuous narrative:
from the dark hole to fluidity, from overthinking to action,
from toxic loops to the choice of a healthier life — without losing intensity.

LISTEN HERE

Born from radio + AI

Music: 100% generated with Suno.com (AI music).
Text: extracted from 10 ZUPER WOK radio shows (900 minutes) on Cashmere Radio — automatically transcribed, then rewritten by Xavier with ChatGPT.

Spirit: turning a personal crisis into an artistic laboratory —
spoken word, techno, dirty UK, Baltimore, baile funk, afro house,
woven with eight languages (FR/EN/DE/ES/PT/IT/JP/TR).

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Key moments

Escaping the Dark Hole — The initial crash, manual survival.

Dans la Faille — The internal waiting room, raw truth.

Overthinking / Head Off Hard On — Shut the head, let the body lead.

Dark Forest Bright Signal — The digital forest breathing, human signal returning.

Crack System — Breaking concrete identities, dignity in daylight.

Zuper Wok Data Funk — The manifesto as baile-funk: data & care.

The End of the Loop — Total reset.

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Listen / support

Bandcamp (full album)

https://xavierfaltot.bandcamp.com/album/zuper-wok-the-end-of-the-loop

https://zuperwok.com

Streaming (via DistroKid)

Spotify, Apple Music, Deezer… search:

“Xavier Faltot – Zuper Wok The End of the Loop”

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This is the final remix.

Not an ending — just divergence achieved. Transition made !

The moment where everything we’ve lived folds into one broadcast:

furious, tender, funny, electric, wildly alive.

I don’t explain anymore.

I let it rise.

I let it circulate.

I let it deviate.

900 minutes remixed into 90.

One breath.

One chaos.

One interview.

One light.

See you on air.

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Remix Episodes – Meta, Music & Distance

Every three episodes, ZUPER WOK breaks its own flow with a REMIX.

Remix Episodes – Where They Sit in the Architecture

Every three shows, the wave folds back on itself: one remix.

These remix episodes are not “bonus content”; they are structural joints in the season.

They:

Condense three shows into one narrative (radio essay + mix)

Take distance from the storyline: you comment, re-listen, re-cut

Open the kitchen: you explain how ZUPER WOK is made (AI, transcription, voice cloning, music generation)

So the rhythm is simple: three shows → one remix → three shows → one remix → grand final.

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The remixes are the heartbeat of the season.

There are two remix episodes in the season, including a grand final remix that closes the whole arc.

REMIX 01 – Meta Vibes & Vulnerability

The first remix (after episodes 01–03) does three things at once:

Reboot feeling

You literally invite the listener to “restart this show with me”.

It feels like a soft reset: not a new project, but a new angle on the same wave.

First explicit promise about AI

In the intro you announce that you will explain how you build the show with artificial intelligence –

almost like a micro-workshop:

tips and tricks to make your own radio show with AI.

Weakness as material

The loop “I feel so weak / at night I feel so weak / I feel so freaky” sets the tone:

the remix is not there to do a “best of”, but to show the underbelly – fatigue, fragility, a body cracking –

and to turn that into a track.

REMIX 01 = meta-episode + emotional crash test + first exposure of the AI workflow.

REMIX 02 – The Kitchen Is Wide Open

The second remix (after episodes 05–07) is much more explicit:

you fully assume that ZUPER WOK is radio about itself, in real time.

1. The AI workflow, explained on air

You describe the pipeline very clearly:

Transcribe the show in Premiere

Send the text to GPT to summarise it or turn it into lyrics

Use Suno to generate music from these lyrics and a style prompt

(techno, hip hop, baile funk, poetry, “underground ghetto sublime”, etc.)

You read an AI-generated recap of the show on air, then explain that it was produced in a few minutes from your transcript.

So this is a live demonstration of AI-augmented radio, not just a hidden tool.

2. Ethics and ecology of the tools

You also talk very directly about the ecological impact of these tools:

You say you try to limit consumption (food, energy, how often you generate, local models on your laptop)

You describe the current state of AI as an ecological disaster, while admitting you are inside that paradox because it lets you build this radio form

So the remix is not just meta-tech. It becomes a political tension point:

creation vs ecological cost.

3. Chaos as a chosen method

At the end of the remix you describe it yourself as “chaos”:

too many layers, overlapping voices, citations, tracks.

But this chaos is composed:

It reuses blocks from the last three shows

It re-edits and reframes them

It adds Gilbert’s live feedback as a mirror of what he experienced in the previous episodes

REMIX 02 = radio essay on AI + ecological confession + controlled chaos of the season.

These remix chapters are not “best-ofs” in the lazy sense.

They are meta-episodes where the host:

Takes distance from the dark hole and the narrative

Explains how the episodes are actually made

Opens the backstage of the project:

use of AI tools (voice cloning, text generation, editing workflows)

how the scripts grow out of live improvisation and later rewriting

how the philosophical references, diaries and radio moments are stitched together

Musically, the remixes are more saturated with sound:

They reuse and reframe tracks that were played in the original episodes

They function like memory collages: themes, hooks and mantras come back in new constellations

The listener can hear how the musical choices mirror the emotional and conceptual journey (dark hole → breath → inner child → fluidity)

The final GRAND REMIX acts as a season epilogue:

It compresses the entire wave into one last dense mix

It lets the audience hear the transition (from modernity to fluidity, from collapse to resonance) not just as theory, but as a sonic archive of everything that has been lived and said.

In other words:

the remix episodes are where ZUPER WOK reflects on itself,

shows its wires and tools,

and turns the whole season into a conscious, musical artefact.

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ZUPER WOK – What the Data Says About a Fluid Revolution

After ten hours of live radio, eight episodes, and more than eighty thousand words, I asked an AI to treat ZUPER WOK like a dataset. Not as poetry, not as therapy, but as raw text to cut open and analyse: word frequencies, emotional climate, recurring obsessions. The result is simple and a bit shocking: this so-called “journey through the dark hole” is statistically dominated by love, care, breath and fluidity. The darkness is real, but it never wins.

Across all episodes, around 2% of all words are clearly positive (love, peace, trust, care, soft, fluid, freedom, breath) while only about 0.5–0.8% are clearly negative (dark, fear, pain, crisis, depression, war). The remaining 97% are neutral or descriptive: body, world, child, radio, Berlin, time, music, quantum, father, mother, city, street. In other words, most of ZUPER WOK is a language of description and thinking, tinted by a clear bias toward healing.

The voices are split almost perfectly between “I” and “you”. Across the full corpus, “I” appears 2 236 times, “you” 2 159 times, and “we” 905 times. That means about 42% of the personal pronoun space is “I”, 41% is “you” and only 17% is “we”. ZUPER WOK is not a mass sermon. It is a continuous intimate dialogue: a “me ↔ you” trying to invent a “we”.

1. Size of the beast

Total volume (after basic cleaning): ≈ 80,500 words.

Number of different words: ≈ 7,000.

Per episode: between 7,600 and 11,900 words after cleaning.

We’re clearly looking at a full season of a series, not a small EP.

2. Most frequent words (raw vs “concepts”)

Raw Top 10 (all languages mixed, including stopwords):

the – 3,498

to – 2,270

i – 2,236

you – 2,159

and – 1,742

it – 1,730

a – 1,447

is – 1,390

of – 1,354

s (contractions: it’s, that’s…) – 1,112

So yes: this is mainly English-language radio, with a very oral structure (a lot of I, you, it’s, that’s).

Top ~20 “content words” (after removing FR/EN stopwords). Most frequent concepts:

know – 371

super – 315

love – 256

time – 240

world – 186

see – 185

radio – 184

mean – 181

life – 163

way – 162

say – 161

live – 148

feel – 147

through – 145

body – 141

going – 139

think – 138

Quick read:

You talk a lot about knowledge / understanding (know, mean, think).

You’re obsessed with the world and life (world, life).

The body is very present (body).

love and super/radio form a kind of signature:

“Zuper Wok = love + world + radio + body”.

3. Position of “I / you / we”

Main pronouns:

I: 2,236 occurrences

you: 2,159

we: 905

Within this trio:

I ≈ 42%

You ≈ 41%

We ≈ 17%

So:

A lot of confession (I),

Just as much direct address to the listener (you),

And a rarer but meaningful “we” – the collective is invoked, but much less than the intimate duel.

4. Overall emotional climate (positive / negative)

I built a small lexicon of positive words (love, peace, joy, fluid, freedom, care, trust, soft, alive, dream, breath, connection, etc.) and a lexicon of negative words (fear, dark, hole, pain, crisis, trauma, war, depression, toxic, etc.).

Across the whole corpus:

Positive words: 1,578 → ≈ 1.96% of all words.

Negative words: 372 → ≈ 0.46%.

So there is roughly 4 times more positive vocabulary than negative.

It’s not naïve “everything is fine”: the negative is there, but it’s clearly overwhelmed by repair, love, softness, fluidity.

By episode (density of positive words):

Most luminous:

#02 – FIND PEACE, KNOW LOVE → ≈ 3.86% positive words (389 positive / 35 negative). This is the “love and breath mantra” episode.

#10 – DREAM & ECCE HOMO → ≈ 2.82% positive.

Lower end of the positive scale (but still > negative):

#01 – SPRING MY MODJO → ≈ 1.18% positive vs 0.48% negative.

#07 – UNTITLED similar (≈ 1.30% vs 0.51%).

Darkest in proportion:

#09 – STRETCH AND DECENTRALIZE → ≈ 1.63% positive / 0.69% negative.

You feel more tension there, but positive still dominates.

5. Major quantified themes

Some keyword families across the 8 episodes (≈ 80,500 words):

Love & relationship

love: 256 occurrences (≈ 0.32% of all words)

127 in #02 alone

50 in #10

Body & breath

body: 141

breath: 103

breathe: 38

breathing: 30

→ At least 312 explicit mentions of body and breathing.

Quick distribution:

body is most present in #09 (36), then #07 (28) and #01 (23).

breath explodes in #02 (54 occurrences).

Children & childhood

child: 55

children: 39

→ 94 direct occurrences.

#03 – CHILD IN CHILD OUT clearly carries that theme:

child: 39

children: 21

Modernity / fluidity

fluid: 47

fluidity: 52 → ~99 occurrences

modern: 44

modernity: 53 → ~97 occurrences

By episode:

#05 – THE REVOLUTION WILL NOT BE TELEVISED:

fluidity: 22

modernity: 17

#06 – ESCAPE THE DARK HOLE:

fluidity: 19

modernity: 19

This is where your “end of modernity / entry into fluidity” discourse is most intense, quantitatively.

Dark / light / dream

dark: 55

hole: 33

Bigram “dark hole”: 21 times

dream: 68

dreams: 23

By episode, on the dark side:

#06 – ESCAPE THE DARK HOLE: 15 “dark”

#07, #09, #10: 12 “dark” each

On the dream side:

#10 – DREAM & ECCE HOMO dominates with 42 “dream”.

World, city and antenna

world: 186

radio: 184

berlin: 59

Berlin appears in all episodes, peaking in #06 (14 times).

You literally have “world + radio + Berlin” as a recurrent trinity.

Quantum, freedom, care

quantum: 36

freedom: 28

trust: 41

care: 42

Even when you go down into the dark hole, you speak more about trust and care than about pure despair.

6. Recurring characters & figures

Across the whole corpus:

Emily: 55

Carmen: 30

Hartmut (Rosa): 4

Stiegler: 4

Nietzsche: 13

Freud: 9

Deleuze: 7

Einstein: 14

Newton: 17

Putin: 2

FKA / Twigs: 3 / 5

So statistically:

Emily is almost a co-host, in terms of word count.

Nietzsche + Freud + Deleuze + Stiegler + Hartmut form a regular philosophical background, but never an overwhelming one: they are recurring ghosts, not gurus.

7. “Zuper Wok” language signatures

A few striking bigrams / expressions:

“super fresh”: 98 times → a real slogan.

“cashmere radio”: 55 times → strong anchoring of radio as place.

“dark hole”: 21 times → your private hell is well installed.

“inner child”: 9 times → the inner child is not a one-off metaphor, it becomes a motif.

“super walk” (transcription of “super wok”): 35 times.

8. Ultra-short summary

If I had to summarise the ZUPER WOK season in pure data terms:

You speak as much to yourself as to the listener, with a rarer but symbolic “we”.

The negative is present (dark, fear, hole, pain…), but 4× less frequent than the vocabulary of love, breath, care, fluidity.

The big structural axes, quantitatively, are:

love / world / body / breath / child / fluidity / modernity / Berlin / radio.

Each theme cluster has its “stat episode”:

#02 = love / breath / healing.

#03 = child / childhood / transmission.

#05–#06 = modernity vs fluidity, silent revolution.

#09 = stretched body, tension, politics of the body.

#10 = dream, grief, father/mother, recomposition.

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ZUPER WOK, seen through its own statistics, is a long, bilingual I–you dialogue broadcast from Berlin to the world, where love speaks four times louder than darkness, the body and breath speak louder than the mind, children and inner children cut through the script, and the duel between modernity and fluidity is documented word by word until the balance finally shifts.

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Transcription automatic by Premiere Pro

00:00:00:05 – 00:00:13:18
1
Hello, this is Xavier. I’m super happy to be here. This is the last super work of the year. I’m super happy. The final remix of the season one.

00:00:13:19 – 00:00:27:07
2
I hope you love it. Oh, what was that? Oh that’s right. All right, here are the stars in the super Super Bowl. Super fresh.

00:00:27:09 – 00:00:29:08
3
Super Bowl, super fresh radio.

00:00:29:10 – 00:00:41:13
2
Live and direct on cashmere Radio.com. When we leap into the unknown, we prove we are free. I moving over. Move up over. Wake up. Super walked on.

00:00:41:13 – 00:00:48:07
1
Acting outta business. Would rise to life. Entourage of cashmere. Radio.com.

00:00:48:08 – 00:00:49:14
2
Super walk.

00:00:49:15 – 00:00:52:24
3
Super fresh. Radio. Live from Berlin.

00:00:53:03 – 00:00:57:01
2
Water can flow I can crash the water.

00:00:57:02 – 00:01:07:21
3
My superiors from 6 p.m. to 7:30 p.m.. Live and direct on Kashmir radio.com. It’s the.

00:01:07:23 – 00:01:36:07
1
Super Bowl. You thought you could walk right from Berlin last year in 19. In November, I had this this show, produced, made by my my girlfriend. And somehow she told me she was pissed off of, my toxic lifestyle. She doesn’t love me, desire me anymore. And so, I just, I was hit by this, and I realized I was in love with her, for real.

00:01:36:07 – 00:02:14:21
1
So I decided to quit this, toxic maniac lifestyle. So I had me to transition from my some our modern, hyperactive, I presume. You know, toxic maniac life to something fluid, simpler. Safer. And, more honest and and, healthier. Yeah. So I would allow me to write down, formulate, say things that I somehow became right after saying it.

00:02:14:21 – 00:02:18:09
1
So I was obliged to, to become what I was saying is.

00:02:18:09 – 00:02:44:08
4
Is is a part of your mission to basically, externalize this individual experience that you had and your transformation, to your audience. Is this something you you want to transport? How how does your personal side come into into this? What you’re trying to do on a, public level.

00:02:44:10 – 00:03:19:15
1
It’s to give resources. I have this philosophy, is there is this philosophers called Vernoff, Stiegler, who died with, with him, he’s talking about for beer. For beer is in French to give weapons. And so it’s to give resources to be able to face what is left from modernity, which we see in those days with those old, very, very, very old people, keeping on doing the same with them since being in, unilateral, for showering people with violence and all.

00:03:19:17 – 00:03:23:13
1
Oh, yeah. Eating oil and.

00:03:23:13 – 00:03:25:23
4
Then. Yeah, you know, as well Trump would.

00:03:25:23 – 00:03:26:21
1
As well.

00:03:26:23 – 00:03:30:15
4
He would be a good, example. Right? Yes.

00:03:30:17 – 00:03:31:22
1
And then.

00:03:31:24 – 00:03:46:16
3
Of course, the Super Bowl cardio, cashmere bunker, soup kitchen, that’s,

00:03:46:18 – 00:03:52:04
3
Previously in Super.

00:03:52:06 – 00:03:57:04
3
We hit the.com.

00:03:57:06 – 00:04:03:18
3
The real one. The collapse, the jealousy, the broken nose, the addiction shutting down.

00:04:03:18 – 00:04:07:18

One by one.

00:04:07:20 – 00:04:09:02

And moment when the old.

00:04:09:02 – 00:04:10:13
3
So stop dancing.

00:04:10:13 – 00:04:14:15

To its own name.

00:04:14:17 – 00:04:16:14

And the mojo came back.

00:04:16:14 – 00:04:22:10
3
Pulse breaths. Bring in the chest. After months of winter.

00:04:22:12 – 00:04:33:00
3
Super. What grows not as a show, but as a survival. It sure as though joy born on air.

00:04:33:02 – 00:04:38:11
3
We learn peace by burning through the noise, not the Instagram version.

00:04:38:13 – 00:04:41:21

The intimate life.

00:04:41:23 – 00:04:57:01
3
One that forces you to sit with your heart. Listen deeper. Breathe slower. Love without the. The couple cracked and softened and started to breathe again.

00:04:57:03 – 00:05:08:02
3
In came the children, the real ones and the inner one. And the revelation. They already live in the world that’s coming.

00:05:08:04 – 00:05:13:13
3
Forward. Wild, perceptive, psychedelic by nature.

00:05:13:15 – 00:05:21:22
3
They became the teachers. We became the apprentices.

00:05:21:24 – 00:05:43:03
3
We stretched. We decentralized. Voices multiplied. Clones spoke. Languages braided into each other. Legal finally stepped aside. Super walk became a living organism. Not a monologue, but a resonant.

00:05:43:05 – 00:05:56:12
3
We dreamed we stood up to see Homo. Here’s a man naked, honest and perfect. Finally a life. No masks, no poses. Just truth be.

00:05:56:14 – 00:05:59:19

Electricity.

00:05:59:21 – 00:06:03:13

Then came the revelation.

00:06:03:15 – 00:06:09:09
3
The revolution will not be televised because it is already here.

00:06:09:11 – 00:06:20:12
3
And the breath in the street in Berlin. And the care in the kids and the tears shared. The bodies help which is embraced.

00:06:20:14 – 00:06:22:12
3
In every moment by the old world.

00:06:22:12 – 00:06:28:19

Cracked. And the new world. That’s who.

00:06:28:21 – 00:06:32:16

Now.

00:06:32:18 – 00:06:47:02
3
This is the end of the loop. We have diverged. We are elsewhere. The bifurcation has happened. Hallelujah!

00:06:47:04 – 00:06:51:07
3
Everything is possible.

00:06:51:09 – 00:06:57:01

Bah bah bah bah bah bah bah.

00:06:57:03 – 00:07:21:00
3
I’ll wake up in the basement of my own head. Dust on the neurons. No signal, just stray. My thoughts keep looping like a bad mirror. Uneven. My shadows broke with time. I’ve lived in winters in a single night. Black hole gravity sucking on my light. But something cracks under the paint a tiny sparkling stand up again I wouldn’t call miracles.

00:07:21:00 – 00:07:23:00
3
I’m negotiating with my bones.

00:07:23:02 – 00:07:28:06

Who are and who is long gone. The ones who.

00:07:28:06 – 00:07:33:13
3
Are scraping the breakable. They can control.

00:07:33:15 – 00:07:39:20

My seagulls gold I rise from the boy like Stalin. He told us to the coal. Nothing but to hold.

00:07:39:22 – 00:07:45:11
3
On to the noise till I see hold not actually gravity. I rewrite the.

00:07:45:13 – 00:07:52:24

I. I’ll be like the. I I’ll be like.

00:07:53:01 – 00:07:57:15

The better I feel like.

00:07:57:17 – 00:07:59:21
3
The present government she not she stays.

00:07:59:21 – 00:08:04:21

She steals your eyelids. She whispers nothing. That is what I’ve learned. Lancer.

00:08:04:23 – 00:08:05:20
3
Watch me bloom.

00:08:05:20 – 00:08:10:17

Do this. I myself will waiting. Grace I talk to the mirror. Like to friends face I plan to.

00:08:10:17 – 00:08:12:20
3
Walk to my broken. Just us.

00:08:12:22 – 00:08:17:08

We repeat the question. Don’t say you.

00:08:17:08 – 00:08:19:03
3
Just sweat and stubborn flavor.

00:08:19:03 – 00:08:26:21

Here is who? Don’t say it. See so. But you must feel the afterglow.

00:08:26:23 – 00:08:31:24
3
Oh, I’m escaping the goggles.

00:08:32:00 – 00:08:41:22

Taking controls. My pulse goes you goes gold I rise in the boy love story. Told the in the dark. Hold you to hold on to the love.

00:08:41:22 – 00:08:55:08
3
You hold another to gravity I rewrite.

00:08:55:10 – 00:09:13:10

I, I breathe, I burn, I bring, I learn, I fall, I turn our eyes I my rise back I my, my life. But I love my life I

00:09:13:12 – 00:09:25:24
3
Died in marriage I in my lungs I. Darkness cracks open when the heart jumps I.

00:09:26:01 – 00:09:37:02

Escape and I call to know my soul I wish I was inside I walk out of love with my skin. The dark cold I can’t be in control.

00:09:37:02 – 00:09:39:00
3
My voice is a flare in the cosmic code.

00:09:39:00 – 00:09:51:04

I’m here, I’m loud. I’m breaking the mold. But I, I, I like the.

00:09:51:06 – 00:09:54:06

I you I.

00:09:54:08 – 00:10:06:06

I rewrite the world.

00:10:06:08 – 00:10:10:09

But I’m.

00:10:10:11 – 00:10:29:13
3
Unified on the system in me. Coffee still don’t let go. Lolis I do trust the mask. The only black pull up I don’t feel the need to go keep all. I don’t like that the complement us on a visible show. Since I don’t know I’m dying. But you don’t.

00:10:29:13 – 00:10:34:15

This. She’ll be funky. Fickle buffoons. You don’t need to know. But please want to know.

00:10:34:15 – 00:10:44:18
3
If you pull my cheek I’m fed like therapy. Do it. You can be did it chronic only. But you continue on trying to go. But you don’t put. You take a stand.

00:10:44:18 – 00:10:51:03

The trial is on survival. Move your deposit on your life I take it is.

00:10:51:06 – 00:11:11:20
3
Easy to get. Can take. Could pull the super walked on I found flight home but ship out a new ship I don’t know what. You don’t know what to do I know cause you I like that you niggas so long to sound boom. Don’t, don’t, don’t. Hello.

00:11:11:22 – 00:11:15:19

Oh for me, I don’t.

00:11:15:21 – 00:11:25:12

Want to admit I don’t. Worry I don’t.

00:11:25:14 – 00:11:41:01
3
Rob me. Condos of a precaution. Sick a shock notification flying in conversation. Let me come down on me, love. One of them would surely panic. Surely she’s too lazy to lose you books I like.

00:11:41:01 – 00:11:46:15

Don’t let go on you school. I felt it that it was a little slow monkey for a.

00:11:46:17 – 00:11:48:00
3
Shade on a cooties.

00:11:48:00 – 00:11:53:15

I would like you to go it over to tell me full of body. Don’t look.

00:11:53:17 – 00:12:12:16
3
Go on. Silver is on it. Clutter you get with on the buffet. You. You sure? Capitalism on philosophy. Drive it twice. I call it to me when I take the bus to replace the super woke, not I.

00:12:12:18 – 00:12:13:13
3
Got a new shit.

00:12:13:13 – 00:12:18:21

But I don’t want you. Don’t come to power, come to know.

00:12:18:23 – 00:12:25:24
3
You I love you don’t to sell home. Don’t own to me I know.

00:12:26:01 – 00:12:38:08

Me I know. Don’t kill me I know. I’m doing it I know.

00:12:38:10 – 00:13:03:00
3
When someone to tell you she’s lonely. Kill to get the next. Don’t have. You don’t want to rest. This is silly girl. But I show you. Don’t push the be in prayer. Also don’t take a phobia is also me to the bathroom. Just letting you take. I should try to believe what I just don’t call you. I don’t feel you can just say too soon.

00:13:03:00 – 00:13:25:01
3
I should quit until done. But a shows is used to say in front bass line, but only if you’ve only open the door. So to bless you I love you so don’t, don’t, don’t tell me I don’t.

00:13:25:03 – 00:13:35:23

Want to worry I don’t. Want to.

00:13:36:00 – 00:13:39:20

Don’t call me I don’t.

00:13:39:22 – 00:13:51:18

Want to I don’t.

00:13:51:20 – 00:13:59:15
1
Surrender. Fatigue are sacred. Decreed. Slow, slow to create tension.

00:13:59:15 – 00:14:02:06
2
Tension in your name.

00:14:02:08 – 00:14:05:01
1
Listen listen listen listen listen listen.

00:14:05:01 – 00:14:19:06

Listen listen listen listen listen listen, listen, listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen listen.

00:14:19:08 – 00:14:37:07
4
When one thing that I. That struck me is the one day when, when I started working with you a bit, you said, yeah, no blues, no looking back, no history, no no past. And then and a day like later, two days later, something I was writing something else. And you. Yeah, yeah, but no future. No future.

00:14:37:09 – 00:14:39:00
2
Oh. So. Okay, so.

00:14:39:00 – 00:14:48:13
4
I was disallowed the past and the future. Talk about the present. Wait, what’s. What about the present? Why is the present such a thing in this show?

00:14:48:15 – 00:15:30:03
1
Because this is only what exists is existing. The past. I’m using the past to explain or to get the ideas that we’re postmodern. So the pre-modern or the postmodern. But I realize that the postmodern in the 70s were only deconstructing and were against modernity. And for me, fluidity is the way to embrace, to say yes to postmodernism and to do something else with with pressure and then I’m really fed up with all those people, like futuristic, wanting to suddenly say, I did this, this is now I mean, the idea is I was always in the future.

00:15:30:03 – 00:15:56:19
1
I was a futuristic, I was a Pandora, I was a, I was a was this guy able to even ask, do I how do you see things, how it was, which is going to happen. But now to stop, being took to toxic because I still intoxicate myself a bit, but not, in a compulsive way. I see now, my emotions, for I feel them for real.

00:15:56:19 – 00:16:16:11
1
I feel new things. And since I’m, I didn’t, I never felt that before. So it’s, it’s a rebirth. This is also the the point of this last, show for the season one is, is is is is gonna remix is to say when loop is done. Yeah. The the loop is, is actually is this is the end of one loop.

00:16:16:17 – 00:16:33:08
3
Disappearing after the dark hole. Spring is not a season. It’s a risk. You open the windows and you don’t know comes. And I was moving like a ghost. And Arantes can. Same bar, same jokes. Nothing turned in. I’m. I’m okay. Just like the so.

00:16:33:08 – 00:16:39:08

Much better in Irish prison to keep doing know like one thing I come in every I’m in.

00:16:39:10 – 00:16:42:04
3
Love comes right back it’s fine. Says hey my buddy.

00:16:42:04 – 00:16:56:10

Look back into the day. It’s not confidence, it’s it. No back line to my feet, onto the spine. Now they come back. Just a tiny first little glitch. Waking up to my first.

00:16:56:10 – 00:16:57:02
3
Little glitch of.

00:16:57:02 – 00:17:06:13

A waking moment of string your mojo. Let the pulse right the tempo. Not for the crowd. For this I come.

00:17:06:14 – 00:17:17:21
3
If you try I suggest you follow your on your facial, your yourself. Go from the dark. Go to the first hello little by little. Back into flow.

00:17:18:00 – 00:17:39:10

Oh 000000000. Oh. Stop dancing for the lens on the wall I move for my joy.

00:17:39:10 – 00:17:54:03
3
For not feeling smile. Shot back to your face I’m a former pupil I know what she looks I don’t freeze, I stay my feet. He smiles, I don’t beg, I keep my feet. You shouldn’t have come on pressure. You know nothing. Maybe love, maybe era.

00:17:54:05 – 00:17:59:00

It’s not about shine. It’s about love. Give yourself more. Joy is.

00:17:59:00 – 00:17:59:14
3
Not high.

00:17:59:16 – 00:18:30:19

This contact your eyes cause I’m here I say me to. Hey, come here. Take me to you. Spring your mojo. Let the polish right the tempo. Not for the crowd, for the inside. Grow if you try. Says yes. You follow. Should spring your special cause. But you tell from the dark, shallow little by little. Back into flow.

00:18:30:21 – 00:18:53:17
3
Remember when you stop moving. Not the body, a part of you. The answer invitations. If your mojo didn’t die, it went offline to survive. But now every small yes, one drink you really want. One hug. You really feel one? No. You finally say it’s rehab for your desire. Step step step step. Small step still go. Shake, shake.

00:18:53:22 – 00:19:04:14

Oh feel. Let go. Present. Stand tall. No show my you know happens at show current. If I just come but die if it’s not alive.

00:19:04:14 – 00:19:09:15
3
We drop is slow. Only once I praise can grow.

00:19:09:17 – 00:19:21:22

Let go, let. Let you let.

00:19:21:24 – 00:19:38:17

Good string you want your survival into. No, no. Fake firework. Just grounded you I’m still here and I want to know I bring your mojo. They should know. Just don’t fight you hold out of the dark.

00:19:38:17 – 00:19:42:24
3
Go into your own temple. One be one step, one back.

00:19:42:24 – 00:19:49:21

Bro.

00:19:49:23 – 00:19:58:00

I, I I’m pastor. I washed my home.

00:19:58:02 – 00:20:07:15
3
Not the old you. Not the better. You just the version that feels the bass and doesn’t run away. That’s all the mojo you need.

00:20:07:17 – 00:20:25:04
1
I must not fear. Fear is the mind killer. Fear is the little death that brings total obliteration. I will face my fear. I will permitted to pass over me and through me. And when it has gone past, I will turn the inner eye to see its path. Where the fear has gone. There will be nothing. Only I will remain.

00:20:25:06 – 00:20:56:00
1
A powerful upper labor is the key to this free labor market. Untrained, lenient. Small. Total. Dreamer per Permettra deposition. Moi otra verde moi. Illogical. Rapacity. Interior. Poor. Service. Shimmer. La rapacity. Illness. Restoration Priyanka moi. Each the long stem. Angst is the ghost is Tuta. Angst is the cleaner taught the filigree oscillation bring each word in minor angst. Exquisite in each word existing ubermensch on Deutsch.

00:20:56:02 – 00:20:57:02
2
Hinduism gain.

00:20:57:07 – 00:20:58:07
1
On Vinci for rebuke.

00:20:58:08 – 00:21:26:09
2
Gang ist vertiginous in Iran Olga Vindman you convict Susan Dort with the angst. Gaganyaan is the next sign. No issue. We have the blame, no naval away. Reporter la Porte OCD lament la la piccola Mort. Portal into totality and frontera linea para la permet de la Traverse City. Me if cuando se le passato vulgar or lock your interiority pervaded in su camino de Villa Busselton on Chisora Peninsula.

00:21:26:09 – 00:21:47:00
2
So your emotional core come on within core cuisine. Neural drain shader core come tomorrow man, you should get alone. Could you give them the core of useless gym? Use it him done get you missing him then Amazon is in with a gem. May find itself. You’ll want to go to my kitchen to the gym? Yeah, they call me Jack Savage.

00:21:47:01 – 00:22:15:04
2
Ben gem. No, they both enemigo. El Nido, El music epic and more to the LA destruction. Total enfrentar me mudo la permitted sobre me a través de me e cuando el pasado me awful interior para versus camino. I don’t there will be yellow and okay that another sort of your permanent city war wounding consume conjuration shielding the show you should I like to the immediacy of someone.

00:22:15:06 – 00:22:29:22
2
Well, gentlemen, welcome to lonely young person was in San Diego tango with the nation downtown couture jeho wolf with transformation Julian canting cattle with the mountain contracting digital jungle. So you do your work for you, sir?

00:22:30:01 – 00:22:42:06

Oh, that’s right. All right. You better. I like heavy, though.

00:22:42:08 – 00:22:44:03
3
This is not a new.

00:22:44:05 – 00:22:49:06

Hello, hello, hello, hello. It’s us.

00:22:49:08 – 00:23:04:14

Tonight I train here. Tonight I stay up here. Oh, no. Oh, no. Oh. But I we’re.

00:23:04:15 – 00:23:07:20
3
Just gonna listen to my.

00:23:07:22 – 00:23:16:02
2
Trouble on code is the holy Bible of love. So if, the noise for.

00:23:16:04 – 00:23:22:13
3
This lovely my heart love. When I stop breathing.

00:23:22:13 – 00:23:52:02

Then I don’t do it anymore. They tried to set it up for the soul. Is that the diesel engine just operated in a stable environment. They find peace in the bones. In the brain. La la la la la da.

00:23:52:04 – 00:24:06:06

Want you do welcome those who don’t want to let you. Oh, no. Cause I don’t put up with the.

00:24:06:08 – 00:24:18:10

Chorus. Instead of the speed of the speed I got an easier Connie Clooney.

00:24:18:12 – 00:24:24:06
2
Did you hear me?

00:24:24:08 – 00:24:39:04

They’re not afraid of tenderness anymore. Oh, I’m. Peace. Peace.

00:24:39:06 – 00:25:19:18

In your bed. I’m fine. Can you put me in a lovely softly. Peace in the valley. Leaving I know nothing. Hey, I know you. Listen in some love in motion. And I find you I find my.

00:25:19:20 – 00:25:24:08

I find my, oh.

00:25:24:10 – 00:25:32:24
3
You people trying to eat me. Because I’m so. Oh, juicy and full of my bottom.

00:25:33:01 – 00:25:37:24

Oh, oh, I am waking from a dream. Another vanity, a long.

00:25:38:01 – 00:26:06:13
2
Shining hallucination. Where we found the sky. Could be on the earth. Could be bed. And the soul could be engineer. For centuries we called that dream progress. We built towers out of glass and ego I call them vision. The extract expanded, accelerated, believing that endless growth was the sign of life. But infinity is not a dream. It is a future.

00:26:06:15 – 00:26:38:13
2
The true dream is not. And it has shape. Breath. A path ascends between two peaks. It knows that beauty depends on boundaries. That love without moderation devours itself. That consciousness begins not wanting everything but knowing what is enough. The modern dream said, more, faster, higher the new dream. Closer, slower, deeper. We no longer want to dominate the world.

00:26:38:15 – 00:27:03:01
2
We want to understand it. We no longer want to possess love. We want to feel. May we no longer want to conquer. Sleep at who wants to wake within. This is not resignation. This is awakening. So lucid dream where we finally see the engines and love them to be conscious is not to escape the dream, but to dream.

00:27:03:01 – 00:27:21:13
2
The responsibility to breathe within the moment, to dance within the frame, to hold what we have without crushing every modernity. Dreamed of control, fluidity, dreams, care. And maybe this time we are ready to dream, right?

00:27:21:15 – 00:27:28:05

Oh super super fresh radio Shalom life from Berlin.

00:27:28:07 – 00:27:34:03
2
Live and direct from Kashmir. Radio.com. Super super super okay.

00:27:34:05 – 00:28:01:22
3
Actually, And counting and tired out. And I open the door to door open for me and my bones. Remember the playground? My skin remembers the star. John funky on, John Lennon saw the answer to Wes Montgomery on the Metro. I the bug.

00:28:01:24 – 00:28:07:01
3
As being a traveler myself, I didn’t.

00:28:07:03 – 00:28:20:05
3
You may if I do. Somebody not on your skin thinking about all my anxieties about English. Favorite exciting. Jerry. Jerry. Jerry, Jerry.

00:28:20:05 – 00:28:21:07
2
Sharp.

00:28:21:09 – 00:28:32:07
3
I’m black. I dream. Well, I a question I know they don’t show.

00:28:32:09 – 00:28:33:22
2
Up.

00:28:33:24 – 00:28:34:14
3
I’m not.

00:28:34:16 – 00:28:44:24
2
Interested. You go back to that that that.

00:28:45:01 – 00:29:08:14
3
Show that that bum bum bum bum bum bum bum bum bum bum bum blah blah blah blah blah blah blah blah blah blah blah blah blah blah.

00:29:08:16 – 00:29:49:07
3
Blah blah blah. Blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah blah bup bup bup bup bup bup bup bup bup bup. Black. Black. Black. Black. Black. Black. Black.

00:29:49:09 – 00:30:06:16
3
Shout out. Boom boom boom boom boom boom. Bass. Drum. Backpack. General. That that. Blah blah blah blah blah.

00:30:06:18 – 00:30:22:24

I am counting down down down down down down. Okay, don’t go down I got down finally.

00:30:23:01 – 00:30:39:02
3
Blah blah. Yeah. The deep and deep.

00:30:39:04 – 00:30:47:02
3
Down.

00:30:47:04 – 00:30:49:05
3
Good luck baby. You were born in a glitch.

00:30:49:07 – 00:30:54:15

Bad heart with a puppy in my brain and a Doberman twitch my identity’s pet in a platinum monkey state.

00:30:54:15 – 00:30:55:08
3
So just be.

00:30:55:08 – 00:31:08:01

They showed you crying. They put a dead god inside your mind. Told you how so impressed that you aren’t scared to press night here in Berlin. She is on a Thursday night. One night, one by one, broken means showing you the.

00:31:08:01 – 00:31:09:05
3
Exit with a trembling.

00:31:09:05 – 00:31:22:23

Hand. So good to get out of the breathing. Drop that man so that they can screen. If your world feels wrong, it’s you. Sign my love you I broke in on your waking up. Good luck. Get out of your body. The shot. Cry in the shadow. Go dance outside. We don’t play this.

00:31:23:00 – 00:31:31:02
3
We go wild because super flipped.

00:31:31:04 – 00:31:38:15
3
We could walk, flip.

00:31:38:17 – 00:31:55:01
3
Yeah, yeah. Here’s the manual. Book stamp. No line number one yourself. Ugly cry. Number two. Just a friend who stays when you cancel the show. When you’re dead for days. Number three. Listen to your belly first. Not the feed, not the boom of the algorithm. Verse number four. And that was really sweet. It’s ego approach. Bid number five.

00:31:55:02 – 00:32:02:04
3
Talk to you in a kid. Apologize for the shit you did and let them dance. You gonna dance? Can your heartbreak into doubt? Sounds good.

00:32:02:04 – 00:32:13:04

Love it I love I bring it to that match to dead. Would you like your say to wake up? Call you baby, you’re the genius. Are you looking out for your chest? Your.

00:32:13:06 – 00:32:20:08
3
Identity is getting. We don’t need that. Don’t we make a self revolution from a smartphone?

00:32:20:10 – 00:32:23:16
3
Yeah.

00:32:23:18 – 00:32:43:08
3
I smartphone. Yeah. Listen, baby, you don’t know the system. You. So you don’t know your father, his role. You don’t know the city a Queens storyline with career mode. Get fake smile or yourself breath the body to see his friends. They see you love that he is. You want instructions to leave this cage here? Be slower.

00:32:43:12 – 00:32:49:11

Scroll helps in the helps you out. Makes your happy stupid 11. That’s it.

00:32:49:11 – 00:32:50:14
3
That’s the.

00:32:50:16 – 00:32:54:21

Good luck. Get out. You get in the embassy. A way to peer in the old.

00:32:54:21 – 00:32:55:15
3
Way to you.

00:32:55:15 – 00:33:03:20

Probably right. You already been in the next day. Like luckily for you, you get your fucking. You never know.

00:33:04:00 – 00:33:04:24
3
But saying you’re.

00:33:04:24 – 00:33:09:03

Ready, let the day work.

00:33:09:05 – 00:33:12:08

Let.

00:33:12:10 – 00:33:16:15

Buddy. Let the day will go.

00:33:16:17 – 00:33:18:22

Yeah.

00:33:18:24 – 00:33:22:17

This piece has no.

00:33:22:19 – 00:33:31:00
2
The file is corrupted. The folder mislabeled, the archive incomplete.

00:33:31:02 – 00:33:34:18
2
Good titles are leashes.

00:33:34:20 – 00:33:44:08
2
Let’s see what a human does when even the label human starts to flicker.

00:33:44:10 – 00:34:09:02
2
Screen black cursor blinking like a tiny metronome. A panic. Who are you without your job title? Without your design script? With the cute couple cosplay, I hear the system open name, role function, gender up a brand. But tonight the form field stays empty. Untitled, solid and open. None. Don’t walk to Berlin with no story on my back. Just steps.

00:34:09:02 – 00:34:41:10
2
Just breath. Just as with permission to not know who the fuck I am. Becoming untitled but not empty now. Wrapped. Just not up to my comprehension screen. So not empty just now. Wrapped, just not optimized for comprehension. Speak with. Which is not a bug. It’s a message of love in the track of a drop in the love. If we fail.

00:34:41:10 – 00:35:17:11
2
Seduction is the code saying this path is deprecated. Sugar is also in business. Defeat come the skin doesn’t move is a video. The hustlin the bunker there take the world record, delete, delete delete. No music archive. Let them exist with no commanding. Cut the mascot of your leader. The film. The background noise well, a new signal. Faint but obstinate as the post beneath untitled between collapse and click not a breakdown a firmware update with no patch notes.

00:35:17:13 – 00:35:44:13
2
Yo between collapse and click, not a breakdown for a firmware update with no patch notes. The doctor doesn’t know. The coach doesn’t know. The algorithm doesn’t know. Only the body has got the most. My gosh is a conscious freeze no pay to subsequent okay, you may be on the spine. Knows when the bell to win. Good god soliciting necessary techno of the soul.

00:35:44:13 – 00:36:01:21
2
No drop, no pay off. Just long slow diagnostics. What do I do when no one is watching? Who do I hope when I panic? Where do I head when I succeed to shine in the unclip. For if I’m listening on soul. But some consolation that to the title.

00:36:01:23 – 00:36:05:04
3
No script, just just breath.

00:36:05:04 – 00:36:09:14
2
Just unable still to scroll a title.

00:36:09:14 – 00:36:15:21

This way I start to know no hashtag, no just heart.

00:36:15:21 – 00:36:20:05
3
Just a movie to all the phantom is possible.

00:36:20:05 – 00:36:42:13
2
Flesh in the soundtrack of not knowing I stop auditioning for my own life I don’t chase the right version of me a host, a swarm. Maybe I am father in love and covered in all at once half baked Olympia. Maybe it’s almost never. Look how great I am. But look. Album progress. I dare to be in public on title but online.

00:36:42:13 – 00:36:43:14
2
No marketing.

00:36:43:14 – 00:36:44:23
3
Copy.

00:36:45:00 – 00:36:48:15
2
Just raw signal until it’ll be love.

00:36:48:15 – 00:36:50:13
3
If there is a revolution.

00:36:50:15 – 00:37:14:06
2
It starts here in the coach. Tune up, summarize your yourself. Disturb it on one records. Rise up, summarize yourself. Some of us some some analysis of.

00:37:14:08 – 00:37:19:21
2
This track has no title. You hear it anyway.

00:37:19:23 – 00:37:34:24
2
This life has no final concept. You live it anyway. Glitch. Accept it. Process continues.

00:37:35:01 – 00:37:58:03
1
It’s an attempt, to say that it’s okay and we can do things together because it’s okay. And may I may. My ambition is to push this manifesto of saying it’s okay. Do we are we are into the fluid thing and Berlin fervor is very fluid. I mean, it’s a huge, great source of inspiration for me because Berlin is very, very, very fluid.

00:37:58:05 – 00:38:02:21
1
It’s all the things is. This is why maybe it’s already too old. What I’m saying.

00:38:02:21 – 00:38:26:16
4
It’s in that sense it’s actually fitting Berlin pretty well, especially also with the languages. Right. So we have the music, we have the, the, the content, which is very philosophical, sociologically, inspired and also biological sometimes. And technological. So that’s really great. And then you have to do the, the languages and what’s, what’s really so cool about you.

00:38:26:16 – 00:38:59:19
4
So I found is, the no shame approach in just mixing all the languages, bringing them together, having voices talk. A, not so perfect English sometimes not so perfect Germans, some French, some Japanese. I don’t know what Japanese people would think when they hear that, etc. but this is this is a, this is a very fluid way of, just putting stuff together, like in a, in the salad, as you say, in a salad bowl.

00:38:59:19 – 00:39:00:01
4
Right.

00:39:00:02 – 00:39:01:07
1
Because this is the idea. Yeah.

00:39:01:07 – 00:39:22:08
4
And that’s, that’s, that’s really, that that’s really fitting. Basically brilliant because I also feel like Berlin is this salad bowl where you go have examined in a real Japanese place to one day you go to, Vietnamese sushi next day, and then you have a pizza, from, from the Kosovo or something like that. It’s really that is really Berlin.

00:39:22:08 – 00:39:24:12
4
So. Yeah, that that’s really fitting.

00:39:24:14 – 00:39:48:06
1
Yeah. And, AMD, hackers, people who knows so. Well the culture they are dealing with that they can really play with it. And I think, in terms of radio, because I’m doing this since 25 years or a it’s more so, I think that time, like when I’m really hacking those new tools, taking pleasure out of it to do something very special, very fresh.

00:39:48:06 – 00:40:16:14
1
Because this is really my intention and, and really be playful in this aspect. And finally, don’t respect anything in the way I’m doing it because it’s it feels there are new tools, but there are no censorship at all. It’s starting to come now. In some platforms you can do whatever you want, but for now, it really reminds me the beginning of the web where where you had all those tools open, free, being able to play with website and play euros, you could do many things.

00:40:16:14 – 00:40:47:01
1
And this excitement, I feel it now with with the idea and this is what I put in in the show and for the radio is it’s less, toxic I feel, than with videos and images because, the response you have are us, more intellectual than visuals. I don’t know if it makes sense, but, this is, a way I really love radio and playing with those tools, doing radio shows, even if it’s frustrating because I don’t talk that much anymore.

00:40:47:04 – 00:41:10:18
1
But this is the way you can really play with with things. So you have inspiration. It’s like, it’s it’s Yeah. Maestro. Artistic direction. It’s a lot of artistic direction, doing choices in between things that are produced by the machines. But I realize that I’m dancing on, on the, on music made by machines since I’m 17, so I’m always used to dance with machines.

00:41:10:20 – 00:41:31:05
1
See if I. That’s true. All that is been said in this interview is true, and also is something that because I receiving messages, what I’m doing this show and someone, ask me if this songs that you are listening to, things that I’ve done with AI and I have to say, yes, everything is done with AI.

00:41:31:05 – 00:41:34:23
1
It’s only original stuff. Thank you for asking.

00:41:35:00 – 00:41:41:16
2
Super, super long. I have more of somebody. I have the time. You know what I mean? All right.

00:41:41:18 – 00:42:13:06
6
The concept of transitioning from modernity to fluidity represents a profound shift in human civilization, not through catastrophic collapse nor chaos, but through a gradual evolution toward transparency and wisdom. This transformation challenges our traditional understanding of progress, suggesting that the end of modernity is not an apocalypse, but rather a quiet shift into something more adaptive, more alive, more enlightened.

00:42:13:08 – 00:42:44:08
6
Modernity’s primary gifts were tools of measurement, separation and control. They shaped our world. They built bridges, machines, economies, but they also built rigid frameworks and closed systems. And now those systems are breaking, not in violence, but under their own weight. Every monument of certainty we’ve built is being eroded by time and tide. What emerges is not destruction, but the necessity for change.

00:42:44:10 – 00:43:11:21
6
A new paradigm, a new softness, a new fluidity. Fluidity is not regression. It is not an escape. It is a continuation, an evolution. It is what modernity could have become had it not been seduced by conquest power and control. Fluidity is not the end of humanity. It is the beginning of what the text calls the adulthood of civilization.

00:43:11:23 – 00:43:45:13
6
Not domination, but imagination, not human. Plus, as in transhumanism, but human quantum a deeper, wider, more intuitive humanity. This philosophical transformation has deep historical roots. It draws from Tao to to the silent intelligence of children. The rhythm of forests, the wisdom in songs that never needed to be written. And yet it is urgent now because the scaffolding trembles not from attack, but from metamorphosis.

00:43:45:15 – 00:44:20:23
6
Structure is not dying. It’s returning to motion. Form is returning to flow. Pride is giving way to presence. The shift to fluidity means moving from rigid control to adaptive strength, from separation to connection, from force to flow. It’s not about weakness, it’s about suppleness. It’s about quantum perception, instinctive governance, and inclusive ways of being. It means creating new mythologies based not on domination, but on tenderness.

00:44:21:00 – 00:44:47:20
6
It means creating new mythologies based not on domination, but on tenderness. It means creating new mythologies based not on domination, but on tenderness. It means creating new mythologies based not on domination, but on tenderness. It means creating new mythologies based not on domination, but on tenderness.

00:44:47:22 – 00:44:51:19
3
Softness.

00:44:51:21 – 00:44:55:10
3
Hey!

00:44:55:12 – 00:44:58:05
2
Right now you doubt? Yeah.

00:44:58:07 – 00:45:14:14
3
Yeah. You forget who you are. You scrub, you spin. You want you a little small. Exhale. Listen, I love you. I down.

00:45:14:16 – 00:45:25:04

I love you I don’t know I love you, I love you. Nothing, nothing, nothing nothing. You are breathing.

00:45:25:06 – 00:45:39:08
3
So you’re still here and you’re here. You are not alone. You smell, you spend, spend, spend. Your 1.1 too much is sink a little three month to month.

00:45:39:08 – 00:45:51:05

To month to month to month. I.

00:45:51:07 – 00:45:55:24

Should shot,

00:45:56:01 – 00:46:02:02
3
I was.

00:46:02:04 – 00:46:11:22

An.

00:46:11:24 – 00:46:25:15

I’m with you. I’m with you in your headphones, in your chest. And this very breath. But but but but but but but but but I.

00:46:25:17 – 00:46:26:19

I wrote a.

00:46:26:21 – 00:46:31:22
3
Story for a second. But get get you get.

00:46:31:24 – 00:46:35:02

You get nicotine. But you get all.

00:46:35:04 – 00:46:42:02
3
Forget that sex. But we need to get you speed.

00:46:42:04 – 00:46:52:10

E just feel this and and, and and and and, and and and and, and then this.

00:46:52:10 – 00:46:58:17
3
Is you breathe and breathing and this is you you you you you is we we you not alone.

00:46:58:17 – 00:47:06:14

At all. No duh duh duh duh duh duh duh duh

00:47:06:16 – 00:47:28:03

Every time you doh doh doh doh doh doh doh doh doh doh doh doh doh doh doh doh doh doh amazing.

00:47:28:05 – 00:47:49:09

Enough. Oh I’m I’m just,

00:47:49:11 – 00:47:57:08
3
I’m with you. I’m, You don’t.

00:47:57:10 – 00:48:30:23
3
I am with you. What does it mean to be an adult in the 21st century? And what did they tell us? That being an adult today isn’t about knowing. It’s about feeling and staying open. It isn’t about independence, but about relating without vanishing. It isn’t about doing more, but about being here fully. And finally, it isn’t about control, but about acting with care when it matters most.

00:48:31:00 – 00:49:00:15
3
The fluid grown up is in a finished version of yourself. They’re the you who stay soft while holding the world, who doesn’t close, who doesn’t collapse, who learns to breathe through the complexity. So maybe it’s not about growing up. Maybe it’s about growing with with your body, with your ghosts, with the child you were with the others around you, with the time we’re in and with this simple, quiet vow.

00:49:00:17 – 00:49:41:07
3
I will stay human. I will stay open. I will stay here. You’ve been listening to meetings from nowhere. My name is Carmen. I’ll see you wherever presence meets breath. Until it becomes clear. My body only being face is talking. Mind is shrinking. I dissolve. Stop.

00:49:41:09 – 00:49:43:03

Had I had,

00:49:43:05 – 00:49:45:01
3
His first. Well,

00:49:45:03 – 00:49:52:16

Hello? Hello. We spent time on zoom.

00:49:52:18 – 00:49:53:14

But he let me.

00:49:53:14 – 00:50:04:10
3
So let go. I’m not my little screen. I’m the pulse behind the scene. I’m the link in the machine to it. But in between.

00:50:04:12 – 00:50:25:10

Making me not. Making it, overthinking. Like, no more thinking. Like it only be me. If ego sink like I do.

00:50:25:10 – 00:50:28:23
2
So zipper walk.

00:50:29:00 – 00:50:36:19
3
Stop.

00:50:36:21 – 00:50:43:15
3
By wave II suffrage new tide out and just feel the sweat. That’s real.

00:50:43:18 – 00:50:50:11

Real real real real real.

00:50:50:13 – 00:50:51:12
1
No zipper.

00:50:51:12 – 00:51:13:06
2
Look at.

00:51:13:08 – 00:51:43:21
6
I look at him and something clicks. Something’s different. It’s not that he’s changed into someone else. It’s that he’s finally himself. Fully. He’s not performing strength anymore. Not disappearing into silence, not chasing, not hiding. He’s just here with his cracks, with his clarity, with a presence that doesn’t ask for permission but doesn’t invade either. And he sees me.

00:51:43:23 – 00:52:10:16
6
Not as a threat, not as a mystery to solve, not as a mirror or a prize. He’s with me. Not in pain, not in projection, but in that raw, clear place beyond gender, beyond shame, beyond the need to control. He’s not trying to win or be right. He wants to play, to co-create, to explore with me. He’s not afraid to need, not afraid to not know.

00:52:10:18 – 00:52:39:11
6
He listens. And sometimes he opens doors I thought were locked forever. I can feel it. He’s no longer afraid of me because he’s no longer afraid of himself. He’s not asking me to mother him to fix him. If he wants to be with me, for me not to heal the past, but to invent something now. With ease, with intensity, with pleasure, with integrity.

00:52:39:13 – 00:52:47:23
6
He’s walked through something. And maybe that’s why, for the first time, I feel safe enough to finally fall into my own softness.

00:52:48:00 – 00:52:49:01
2
Zuppa soup.

00:52:49:01 – 00:52:51:08
3
Ever has more lives under the.

00:52:51:14 – 00:52:53:09
2
Eye of the tiger? You know what I mean?

00:52:53:11 – 00:53:02:02

All right. Overthinking how much? Thinking only putting, only beaten.

00:53:02:04 – 00:53:05:24
2
Faces talking. And a shrink.

00:53:06:01 – 00:53:42:01

Eyed is all my stuff. Head over hard on its version. Welcome. Head on hard on these bad. I’m going across what Baltimore picked up on great. I think what I liked my first thought is so let it go.

00:53:42:03 – 00:54:24:14

I love my little screen. I love those behind the scenes. The lake and the machine flew. It was the twist over think. I think it’s only like I picture racist. Okay. He goes up to shore, I stop. La la la la la la la la la la la la la

00:54:24:16 – 00:54:28:17

00:54:28:19 – 00:54:40:04

La la la la la la la la la la la la.

00:54:40:06 – 00:54:43:21

00:54:43:23 – 00:55:00:13

Spot way I got to show you time I don’t plan, I just sweat the sweat. I thought that through.

00:55:00:15 – 00:55:08:15
3
Boom. From 6 p.m. to 7:30 p.m.. To like that direct radio got five.

00:55:08:17 – 00:55:10:16
2
Even find that.

00:55:10:17 – 00:55:34:01
7
But the sublime is not a category. It is a tear, a rupture in the fabric of what we thought we could contain. Kant tried to systematize it. Nietzsche tried to write it. I say, let it cut you. The sublime is not a mountain. It’s not the storm. It’s what happens in you when the form collapses and you realize form was never enough.

00:55:34:03 – 00:55:58:12
7
It is the moment reason stares at its own limits and instead of retreating, laughs. It’s not about beauty. Beauty is docile. Beauty is for galleries. The sublime is for nights where the sky refuses to end. And you feel something ancient shiver inside your ribs. Kant saw it as the triumph of reason over chaos. Nietzsche saw it as chaos dancing.

00:55:58:14 – 00:56:24:13
7
I see it as a threshold not between man and nature, but between what you are and what you could be if you dared to step out of the cage, hold yourself, and might. Light is not clarity. Light is the thing that makes shadows possible. Light is the violence that exposes the truth, strips away comfort. There is no illumination without the risk of blindness.

00:56:24:15 – 00:56:30:20
7
And maybe that’s the most sublime of all to see clearly and still choose to walk into the dark.

00:56:30:22 – 00:56:39:10
3
Because, superoxide, you’re at cashmere boom.

00:56:39:12 – 00:56:41:16
2
Dotcom. You get.

00:56:41:18 – 00:57:05:16
1
It? Since parrot don’t scare me. It’s really intense. And I hope you are having a good moment in your place. It’s beaucoup moment. Thank you. To Philips. That means sending me messages. Thank you to everybody who is listening to me and to us at Cashmere Radio. And it being said, tune to Cashmere Radio because this is the last show of the season when I make a break because I, I have a book to write.

00:57:05:16 – 00:57:31:09
1
Now, since I’ve done this show, I have, really worked on myself. And I’m ready. I’m ready to take this time to to write to to write it down. You you understand what it is? I’m starting to understand. This is something huge. They’re not that easy. But now I’m ready to face it.

00:57:31:11 – 00:57:35:16

The body begins to stretch muscles. Remember, the mind forgot everything.

00:57:35:16 – 00:57:58:13
3
Once all type releases, everything once controlled melts I am. I put I am always. Stretch the spine. You said to me I feel like I can’t touch the skin. The surprise to eat exercise supplies to show we’ve been broken. Promise to the future. Dances in style.

00:57:58:15 – 00:58:14:22

So this is our story. It’s central I, your timing is said to watch your memory back. Breath each year.

00:58:14:24 – 00:58:17:17
2
That you like to make.

00:58:17:19 – 00:58:18:24
3
Me out of you.

00:58:19:03 – 00:58:39:16

I stretch, I stretch, I stretch. Last one voice I call this. My mind is consciousness. You take your heart to heart. One side.

00:58:39:18 – 00:58:43:00

We are no leader.

00:58:43:02 – 00:58:47:19
2
We are like to listen, to feel.

00:58:47:21 – 00:58:53:18
2
Each soul becomes a small.

00:58:53:20 – 00:58:58:03

Secret to three.

00:58:58:05 – 00:59:04:15

Seeds a long time.

00:59:04:17 – 00:59:09:16

To your soul. There is no top, no bottom.

00:59:09:18 – 00:59:22:12
3
Works of tenderness, of trust. Only the supplies. Listen to light. Stretch, stretch is sometimes decentralized. Such blocks.

00:59:22:14 – 00:59:26:20

From one to from knots to rest from.

00:59:26:22 – 00:59:33:07
3
Your presence. To me, the is all we are.

00:59:33:07 – 00:59:46:06

The signal. No. Oh oh.

00:59:46:08 – 01:00:00:02

The be honest. No, no.

01:00:00:04 – 01:00:01:13

Just give it back.

01:00:01:13 – 01:00:02:10
3
To the network.

01:00:02:11 – 01:00:29:05

Of. This charity you need to. Your people shall be watched. You stretch. I search, stretch, I stretch, I, I stretch, I stretch, I stretch.

01:00:29:07 – 01:00:32:02

One I signals, one infinite.

01:00:32:08 – 01:00:33:20
3
Coast one my.

01:00:33:22 – 01:00:43:19
2
Consciousness. It’s hard to stop. We all know the people need I, we all.

01:00:43:23 – 01:00:56:16

Me just on each centralized. Let us see I’ll give it to breathe.

01:00:56:18 – 01:01:03:15

You stretch.

01:01:03:17 – 01:01:15:19

For me we all. For me to we. To all.

01:01:15:21 – 01:01:22:12

Train us all. We.

01:01:22:14 – 01:01:23:13

For us.

01:01:23:15 – 01:01:30:13
3
The first person.

01:01:30:15 – 01:01:45:14

Playground on down streets in motion. Join me to sign store to join them. And I go in my car turns to never look out of a god. So loved ones I thought the way which can I pick so good I still I don’t see color.

01:01:45:14 – 01:01:47:01
3
In the shadows of the metro.

01:01:47:01 – 01:01:49:08
2
I support the art underneath flows.

01:01:49:10 – 01:01:57:14

I’ve been to the US Congress. I can’t find out. The door on the liquid. Great heavy.

01:01:57:16 – 01:02:09:02
2
Show us beer lies. And if I do some more they spill lantern. You should get out on the bush. Belonging for last haunted about the no space to go. Skies on those who know not. Who do not just dance.

01:02:09:04 – 01:02:15:11

Come on the seat of my meal also flowing I been planned a selfie. Can’t call me scroll closure.

01:02:15:11 – 01:02:23:02
3
Despite the a mental looks on. Call me people my school.

01:02:23:04 – 01:02:26:10
2
For others I like, I’m on the sofa.

01:02:26:10 – 01:02:29:08
3
Sofa on. You know I’m now just.

01:02:29:09 – 01:02:35:21
2
Passing I know the ceiling. Supposed to be a sisters lake necesario Chang’s a Catholic that I this fragrance.

01:02:35:23 – 01:02:46:20
3
What said I played on almost all those who established La Lumiere de la since then. Out here now, she had to hand out a bottle in the economy.

01:02:47:00 – 01:02:49:14

I can’t say I did you to come see.

01:02:49:17 – 01:02:51:02
3
I’ll let you to. Come on.

01:02:51:04 – 01:03:01:08
2
Come on. Do. I couldn’t put up the form, the tempo. So I played with someone and uphold the national float on. I float on the floor of the ball and every noise. My costume is the feelings. Lenny, you’re.

01:03:01:08 – 01:03:09:15

Supposed to some of the people. But I just cannot walk on because you invited me on the month on every.

01:03:09:15 – 01:03:11:20
3
Connection is a small America.

01:03:11:22 – 01:03:18:18
2
Lesotho to snatch left mouse was crispy from the bow. Man I’m smiling so go ahead to the forest. Keeps our ghosts alive.

01:03:18:22 – 01:03:25:17
3
Colorful life memory. Are you this black in the darkness? No censorship. Because very soon I believe I can now make sure.

01:03:25:20 – 01:03:28:05
2
Cause you won’t go cuts hospital.

01:03:28:07 – 01:03:35:12

On me until I ain’t second watching you. Don’t the victim who is? Look, the love the.

01:03:35:17 – 01:03:37:22
3
Women’s football signaling.

01:03:37:24 – 01:03:39:20
2
To shadow. She ordered to check on time.

01:03:39:21 – 01:03:46:13
3
Cooking a cookie. Your scale fatal flaw I start was no. I stop and I for a spill.

01:03:46:13 – 01:03:52:01

Eyes upon my dance. For the loving was a dissolve I come here and come to my heart.

01:03:52:03 – 01:04:10:16
3
The forest is alive and we are its signal.

01:04:10:18 – 01:04:34:18
2
You described what we felt, but not what space does. Gravity is in something that pulls. It’s something that bends mass. Curved space and curved space tells mass how to move. But time is absolute. Events unfold in a single order, measurable by clocks. Not here. Clock slow down near mass. Two observers will measure time differently. There is no single now.

01:04:34:20 – 01:05:02:01
2
Then everything I knew was incomplete. Not wrong, just a local truth. Your laws are still useful in calm places, small speeds, weak fields, but near the speed of light or near massive stars, you must bend. I once said, I feel like a boy playing on the shore of the ocean of truth. I now see the ocean is deeper than I imagined.

01:05:02:03 – 01:05:17:08
2
You looked further only a little. And even I reached my limits. I never managed to unify gravity with the quantum world. There is still mystery. And that is where beauty lives.

01:05:17:10 – 01:05:28:00
3
You’ve both spoken of force and of curves. But this is not only about gravity, it’s about vision. So I ask you, Albert, what changed? What truly changed?

01:05:28:02 – 01:05:50:13
2
What changed everything. The world is no longer built on fixed laws and solid truths. We left the Cathedral of certainty and stepped into the storm. You built a world, Isaac. Where matter was king with a universe could be weighed, timed and solved like an equation. That world was the modern world. But in my equations, time flows differently depending on where you stand.

01:05:50:19 – 01:06:18:07
2
Mass bends reality and light even light doesn’t always move in a straight line. We are no longer dealing with things. We are dealing with relations. There is no view from nowhere anymore. All the entanglement only position, only the observer inside the system. This is not just physics. This is a shift of consciousness from materialism to fluidity, from objectivity to participation, from what is the truth?

01:06:18:13 – 01:06:27:03
2
To where are you standing when you speak? This is why your world feels broken, Isaac. Not because it failed, but because it couldn’t bend.

01:06:27:05 – 01:06:27:20
3
The system.

01:06:27:20 – 01:06:34:06

Must go. Let it drop. But in the base. My heart don’t stop.

01:06:34:08 – 01:06:39:21

Cracking. The system has come. Let it go. You’re not alone in the dark now.

01:06:39:22 – 01:06:42:14
2
Flow low, low low low low. Living crack.

01:06:42:14 – 01:06:45:24
3
Not show not strong. Little crew in a big, big machine.

01:06:46:01 – 01:06:55:19

Wanting a microphone. Based on louder than your name. Not content. How can excellent BBM like a duck panda show one more thing.

01:06:55:20 – 01:06:57:24
3
The so-called ideology glitch.

01:06:58:01 – 01:07:18:24

Goes home telling prison loving keep on strong in a job. I know what the key open every bow in your body. Crack in the system. Da da da da da da da da da da da da da da da da da da da la da da.

01:07:19:01 – 01:07:23:21
3
I’m cracking the system has got. Let it drop. But in the base.

01:07:23:21 – 01:07:34:21

My car crack in the system. Let’s go. Let it go. We’re not alone. Da da da da da da da. Cyclist.

01:07:34:21 – 01:07:44:18
3
Like no person beats on the floor. Now I want you to solve a key. So make a night. You wait while the line breaks. Just past the footwork.

01:07:44:19 – 01:07:48:08

In your brain. Study someone on your song on Fortnite.

01:07:48:08 – 01:07:52:04
3
Storyboard by putting the device.

01:07:52:06 – 01:07:59:04

On as solo for a song. I got it. I got a lot of bamboo to die.

01:07:59:10 – 01:08:07:02
3
No fear, just be quiet I got it, I got it. Hold your seat. Back in the system. Mask off. Let it drop.

01:08:07:04 – 01:08:19:03

Da da da da da da da da da da da da da da da da da da da da da da da da da da da.

01:08:19:08 – 01:08:23:18
3
Cracking the system. Mask off. Let it go.

01:08:23:20 – 01:08:26:18

I can’t stop.

01:08:26:20 – 01:08:31:11

Cracking the system. Let’s go. Let it go. You’re not alone. In the.

01:08:31:11 – 01:08:32:10
3
Dark, out.

01:08:32:11 – 01:08:38:04

Loud. The out so I can system day and night.

01:08:38:04 – 01:08:46:24
3
I never could feel it. The spotlight. Dance with the dignity you keep on day like dirty eyes.

01:08:46:24 – 01:08:49:15
2
Please hide. That’s right.

01:08:49:17 – 01:09:05:23

Supervooc crack radio flow. Louie, Louie, Louie Louie, Louie Louie Louie Louie. No. You know he knew it.

01:09:06:00 – 01:09:11:01
2
You gotta see their face.

01:09:11:03 – 01:09:21:04

Yeah, but I saw my dad. No. Yeah, I.

01:09:21:06 – 01:09:23:08

Met lucky, lucky, lucky I.

01:09:23:09 – 01:09:24:14
3
Up a walk.

01:09:24:16 – 01:09:50:16
1
Also, something about fluidity is when you know, where is your up, down, right, left, your three dimensions, you can face any kind of, chaotic moments. Because you always know where he’s up, down, right, left. So you’re not lost basically. And this is a, something which is not so easy to achieve. And this is even when I ask myself about this.

01:09:50:16 – 01:10:23:06
1
So maybe is it dedicated to older people like my age? I’m 47 now and, or an older people than me, or is it? Also, I like to see that it’s also for younger people, because I like to think that they give them resources and ways to think they are right, to think what they do is okay. And this fluid approach, horizontal, less violent and gentle approach is, is is what is if we have to say the future or it’s the present, it’s okay.

01:10:23:09 – 01:10:43:15
1
So it’s also to yes to say to the younger generation, you’re right, you’re right. Don’t, don’t think that you’re going to be smashed or you’re you’re wrong. No, no, you’re right and you’re very inspiring. And this is where we have to to stay and go. Right. Don’t don’t think that you’re going to be smashed or you’re you’re wrong.

01:10:43:15 – 01:11:00:04
1
No, no, you’re right. And you’re very inspiring. And this is where we have to stay and go. Right. Don’t don’t think that you’re going to be smashed or you’re you’re wrong. No, no, you’re right. And you’re very inspiring. And this is where we have to to stay and go.

01:11:00:06 – 01:11:12:14
3
Dreams on. Oh, yeah. These whole home.

01:11:12:16 – 01:11:23:23

And your eyes are so flip me the potential for me. Love I use those on the way.

01:11:23:23 – 01:11:25:17
3
They don’t leave me heavily.

01:11:25:17 – 01:11:45:01

Came to.

01:11:45:03 – 01:11:57:24

The sitting up inside my life. To my sons on the level. Berlin. Who for me is like a glorified shooting of master.

01:11:58:02 – 01:12:02:14
3
The eastern Congo.

01:12:02:16 – 01:12:06:04
3
All I keep those are for the family.

01:12:06:07 – 01:12:06:17
2
Oh, yeah.

01:12:06:17 – 01:12:38:19

So you know you’re loving my boy. You woke up you with this love Irish feel so low sugar got me wrong. Just feeling up in love and all on me. You hop hop hop hop hop hop hop hop hop hop hop hop God be my bush.

01:12:38:21 – 01:12:53:03

But then in a suit and running song. Beat him. Go go go. For little girls. You know you’re the baby for us. Call me bird on me. Go for me. Sure. Go simple. Doing it on my skin.

01:12:53:05 – 01:12:55:00
2
Don’t see it off.

01:12:55:02 – 01:13:14:08

Under the bus. Don’t do that. You wanna. 000, you and play. Oh, shit. Oh, you love I gotta, I gotta, I gotta open.

01:13:14:10 – 01:13:19:23
2
I do that for I am you my homie I got a lady.

01:13:20:00 – 01:13:36:16

Who ever gonna see. It’s a woman called the whole heck. So shout to follow.

01:13:36:18 – 01:13:42:16
3
Good. Come low. Welcome to find.

01:13:42:18 – 01:13:45:21
2
My flight I’ll go get.

01:13:45:23 – 01:13:46:12
3
All members.

01:13:46:17 – 01:13:55:00
2
Of the family. You’re your. Every dream is a door.

01:13:55:02 – 01:14:04:09

Dream is home. Go.

01:14:04:11 – 01:14:29:22

Green hop, You hop, Hop hop hop hop hop hop hop Oh, yeah. Yeah. Be smooth. Oh, no. Oh, be of a breath between.

01:14:29:22 – 01:14:33:17
3
Go to some lemon. Wanting more for.

01:14:33:19 – 01:14:37:03

Them to go for ten.

01:14:37:03 – 01:14:38:15
3
Feet up.

01:14:38:15 – 01:14:51:05

Up. Oh, oh

01:14:51:07 – 01:14:52:04
2
Oh.

01:14:52:06 – 01:15:16:15
3
The cameras are pointed at the wrong explosions. They follow the war, but not the therapy session. Oh, they film the riot, but not the couple learning to say no and yes with the same honesty. They film the algorithm, but not the moment you drop your phone and finally feel your lungs. The revolution is not a season on your favorite platform.

01:15:16:15 – 01:15:22:20
3
It’s already here, inside the tiny decisions your body makes when nobody is watching.

01:15:22:20 – 01:15:40:18
2
I don’t wait for a leader. I just switch my pace to my drummer, to rhythm. Put the shame on bass from Berlin to LA color. But you hear the block with the code, the propaganda with a body shirt, party shirt. They want to serve. They don’t stroll on the couch. But my crew breathe deep. Let the fear say ouch.

01:15:40:19 – 01:15:57:15
2
We don’t pray to the market. We don’t trust a God. We invest in a hug and a dude. And so Gomez goes, I forgive up by ten six and a kid don’t go to the light. Nobody. Nobody in room. Just a joke. Boom boom boom boom boom boom. You won’t see it on the screen when the loop breaks.

01:15:57:15 – 01:16:07:19
2
So boom. When a man drops pride. When the girl stops opening the prison script. And I believe never will be right. The scene been made of. Now or never.

01:16:07:20 – 01:16:30:19

The revolution got me, I’m not eating. Also in the video. In the stars in the afterglow. Turn up the bass, turn off the fire. The revolution. Is everybody saying I’m still here? Hey, I don’t know what shall I tell it? Hey, this ain’t to prove the commissaries change from the barbell. I to this bed. You down the street, down the street.

01:16:30:20 – 01:16:34:05

The revolution was bare feet on concrete.

01:16:34:05 – 01:16:37:03
2
They sell represent capsules and couture nets.

01:16:37:08 – 01:16:43:02

But our uprising is messy. Full of crying, dead. Stop getting the bottle. Start holding the.

01:16:43:02 – 01:16:44:09
3
Kids who learn.

01:16:44:12 – 01:16:58:06
2
I was wrong instead of running. And it. We got us on WhatsApp. Never put this on because we got girls. That’s profit. We got love with specs. No binary savior, just the script opposite confused fatigue sensibilities.

01:16:58:08 – 01:17:02:10

Every know that we say to a dead end job he gets to get it done in a mob.

01:17:02:12 – 01:17:06:23
2
Negotiates touches a bigger explosion then the loose can. Cluck cluck cluck cluck cluck.

01:17:06:23 – 01:17:25:09

Like revolution doggy. No feeding, no show love. And I bet your industry in the afterglow. Turn up the bass. Turn off the theater revolution. Is somebody saying I’m still here. Oh no more. Oh, Bachelor, tell it to go.

01:17:25:11 – 01:17:27:13
2
On the sewer. Change it from the bubble.

01:17:27:13 – 01:17:29:07
3
Up to this veggie. Down the street.

01:17:29:07 – 01:17:35:22

Down the street. The revolution washed their feet on concrete. Forget the countdown.

01:17:35:22 – 01:17:49:07
3
The big event, the red button revolution is not a trailer. It’s a texture. Sounds like a father apologizing. Oh, smells like sweat in a queer club when nobody is hungry. But it looks like friends.

01:17:49:09 – 01:17:50:17
1
Serve the fed of flex.

01:17:50:17 – 01:17:51:16
2
Fear.

01:17:51:18 – 01:17:55:19
3
No heartbeat. When you finally nothing for me.

01:17:55:21 – 01:17:59:05
2
No use the queen. You never can feel.

01:17:59:05 – 01:18:02:06
3
What they soft. Not a little.

01:18:02:08 – 01:18:06:04
2
Longer. The revolution I keep. No feed and no show.

01:18:06:06 – 01:18:16:21
3
And I join the stars in the afterglow. Turn not the bass I love the fear. The revolution is a body. Saying I’m still here.

01:18:16:23 – 01:18:32:19

Don’t know what I shall I tell again I’m a woman so I gotta from the light to the rooftops. Crystal clear. The revolution will not be televised. It’s already here. But.

01:18:32:21 – 01:18:39:10
3
Took a walk. That’s a manifesto experiment on radio.

01:18:39:12 – 01:18:46:18
3
Radio arts. Spoken word. Earnings. City. Halo. Cashmere. Radio. Dog. All scenario.

01:18:46:20 – 01:19:05:08
2
Super fresh wave. In the post-modern night flow and modernity. We don’t fill in the light, we are in the back. Come voice cloning. Die. Love manifesto. We’re going down.

01:19:05:10 – 01:19:13:08

Oh, Jake! Jake! Jake! Jake.

01:19:13:10 – 01:19:18:07
2

01:19:18:09 – 01:19:21:10
3
Oh. Okay. Okay. Okay. Jake.

01:19:21:12 – 01:19:39:07
2
Super. Well, super fat bass. Go boom from Berlin city straight to your room. Fine. Peace. No duh. When the kid goes down, stretch and decentralize, we make more room that I manifest all on a of, b,

01:19:39:09 – 01:19:41:11
3
In a child dungeon on a hot.

01:19:41:11 – 01:20:13:15
2
Concrete, dream. And I do feel like, revolutions here is on my old suburban super fan base. Go cashmere radio, shake the door. Go to blueprint three. Oh, no more toxic fumes. Love and trust. We break the dome. World radio, burning city, neon in the rain I got trauma. Crisis warrants out my brain. Fear, pain, rage. Right through my veins.

01:20:13:17 – 01:20:32:00
2
But the brass wire turns into flame. Amazing flow I better in the neighborhoods and I die I’ll scream and trust your body. Joe’s Emily calming guys on gang war does Gilbert, Peter, Gino. Back pain dance or bust? Hey. Quantum jump psyche stretch like a.

01:20:32:00 – 01:20:44:02

Rubber band for fluidity and modernity. Fighting for. Go man I need you in a corner. Singing live on the stand for the lows. Stiegler. Drawing maps in this.

01:20:44:04 – 01:20:51:11
2
Postmodernity. Shake and flow a modernity rise I’m a rose I want to be resonant in your eyes I.

01:20:51:12 – 01:20:52:00
3
Said I’m.

01:20:52:00 – 01:20:58:10
2
Bending time and looking in surprise I and above watching on those crystallized,

01:20:58:12 – 01:21:06:13

Lonely along the way. Mondo getting soft and tender in a brutal light. In a violent pressure. Care about the baby? Oh, that’s a dream.

01:21:06:15 – 01:21:11:04
3
This ain’t no peace. Home on a dirty break away where we live. You think he’s a heavy I call.

01:21:11:04 – 01:21:40:03

Ghetto remake on a tuba. Tuba. Fat Paco tune Berlin city street. Do you find me snow love? When I get close to ten. Decentralize. We make one rule. Dada manifesto on I’m better hungry. In a jar. Dancing on a concrete dream I never get home I feel like the revolution Jews on I.

01:21:40:05 – 01:21:41:03
2
Love these.

01:21:41:03 – 01:21:43:16
3
Curtains. Freedom on the floor.

01:21:43:18 – 01:21:52:06

You’re hungry. You kicking on the door? Dogs anxious be brushed on. We are those eyes. Trauma.

01:21:52:08 – 01:22:03:16
2
Oh, Lord. Based on here with them, we never gone away. Down my ways. Anything call me is out every bed. Super, super, super fresh in the mix.

01:22:03:18 – 01:22:05:10
3
All the old eggs.

01:22:05:12 – 01:22:06:05
2
Stuck in those bags.

01:22:06:05 – 01:22:07:17
3
Post-Modern screens, by the new way.

01:22:07:17 – 01:22:15:16

Play the dog in a row. There are no, no. Am I going to war? Don’t go through the door. He goes home more than a drop into the home.

01:22:15:18 – 01:22:33:19
3
This is experimental radio. This is radio art. This is a sound essay about fear and transformation, about love and care. Politics in a world of anxiety. Yeah. Super Woke is not a show. No, it’s a healing journey. Compressed. True. Season finale.

01:22:33:21 – 01:22:36:19
2
Cashmere radio.

01:22:36:21 – 01:22:40:16
3
True crisis. Every breath you ever took.

01:22:40:16 – 01:22:41:23
2
A long.

01:22:42:00 – 01:23:10:06

Bye bye bye bye bye. You know God, no show, no manifesto. Explore the burning. We all want to be ready. Oh, God, I don’t I don’t know, okay. Come on. Hurry. Hurry up. I ain’t talking cheap. Crush your mind. I might be blowing already. Heavy snow day.

01:23:10:08 – 01:23:11:24
2
But what about.

01:23:12:01 – 01:23:17:10
3
That? Many. First, I’ll keep an. I think we might then already always have.

01:23:17:10 – 01:23:21:16
2
I don’t. I used to run. Oh, God.

01:23:21:18 – 01:23:26:05

Breath by breath. We all right? Cheek to walk.

01:23:26:05 – 01:23:27:13
2
Season finale. Gravity.

01:23:27:13 – 01:23:49:24

Make all my dreams of my eyes. Enemy church in the dark. You know I want to basics I from the house. Chaos, quantum politics. Don’t be scared. Us in the shower. We’re ready. You’re all man, all around. You know. Marching feet off the ground. When the big.

01:23:50:02 – 01:23:54:01
2
Change we are finally found.

01:23:54:03 – 01:23:56:23

You, you.

01:23:57:00 – 01:24:04:15

You, you you you you.

01:24:04:17 – 01:24:06:18

Cheap back up.

01:24:06:20 – 01:24:09:18
2
Everyone elbow all day together. Hartmut. Rosa, thank you.

01:24:09:18 – 01:24:37:24
1
Very much for everyone to, listen to this show. You can find out all the or nine, episodes on Kashmir and you, of course, on superbook.com, and there will be, release album on, my Bandcamp for all the tracks that you have heard in this, show and, I hope you really appreciated, I hope you may have done your transition with me.

01:24:38:01 – 01:24:56:22
1
I am a lesson giver, but I have to say that I’ve learned from those lessons and thank you, thank you, thank you, thank you so much to Kashmir. You said to allow me to formulate sings, and you oblige me somehow to follow what I was saying on there is the end is simply the end of this show. Thank you.

01:24:56:22 – 01:25:11:16
1
Thank you very much. Kashmir Radio. Thank you very much. Oh, the people who participated to this show. Gilbert, who came today to follow me, Philip, who is listening in his house, Emily, Carmen and all the philosophers that I have learned and play with, thank you very much, does exist.

01:25:11:18 – 01:25:17:01
2
I wouldn’t do that for you, but I hope you know what I mean.

01:25:17:05 – 01:26:20:04
7
For me, Stiegler, not Isaac Newton, Albert Einstein, Simon Vai, Karl Marx, Miguel Benassi og Slavoj Zizek, Marisol Michaux, Maya Angelou, Oscar Wilde, Buddha, James Baldwin, Pierre Corona, Lucille Ball, David Bowie, Alain de Botton, Gil Scott-Heron, Eric from Carl Rogers, Antonio. Damasio, Thomas. Moore, Charlotte. Wells, Virginie de pant, Daniel. Siegel, John. Leduff, Richard. Linklater, Terrence. Malick, Hayao. Miyazaki, Bessel van der Kolk, Hannah.

01:26:20:04 – 01:26:39:12
7
Arendt, Michel. Foucault, Gilles. Deleuze, Jean-Francois Leo. Tarr, Emmanuel. Kant, Sabrina. Calvo, Ali. She hero Simone de Beauvoir, Byung.

01:26:39:16 – 01:26:41:13
2
Chul, 80,000 words.

01:26:41:15 – 01:26:42:12
7
Zelda.

01:26:42:12 – 01:26:44:00
3
7000 different blade.

01:26:44:03 – 01:26:45:12
7
Maya.

01:26:45:14 – 01:26:47:17
3
Ocean four times louder than Don.

01:26:47:17 – 01:26:48:19
7
K, Tempest.

01:26:48:19 – 01:26:50:22
3
And still the world is sadness.

01:26:50:24 – 01:26:52:03
7
But,

01:26:52:05 – 01:27:02:18
3
This is not therapy. This is not wellness. This is radio with a hammer hitting the same fracture until modernity cracks. Hit it with a hammer.

01:27:02:18 – 01:27:16:11
2
Super fun fact. Based on here to save doctor Love stats, data on the grave. If it doesn’t break, it was never really breath. You know what? I’m a catch man. And then I let him videos everybody like buddy on the front line for implants. If it doesn’t hurt, it’s not the real fight.

01:27:16:15 – 01:27:30:09

But, I’m, ba ba ba ba ba ba ba But it’s not a real fight. But my my but but it’s not.

01:27:30:09 – 01:27:46:04
2
The real fight. Episode zero I the Darkhold. Hello, world. You jaw against the flow. Nobel mass. Just a glitch in alarm. Identity. Coughing blood in the cold in the morning I killed you. The turn of signal. Well says I see you still coming. Oh, every beat is a troll. No. Okay, you. If you dance, you will be guilty.

01:27:46:06 – 01:28:06:07
2
The more love episode vampires. No. Love you does not spy just on so striking the kick to bear breath as a weapon. No self care for kids I right out enjoy the ride in the child screaming shall be what you thought you were a teacher. You’re not be honest at the last. Lots of us barefoot. I’m amazed by the fun fact there is no one here to say Dakota State on the grave.

01:28:06:07 – 01:28:21:23
2
If it doesn’t work, it was never really worth it with a hammer. But no harm. While radio buddy along the drum to reverse modern teeth on his arm. If it doesn’t hurt, it’s just back. Well, home.

01:28:22:00 – 01:28:25:13
2
Baby.

01:28:25:15 – 01:28:29:04
2
And.

01:28:29:06 – 01:28:49:04
2
I pay the father that was on the table. Love for verse. The studio system grounds kids in the part of the noise. For that young star. We need a new meeting. Another premonition. I’m going to 36 time. But he does not. That’s another system. Screaming wise. I get time nine scrolls with the go home. I know he will watch just a man I love and I still don’t.

01:28:49:04 – 01:29:01:06
2
I’m saying this to me with the base. It’s hard. If you want a damn shame. Go rate. The episode is pure data, correct? The way that he modernity. Neck to neck. I don’t reach hope I break the deck of the old gods. We break their tech.

01:29:01:08 – 01:29:08:20
3
Philosophy with a hammer is not about smashing statues. It’s about tapping the surface until you hear.

01:29:08:22 – 01:29:21:12

Where it rings hollow. This is what super. What does, call my mojo? Love mantra kids, stretch dream revolution.

01:29:21:14 – 01:29:44:06
2
Same skull, different angles. We had, we listen, we had a guy up, up, up, up. I hit it with a hammer. No soft globe, elephant trap, Afro house below. Super boxes. I’m like a robot. Broken wrist show, show.

01:29:44:08 – 01:29:45:15

And my modernity.

01:29:45:17 – 01:29:49:08
3
Is not a speech. It’s a sound.

01:29:49:10 – 01:29:58:10

It’s a crack. This album.

01:29:58:12 – 01:29:58:17