Amanda Petrusich

Although I think I sense something in the book and in the new music and in some of the work you've been doing. More recently, I feel like I sense a bit of optimism as well.

I did want to just sort of briefly return to the book before we move on, which for me exists in kind of a lovely dialogue, I think, with Oblique Strategies, which is a set of cards you made with Peter Schmidt in 1975. And it is quite literally a box of cards. each printed with an aphorism of some sort designed to help artists move through a creative challenge.

I did want to just sort of briefly return to the book before we move on, which for me exists in kind of a lovely dialogue, I think, with Oblique Strategies, which is a set of cards you made with Peter Schmidt in 1975. And it is quite literally a box of cards. each printed with an aphorism of some sort designed to help artists move through a creative challenge.

I did want to just sort of briefly return to the book before we move on, which for me exists in kind of a lovely dialogue, I think, with Oblique Strategies, which is a set of cards you made with Peter Schmidt in 1975. And it is quite literally a box of cards. each printed with an aphorism of some sort designed to help artists move through a creative challenge.

You know, I have found you can kind of use them almost as like a tarot deck. And, you know, this morning I pulled the one that said, give way to your worst impulse, which I am doing. My worst impulse is to ask you very long questions that sort of trail off at the end.

You know, I have found you can kind of use them almost as like a tarot deck. And, you know, this morning I pulled the one that said, give way to your worst impulse, which I am doing. My worst impulse is to ask you very long questions that sort of trail off at the end.

You know, I have found you can kind of use them almost as like a tarot deck. And, you know, this morning I pulled the one that said, give way to your worst impulse, which I am doing. My worst impulse is to ask you very long questions that sort of trail off at the end.

And I'm curious for you if you see the book and the cards as part of the same project, by which I mean the kind of project of setting people free.

And I'm curious for you if you see the book and the cards as part of the same project, by which I mean the kind of project of setting people free.

And I'm curious for you if you see the book and the cards as part of the same project, by which I mean the kind of project of setting people free.

I did want to talk to you about the two new records, Luminal and Lateral, that you made with Beatty Wolf. You've described Luminal as dream music and Lateral as space music. And I was hoping you could talk a little bit more about that distinction.

I did want to talk to you about the two new records, Luminal and Lateral, that you made with Beatty Wolf. You've described Luminal as dream music and Lateral as space music. And I was hoping you could talk a little bit more about that distinction.

I did want to talk to you about the two new records, Luminal and Lateral, that you made with Beatty Wolf. You've described Luminal as dream music and Lateral as space music. And I was hoping you could talk a little bit more about that distinction.

When you're collaborating with someone else, you know, when you're collaborating with BD on this record, you do this often, of course, in your career as a producer. Is there a way in which you can kind of reliably create an environment that more effectively leads to or suggests surrender that kind of accelerates intimacy in a way that makes it easier for people to open up to each other?

When you're collaborating with someone else, you know, when you're collaborating with BD on this record, you do this often, of course, in your career as a producer. Is there a way in which you can kind of reliably create an environment that more effectively leads to or suggests surrender that kind of accelerates intimacy in a way that makes it easier for people to open up to each other?

When you're collaborating with someone else, you know, when you're collaborating with BD on this record, you do this often, of course, in your career as a producer. Is there a way in which you can kind of reliably create an environment that more effectively leads to or suggests surrender that kind of accelerates intimacy in a way that makes it easier for people to open up to each other?

You know, when I received the records, they included a list of feelings that inspired you and BD. And some of them were words I didn't know from languages I don't speak. And I found many of them overwhelmingly beautiful, in part because they are complicated.

You know, when I received the records, they included a list of feelings that inspired you and BD. And some of them were words I didn't know from languages I don't speak. And I found many of them overwhelmingly beautiful, in part because they are complicated.

You know, when I received the records, they included a list of feelings that inspired you and BD. And some of them were words I didn't know from languages I don't speak. And I found many of them overwhelmingly beautiful, in part because they are complicated.

You know, like onzra, which is a borough word for a kind of doomed love, or the Arabic word ya'aberni, which you define as not wanting to live in a world without someone. Yeah. I mean, these are words that do sort of attempt maybe to kind of contain the complexity of human experience.