SCREEN SIGNALS VI - Obsessive X's

THE UNDERGROUND, THE DRY CLEANER & THE ART OF NOT BECOMING A TYRANNOSAURUS

When an Israeli newspaper, a brand-new pop song and an ordinary errand became an unexpected lesson in humour, freedom and simcha.

Namasthay | October 2026

Previously, in Screen Signals…

A dinosaur entered an elevator.

A Sukkah became a celebration.

CakeOsaurus joined the party.

An Israeli singer appeared on the cover of a newspaper.

And somewhere in Belgium, an independent artist was still trying to determine whether the universe had developed a particularly sophisticated sense of humour.

Apparently, we weren’t finished.

Not even close.

1. THE NEWSPAPER THAT CROSSED THE BORDER

First, a very sincere thank-you.

Max Zahavi sent me the precious Israel Hayom Shishabat supplement featuring Narkis.

A beautiful physical edition.

A remarkable portrait.

And a tangible piece of Israeli musical culture arriving at my doorstep.

Image: the facebook post - trembling at Hashem's private joke?

For somebody who has spent years exploring music, identity, Jewish culture and the creative connections between Belgium and Israel, this was a particularly touching gesture.

Thank you, Max.

And congratulations, Narkis, on the feature.

The newspaper itself is beautiful.

And holding a printed edition somehow feels different from seeing another image scroll past on a telephone.

It has weight.

History.

Permanence.

And, in this case, a rather magnificent shade of red.

Naturally, I celebrated its arrival on Facebook.

With a little humour about the Israeli artistic underground.

Which brings us to our next complication.

2. FROM THE BRUSSELS UNDERGROUND TO THE ISRAELI UNDERGROUND

Longtime followers may remember an earlier musical adventure involving Akro, Brussels, the metro and a video titled Bitches of Brussels.

The word underground therefore already occupied a rather amusing position in my artistic vocabulary.

The Brussels underground.

The Israeli musical underground.

Underground artists.

Underground trains.

And the occasional artist who probably ought to come up for air.

😂

My Facebook montage brought these associations together.

Not as a claim that I had suddenly become a celebrity in Israel.

But as an extravagant piece of "Namasthay" humour. (Hemm...)

After 63 albums, a certain amount of theatrical exaggeration should probably be expected.

Then the story acquired another soundtrack.

3. COCO, THE DRY CLEANER AND THE RADIO

Picture the scene.

We are in the car.

We have stopped at the dry cleaner.

Coco is at the counter.

I am waiting.

An entirely ordinary errand.

Then Radio Lev HaMedina plays a song.

A new Israeli pop duet.

נועה קירל וסטטיק — אקסים אובססיביים

Noa Kirel & Static — Obsessive Exes.

Released... on 20 October 2026.

Image: Noa Kirel - Eurovision #2 if I remember correctly...

A provocative, theatrical pop song about former relationships and the uncomfortable comedy of romantic fixation.

And there I am.

Having just spent several weeks documenting an elaborate artistic story about music, admiration, freedom, coincidences and the dangers of assigning roles to other people.

My first reaction?

OH, COME ON.

🤣

Of all the songs.

Of all the moments.

At the dry cleaner?

Apparently even my existential crises now come with a laundry service. And not the one once for the Levi's jeans! Time to clean my expectations? :3

4. THE MOMENT WHEN THE JOKE STOPPED BEING FUNNY

I should acknowledge something.

For a while, this coincidence genuinely unsettled me.

The song’s title seemed uncomfortably close to themes I had been exploring.

I wondered whether the cultural conversation I had imagined had become something harsher.

And whether my own artistic enthusiasm had been misunderstood.

But the song has its own documented creative context.

It was not written about me.

There is no evidence that its broadcast was arranged for me.

Nor do I have evidence that Narkis was participating in any exchange through it.

Those distinctions matter.

Because when an image or a song feels intensely personal, the temptation is to interpret everything that follows through the same lens.

And that can become exhausting.

I know.

So I decided not to respond in anger.

Instead, I spoke about the experience, allowed some time to pass, and tried to recover the humour.

Which brings us back to the dinosaur.

5. PLEASE DON’T BECOME TYRANNOSAURUS

Remember our green elevator dinosaur?

He was playing a drum.

He was celebrating a holiday.

He was not conducting a military operation.

And yet, for a moment, I had managed to turn an amusing public image into a complicated personal question.

Perhaps that is the real warning hidden inside this episode.

Not a warning issued by one artist to another.

Not a divine threat against somebody’s happiness.

But a simple human reminder:

Don’t let your interpretation become a Tyrannosaurus.

Don’t let admiration become possession.

Don’t let uncertainty become accusation.

Don’t let a misunderstanding become a battle.

And above all:

Don’t turn people into characters who have no freedom to leave the stage.

We all deserve better than that.

Including the dinosaur.

Especially the dinosaur.

🦖

6. HASHEM, HUMOUR AND THE LIMITS OF WHAT WE KNOW

As a practising Jew, I naturally reflect on events through a spiritual vocabulary.

Sometimes an encounter feels providential.

Sometimes the timing feels astonishing.

Sometimes a sequence of coincidences invites gratitude, humility or self-examination.

I can describe those feelings without claiming to know Hashem’s intentions.

I cannot know that a particular radio broadcast was a divine reprimand.

Nor can I claim that somebody else’s personal life is being judged through my artistic experiences.

But I can ask what the experience encourages me to do.

And my answer is becoming increasingly clear.

Choose kindness.

Choose humility.

Choose simcha — joy.

Respect the freedom of others.

And when the situation becomes absurd, try laughing before reaching for another grand interpretation.

Perhaps the spiritual value of this episode lies less in deciphering an alleged message than in choosing a better response.

7. TO NARKIS — WITH RESPECT

There is something I would like to say plainly.

Narkis, I admire your musical work.

I appreciate the creative inspiration it has provided.

And I sincerely wish you happiness.

Your private life belongs to you.

Your artistic decisions belong to you.

And no interpretation of mine creates any obligation on your part.

If my earlier humour or artistic framing ever appeared too personal, I regret that possibility.

It was never my intention to diminish your dignity.

I also recognise that I cannot know how you interpreted anything I published.

So this is not an attempt to reopen a conversation or request an explanation.

It is simply an expression of goodwill.

May your music flourish.

May your happiness flourish.

And may we all retain the freedom to be ourselves.

That seems a much better conclusion than another round of dinosaur diplomacy.

❤️

8. BSPG — THE ART OF STUDYING A COINCIDENCE

Now for the research-minded readers.

Those who follow Ajinomatrix and Life-X know that I have been exploring Black Swan PreCog — BSPG as an experimental framework for examining unusual sequences and possible anticipatory patterns.

The present episode offers useful material.

A newspaper.

An international delivery.

A public artistic post.

A new musical release.

An unexpected radio encounter.

And an emotionally powerful association between them.

But collecting coincidences is not the same as demonstrating prediction.

To study them seriously, we need chronology, source verification, independently recorded expectations and alternative explanations.

We need to know what was documented before an event.

What was noticed afterward.

What was predicted.

And what could have happened by chance.

That is the distinction between a compelling artistic narrative and a testable research hypothesis.

Screen Signals can inspire BSPG. It cannot substitute for evidence.

The same principle applies to the other stories in our research archive, including the episodes involving Luke SkyWalker and the so-called Israeli Plumber.

Those deserve separate examination, with their own sources and chronology, rather than being presented as established trans-time communications.

There will be more to investigate.

But no need to rush the conclusions.

9. THE MOST IMPORTANT SIGNAL

What did this episode actually change?

Not Narkis’s life.

Not the meaning of Noa Kirel’s song.

Not the radio station’s programming.

What changed was my response.

I had an experience that felt painfully personal.

I resisted the temptation to react immediately.

I examined what could be verified.

I recognised the limits of my interpretation.

And eventually, I found a way to laugh again.

That is not a small thing.

For an artist whose work often explores emotional intensity, humour can be an essential form of perspective.

It can deflate an apparent confrontation without humiliating anybody.

It can preserve dignity without demanding victory.

And it can restore the simple pleasure of making music.

10. BACK TO SIMCHA! (Joy)

We began with a newspaper.

We passed through the underground.

We stopped at the dry cleaner.

We encountered an unexpected pop song.

And somehow, once again, we ended up discussing dinosaurs.

At this point, I am beginning to suspect CakeOsaurus deserves his own album.

But the conclusion is simpler.

Be kind.

Be joyful.

Respect other people’s happiness.

Don’t mistake every coincidence for a personal communication.

And when life presents you with an extraordinarily dramatic soundtrack…

Remember that you are still allowed to change the channel.

Or turn up the music and dance.

The choice is yours.

THE SCREEN SIGNALS RULE

Occurrence is fact.

Chronology is testable.

Correspondence is observable.

Meaning is interpretation.

Intent requires evidence.

Creation is our choice.

And perhaps we can now add:

JOY IS ALSO A CHOICE.

LISTEN TO THE ALBUM: https://namasthay.bandcamp.com/album/screen-signals

With gratitude to Max Zahavi, appreciation for the musicians who continue to inspire this journey, and affection for everyone who has followed the story without losing their sense of humour.

חג שמח — CHAG SAMEACH!

בשמחה — B’SIMCHA!

With joy.

With freedom.

And absolutely no Tyrannosaurus required.

NAMASTHAY ♾️

Screen Signals VI — October 2026

Music · Film · Memory · Coincidence · Research · Freedom

Coming next: Further investigations into the Screen Signals chronology, BSPG and the relationship between artistic intuition and verifiable prediction.

Stay curious. Stay kind. And keep the dinosaurs dancing.

AND - POST-REALIZATION - DEAR NOA,

THE UNICORN CONNECTION — NOA, AJINOMATRIX AND THE ART OF BELIEVING IN THE IMPOSSIBLE 🦄

Wait.

We almost missed something.

NOA KIREL. EUROVISION 2023. UNICORN.

Now, that rings a rather spectacular bell.

Because on 7 January 2025, Ajinomatrix published an article entitled Ajinomatrix: About Achieving Unicorn Status in Sensory Science Innovation.

Did Noa precog on our ambition? Back in 2025: https://www.ajinomatrix.org/post/ajinomatrix-about-achieving-unicorn-status-in-sensory-science-innovation

Two very different worlds.

One rather extraordinary mythical creature.

In 2023, Noa was singing about the power of standing apart, believing in one’s uniqueness and refusing to be diminished.

In 2025, Ajinomatrix was publicly declaring its own unicorn ambitions: an unconventional company attempting to transform the digitisation of taste and smell.

And now, in October 2026, Noa’s music unexpectedly returns to our Screen Signals narrative.

Coincidence?

Certainly possible.

A beautiful artistic correspondence?

Absolutely.

Did Noa somehow anticipate our technological adventure?

That’s a much bigger proposition, and one for which we have no evidence.

But the parallel deserves its place in our creative archive.

Because the unicorn is more than a financial classification or a creature from mythology.

It is an invitation to imagine what does not yet exist.

And perhaps that’s what connects an Israeli Eurovision performer and a Belgian sensory-technology entrepreneur.

The audacity to believe that something extraordinary might become real.

One unicorn dances.

Another develops sensory AI.

And somewhere between Eurovision, Brussels and Jerusalem, Namasthay is still trying to figure out who invited the dinosaurs.

🦄🦖♾️

Image: the original Ajinomatrix unicorn vision image.

Different disciplines. Shared symbolism. Independent journeys.

And one more curious chapter for BSPG to document.

The unicorn may be mythical. The ambition is real.