關於 eternal love of dream ，我們在網路上蒐集到這些相關的討論、資訊與評價

🚩 New Media Artist Hsin-Chien Huang Leads "Garden Taipei/Formosa: Taiwan Grand Tour" with 22 Taiwan's VR and New Media Artworks to 2021 Ars Electronica Linz in Austria🇦🇹

2021 ARS ELECTRONICA FESTIVAL Ars Electronica has chosen “A New Digital Deal” as its annual theme, centering around the social and cultural transformations under the influence of technology from different countries. Also, it pays attention to changes of “the New Normal” due to the pandemic.

Hsin-Chien Huang, this year’s curator of the “Garden Taipei/Formosa”, resonates the theme with the “Taiwan Grand Tour”, hoping to waken our desire and ability to move freely during the journey via different kinds of media, also make more people see the marvelous results and how hard Taiwan has devoted to technology, culture, tradition, and tradition via international digital platforms. The tour will have become a window between the world and Taiwan.

The scale of this year’s exhibitions has been brought up a notch. Not only did it carry on displaying the VR and AR productions from last year, but the curator Hsin-Chien Huang has collaborated with three other, Hsiao-Yue Tsao, Billy Chang, and Chung-Hsien Chen, to call out many VR directors, new media artists, start-up companies and government institutions to join the project. There are 22 magnificent programs in total, which will be shown in categories such as “Immersive Tour”, “Animated Tour”, “New Media Tour”, “Earth Tour” and “Action Tour” respectively.

“Immersive Tour”, as the first part of the “Taiwan Grand Tour”, viewers can wander among the mountains, oceans, and rivers in the digital world, even outer space! Six scenes inspired by unique Taiwanese landscapes with cultural and biological features will be shared with the audiences, such as “The Starry Sand Beach” (Directed by Hsin-Chien Huang and Nina Barbier), “Moondream Reality-Rebirth”(Directed by Chi-Yen Chiang, Ami Wu), the shuttle VR 360 stereo video of “TAIPOWER D/S ONE.” (Directed by Ghung-I Hung and Shih-Chou Wen), “Floating Childhoods” (Directed by Hakka Public Communication Foundation and Wen-Chieh Chang), “Blue Tears EP1” (Directed by Hsiao-Yue Tsao), and “Samsara” (Directed by Hsin-Chien Huang).

In the “Animated Tour”, viewers can devote themselves to the characters via different programs. Whether it is the abstract or figurative visual style, audiences can experience anxiety and frustration all the way to happiness and growth. Getting rid of this disappointing reality, viewers shall continue the “Taiwan Grand Tour” through their imagination. This program consists of four animations: "Go Go Giwas: Sowing Dream Seeds"(Directed by Vick Wang, Yi-Feng Kao), "My grandmother is an Egg"(Directed by Wu-Ching Chang),"Inside"(Directed by Yu-Ting Hsueh), and "The Wayward Kite"(Directed by Yu-Ting Hsueh).

In the “New Media Tour” program, nine brilliant pieces created by Taiwanese artists will be shared as the relay points for the “Taiwan Grand Tour.” They use video, sound, electronic music, installation, and various new media to explore different topics, such as family, memory, city, society, landscape, and environment. We firmly believe that digital tools can also capture the warmth and emotions in reality. This program consists of nine artworks: "Surrounding Spectrum"(Directed by Hsiu-Ming Wu), "Nanyang Express II : Eternal Wandering and Tropical Pursuing"(Directed by Yi-Chi Lin), "Wave Waves"(Directed by Sio-Pang Hong), "That ・ This"(Directed by Ching-Chuan Hu), "Signal"(Directed by Chin-Hsiang Hu), "Tower of Babel by the sea"(Directed by Wei-Chung Feng), "How to explain love to an iPhone"(Directed by Jie-Huai Yang), "U+617E_v2.∞"(Directed by Jia-Hua Zhan), and "Absence in Presence"(Directed by Ning Tsai).

In the program “Earth Tour”, viewers will participate in a performance art called “Taste Soil”, which intends to rethink the relationship between humans and land by means of “eating.” The program brings together international eminent chefs Andre Chiang, dancer Billy Chang, new media artist Hsin-Chien Huang and Wen-Chieh Chang, fusing Taiwan’s unique traditions and customs with cuisines and dance performances via VR experience. A feast to the eyes and tastebuds awaits.

Looking back at the present time, humans need to take more efficient scientific actions in the digital world to reduce the consumption and pressure of resources and the environment and cope with the impact in the post-pandemic times. Two important technology units in Taiwan make their debut in the “Action Tour”: Miniwiz Co., Ltd. and the Taipei Urban Intelligence Center. The former is devoted to the sustainable development of materials science with digital technology and design, while the latter is the integration of big data and streaming technology to create a new technical model of urban governance. Combing these two, an answer to developing a sustainable society with digital energy is born. During the tour, a new performance art project is inspired by the digital cross-field cooperation for the first time. The Taipei Urban Intelligence Center will join hands with new media artist Chin-Hsiang Hu and the founder of Inwheel Ghung-I Hung, to create a new media artwork “The Weight of Data” by integrating both virtual and physical materials from different domains and sharing data resources.

The brilliant curatorial concept and lineup of the Taiwan Grand Tour have attracted the interest of the officials of the festival and been in the limelight. Therefore, the festival has invited three creators behind the “Earth Tour”: Andre Chiang, Billy Chang, and Hsin-Chien Huang, to an online interview called “Highlight Channel” at 18:00 on September 1 (Taiwan Time). The link will be provided by the official later on. Moreover, Miniwiz Co., Ltd. and the Taipei Urban Intelligence Center are also invited to share their ideas and experiences in an online show called “Home Delivery.”

The theme of the Garden Taipei/ Formosa is presented in a diverse form of performances by combining different fields multiply. The audience can easily follow the step of the “Taiwan Grand Tour” to explore Taiwan’s magnificent local digital creativity and illustrate a new digital landscape unitedly that only belongs to Taiwan. The 2021 Ars Electronica online exhibition will be held from September 8 to 12, 2021. Click the link below to take a sneak peek of this year’s shows.

📍ARS ELECTRONICA FESTIVAL 🔗 https://ars.electronica.art/newdigitaldeal/de/formosa-grand-tour/
📍ARS ELECTRONICA FESTIVAL “Home Delivery” 🔗 https://www.youtube.com/c/arselectronica/playlists?view=50&sort=dd&shelf_id=5
📍 Garden Taipei/Formosa: Taiwan Grand Tour 🔗 http://garden2021.metarealitylab.com/

#奧地利林茲電子藝術節
​#arselectronica21 #gardentaipeiformosa

Do It Exactly

If God has given you a rhema word, don’t even second-guess it. Do it exactly.

“When he had finished speaking, he said to Simon, “Put out into the deep, and let down your nets for a catch.” Simon answered him, “Master, we worked all night, and took nothing; but at your word I will let down the net.” When they had done this, they caught a great multitude of fish, and their net was breaking. They beckoned to their partners in the other boat, that they should come and help them. They came, and filled both boats, so that they began to sink.” (Luke‬ ‭5:4-7‬ ‭WEB‬‬)

Jesus told Peter to let down the nets for a catch, but Peter skeptically only let down one net.

Why? Peter thought that based on his experience as a fisherman, it would be impossible to catch any fish. He let down one net just out of politeness towards Jesus.

What happened? Peter and his partners began to haul in much more fish than that one net could handle.

If you think you have seen it all before, you haven’t seen anything yet. God can do a new thing that man calls impossible.

For man, flying was once thought to be impossible. But now we have different types of aircraft to transport people across the sky.

We cannot outsmart God. His instructions are given in a short and simple way. When He gives you a set of instructions, whether through a sermon, a sign, a vision, or dream, just do it exactly even if you don’t understand the reason right now.

God has your best interests at heart—in this life and in the eternal age to come!

The miraculous catch of fishes is one of the thirty-seven recorded miracles worked by Jesus Christ in the four gospels.

I expound on His miracles in “Messiah’s Miracles: The Power of Having Faith in Jesus Christ”. In reading it, you will see God’s heart of love and grace for you. It will stir up your faith to receive miraculous breakthroughs in your own life: https://bit.ly/messiahs-miracles

《我的幸福5/2 週末》

*週日下午兩點誠品信義書店「廿世紀典範人物」新書分享會，我下午二時開始演講，離上次在台灣大學公開演説。快半年了！分享會報名一小時預告已額滿，但TVBS電視台慷慨的支持。派出SNG車，屆時TVBS文茜的世界周報YouTube 及世界周報Facebook 都將同步直播。

*新書分享會後我將直奔高雄衛武營，參加劉孟捷（李斯特巡禮之年）鋼琴獨奏會。這是劉孟捷回台，最重要的一場音樂會，我目睹他用盡了一切心力。過去即使21歲時在費城代打缺席大師的音樂會，劉孟捷都未曾如此緊張。他此次回台，手術前為了沒有遺憾，共舉行三場音樂會：其中4/17與5/30皆是與國家交響樂團NSO合作：530那一場指揮是呂紹嘉。但他告訴我，某些曲目對他而言，是Piece of Cake ：惟獨衞武營這一場，曲目由他自己決定，現場錄影，並且找了金曲獎錄音師同步錄音。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

劉夢捷明白他即將面對一個大手術，手術風險之外，他的免疫系統疾病，將使他的康復之路更長。

沒有人可以預知未來，為了圓他的夢，醫院每天都要求他早上、晚上量血壓，報告直接傳給院長。振興醫院院長魏崢雖然是亞洲第一把心臟外科醫師，但也不敢大意。

畢竟這個人的生命那麼脆弱，他的心臟主動脈剝離，那是實質的「心碎」了：但他仍有詩，仍有音樂夢。在生命的交接處，在白日與黑夜的交义口，劉孟捷想為他的音樂生涯，留下最美好的紀錄。

他選擇了李斯特。

在這場音樂會前，他甚至以英文寫下了自己與音樂、疾病的半生回顧：如李斯特的巡禮，有仰望，有沉思，有失落，有幽微的疼痛。他以詩篇般的演奏模式，傾訴，詠嘆。他曾得到天賦，也走過死蔭的幽谷。命運是一層又一層的黑影逼近，老天爺隨時想帶走他。

而他已不再流淚，不再沉浸於悲愴告別：因為對他而言活著並不容易，他要讓自己更深刻的抓住每一分時光之美。

如果時間和空間，正如哲人們所形容的
都是不實際存在的東西：那從不感到衰敗的太陽，也不會比我們了不起多少！

他如艾略特的詩句中所形容的：我們為什麼要如此貪心總在祈禱，想活上整整一個世紀？

蝴蝶雖僅活了一天，已經歷了永恆。

當他的身軀如露水還在藤蔓顫抖時，他送給我們一場「完全浪漫又超技的李斯特」。

等音樂會結束了，至少有一張CD，一段YouTube 影像：不論孟捷代表生命的那朵鮮花是否枯萎，他彈奏如天使的音聲不會飛離，它會停留在那夜，繼續釋放芬芳。

這是盡生命之力、之情獨奏的音樂會。劉孟捷説：這樣當他走進手術室時，會少一點悲傷。

或許快樂的日子本來就不多，但讓這場「完全李斯特．完全劉孟捷」的獨奏會放出神聖的光彩吧！

我必將赴會，不會錯過！我知道此刻的獨奏會，很難複製，因為它綜合了太多的情感、愛念，釋放與生命的抒情。

*劉孟捷為此次獨奏會寫下的文字：This past year has seen some unprecedented changes in the world. Many lives have been lost and many have changed. The world has changed while many of us confront the uncertainty of the future.

For most musicians, life has changed. For months, we have been conducting our lessons online, and concerts have mostly stopped or become an online experience as well. More time has been spent learning how to improve the online teaching experience than one could have imagined. While I have felt the duty to continue teaching, the format the pandemic requires for teaching leaves me unwilling to spend more time than I have to.

And truly, I have had other things to deal with. When the pandemic started to worry the American public in March, I was in the middle of a tour with the String Quartet-in-Residence at Curtis, the Vera Quartet. However, our concerts were canceled, and everything came to a sudden halt.

I felt the universe had sent me an unexpected gift, as I had also just received some terrible news concerning my worsening aortic arches and a diagnosis of kidney cancer. The sudden halt in my professional schedule seemed perfect in its timing. I was able to settle into a monastic existence, to simply practice and attempt to heal.

I see many musicians itching to be concertizing again, and many stepped into new territory, performing on the internet. Many took time to develop new podcasts, and to write new materials for their art. Sadly, many have struggled as they have fallen into desperation without any concert incomes. Altogether the music industry seems to be in peril, and many worry about how music and musicians will survive.

However, I had my own survival to think about. Having been through many difficult experiences in my life, I knew this might be the most difficult I would encounter. My Doctors describe me as a walking time bomb. My condition could be lethal at any moment if my blood pressure gets out of control. So while others wrestle with the fate of the music industry, I’ve needed to face my own fate and mortality.

Playing concerts can mean many things to people. At different times throughout my life, I’ve felt the need to express different aspects of myself. When I was young, I wanted to embody the spirit of romanticism, playing lots of Chopin and Schumann. Then there was a period of time when I wanted to challenge myself by showing off pyrotechnics. I had a brooding period where I turned to the pathos of Rachmaninoff, and then felt the need to return to the purity of Schubert and nobility of Brahms. Throughout this pandemic, I wanted to play Bach. Through Bach’s music I found a kind of spiritual sanctuary.

In considering the program for this concert, I felt again the urge to play music that reflects my current feelings and state of mind. The title of today’s recital, “Years of Pilgrimage” seems to fit exactly what I am experiencing.

Liszt wrote several volumes of “Années de pèlerinage” throughout his life to reflect on thoughts he had during his travels. He links his philosophical thoughts to the scenery which inspired them. “Au Bord d’un Source” describes feelings of rejuvenation while standing next to a clear stream of water, a symbol and source of life and energy. It seems to say, when the stream is so pure, life can be so full of joy.

In the Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este), the water has a magical and supernatural quality, as Liszt himself wrote in the inscription: "But the water that I shall give him shall become in him a well of water springing up into eternal life,"( from the Gospel of John.)

For me, I have never felt more connected to Liszt than when he looked upon the valley of Obermann and questioned the meaning of existence. At this moment in my life, I often find myself reflecting my experiences of what I see and read into philosophical musings. Perhaps many people come to a time when this is so.

In all this I have felt gratitude for the love stories and sonnets that one can romantically indulge in, and for storms so violent that they threaten to destroy one’s spirit, even the hell-bound journey which brings up questions about the purpose of life…

On this journey, I felt full and alive as a human being. Looking back on this journey, I am grateful for everything, whether happy or sad, to have made an impact, found and imparted meaning to this life.

The unusual time of this pandemic has marked a milestone for me. I have journeyed back home, and as it happened, this is the first time I have spent so much time in my hometown Kaohsiung in over 35 years. It’s particularly nostalgic to play these pieces as some of them were significant in my early musical career. Vallée d’Obermann was the piece I played in my first competition at the junior high school level, in which I won first prize on the national level, which allowed me to be qualified to apply for a special permission to study abroad. This meant my dream to be educated as a musician could be continued in an environment where I could develop fully. In the following year when I was 13, I won the first Asia-Pacific Youth PIano Competition with the Dante Sonata. The competition catapulted me into national attention as I was headlined in several newspapers, and especially since it was held in Kaohsiung, I became a local hero as well. During the same event, I had a fateful meeting with one of the important influences in my life, Mr. Gary Graffman, who then mentored me throughout not only the years when I was studying at Curtis, but throughout my illness and recovery as a pianist. Right before I departed to study in Philadelphia, I played my first solo recital throughout Taiwan, and along with the Dante Sonata, I also performed the three sonnets.

It’s perfect that now, back in Kaohsiung, all these memories have flooded back into my head. I feel so lucky to have been born here, and to have met my first teacher, Chin-Li Lee, who inspired me on the path to become a musician. Prof. Alexander Sung filled me with dreams of becoming an artist. I am grateful for his belief in my talent, when he chose to give a 12 year old such philosophical pieces to play.

Having once again spent some months in Kaohsiung, I can freshly appreciate the source of inspiration it once was for me. I have returned to the source to heal. Having already glimpsed hell’s gate several times, battered and weathered by the storms of life, I know there is a reason life is this way, and it all will be alright.

Meng-Chieh Liu
April, 2021

*劉孟捷衛武營《李斯特巡禮之年》演奏會中，包括李斯特以佩脫拉克三首情詩譜寫的鋼琴琴詩：這三首情詩是從大詩人佩脫拉克一百多首情詩挑出來的，詩本身就很優美，依此激發李斯特的浪漫主義創作靈感，成為琴藝上最困難演奏，但也特別細膩溫柔的琴詩。

這三首分別是：
〈佩脫拉克第47號十四行詩〉〈佩脫拉克第104號十四行詩〉及〈佩脫拉克第123號十四行詩〉。
Franz Liszt（1811-1886）: Sonetto 47 del Petrarca, Sonetto 104 del Petrarca, Sonetto 123 del Petrarca, from Années de pèlerinage, Deuxième année: Italie

李斯特於1846年先出版藝術歌曲《三首佩脫拉克十四行詩》（Tre sonetti del Petrarca），再改成鋼琴獨奏版。

三首佩脫拉克十四行詩
中譯：焦元溥（元溥也是友情贊助，特別準備音樂資料，周日南下，聆賞劉孟捷的樂曲，並且陪同他盯著錄音共三天）

〈第47〉
祝福每天、每月、每年，
所有片刻與鐘點、時間與季節，
在那美麗的原野，

我為一雙眼眸魂縈夢牽。

祝福初遇時的甜，
與愛同在、受苦不停歇，
如弓箭刺穿令我淌血，
傷口永留感動在我心間。

祝福一切我發出的聲音，
當呼喚著我深愛的女郎，
渴望、嘆息、淚濕滿襟。
祝福我寫下的文字遠揚，
歌頌她的芳名，萬古長新。
我心永屬於她，無人能闖。

〈第104〉
我找不到和平，也無意打仗，
我恐懼、我期望，燃燒又冰透。
我向天飛升，卻躺在地上，
我一無所有，卻又擁抱整個宇宙。

我身陷囹圄，監牢又開敞；
我不受囚禁，卻銬著鎖頭。
愛情不讓我死，也不讓我飛翔；
不要我活，也不准我逃離悲愁。

欲看卻無眼，啞口還在發言，
我甘心殞滅，卻仍高聲呼救，
我痛恨自己，但仍愛著他人。

憂傷滋潤我，淚水伴隨笑臉，
生命不足惜，死亡也不煩憂；
我淪落至此，都是妳啊，我的愛人！
〈第123〉

我在塵世見到仙子的美，

她天堂般優雅無與倫比。
想起她讓我悲傷又歡喜，
所見如幻夢迷霧與幽黑。

妳的可愛眼睛使我落淚，
多少次讓太陽也要妒忌。
我還聽到四周發出嘆息，
移動了山嶽停止了河水。

愛情智慧憐憫憂傷財富，
在淚水中形成甜美聲響，
奇妙和諧世上未曾目睹。
天堂追隨著音樂的流淌，
雖然枝上樹葉並未飛舞，
空氣與風息卻充滿芬芳。

5/2衛武營-劉孟捷鋼琴獨奏會《李斯特巡禮之年》購票連結
https://www.opentix.life/event/1384752689074294784

0:00 Intro 前言
0:17 First Gift Box of 2021 新年禮盒
0:52 Jewel Donation 寶石捐獻
1:09 Dream Plan Celebration 夢想計劃
1:37 Feb Feast & HG Preview 二月宴和頭飾搶先看
1:55 Big Box Battle 禮盒大作戰
2:25 Double Oracle Dun & ET 無限塔+神諭雙倍

Correction: The Costume was from Jan 2021 to Feb 2021. Is the preview of Feb 2021 still not release yet

#'97年にAmusement Makersが発売した東方Projectの旧作シリーズ第3作目であり、'97年のコミックマーケット53にて発表された。ZUN氏曰く「左右で怒首領蜂(AC/'97年)をやってるティンクルスターティンクルスタースプライツ(AC/'96年)」。

ある日、靈夢は境内を掃除中に遺跡を発見、邪魔なので何とかしようとするが遺跡前には　「夢幻遺跡内　定員1名まで　（以下略）」と書かれてあった。

ストーリーモードでは複数の機体から自機を選び全9ステージを制覇する。前作以前から引き続き登場するキャラは、博麗靈夢、魅魔、霧雨魔理沙、今作から登場するキャラはエレン、小兎姫、カナ・アナベラル、朝倉理香子、北白河ちゆり、岡崎夢美。

BGMはZUN氏がP.M.D. を使い作曲、opn版、opna版が存在する。。

ドライバ作成：梶原正裕氏
作曲：ZUN氏

Manufacturer: 1997.12.29 ZUN Soft / Amusement Makers
computer: PC-9801 series
Hardware: YM2608 (speak board)
Music driver: P.M.D. Ver.4.81
Music driver programmer: Masahiro Kajihara
composer: Junya Ohta
-----------------------------------------------------------------------
00:00 01.A Dream Transcending Space-Time (夢は時空を越えて/タイトル)
03:38 02.Selection (使用キャラ選択)
07:17 03.Eastern Mystical Love Consultation (東方妖恋談/博麗靈夢)
11:23 04.Reincarnation (魅魔)
16:58 05.Dim. Dream (霧雨魔理沙)
21:44 06.Tabula rasa ～ The Empty Girl (Tabula rasa　～ 空白少女/エレン *エレンの元ネタは竹本泉氏のエレン・ふわふわ頭・オーレウス)
26:23 07.Maniacal Princess (小兎姫)
31:18 08.Vanishing Dream ～ Lost Dream (夢消失　～ Lost Dream/カナ・アナベラル)
35:42 09.Visionary Game ～ Dream War (夢幻遊戯　～ Dream War/朝倉理香子)
45:45 10.Decisive Magic Battle! ～ Fight it out! (魔法決戦!　～ Fight it out!/CPU7人目)
50:05 11.Sailor of Time (北白河ちゆり)
53:55 12.Strawberry Crisis!! (岡崎夢美)
59:42 13.Disunified Field Theory of Magic (非統一魔法世界論/中ボスデモ)
01:02:24 14.Love of Magical Chimes (魔法鐘愛/夢美デモ)
01:04:05 15.Dream of Eternity (久遠の夢/共通エンディング)
01:08:11 16.Eastern Blue Sky (東方の青い空/昼のエンディング)
01:11:27 17.Eternal Full Moon (永遠の満月/夜のエンディング)
01:15:31 18.Maple Dream... (スタッフロール)
01:18:19 19.Ghostly Person's Holiday (霊人の休日/ネームレジスト)
01:21:08 20.Victory Demonstration (勝利デモ)
01:21:17 21.Game Over (ゲームオーバー)
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《春はゆく/ marie》
Run Riot
作詞：aimerrhythm
作曲：永澤和真
編曲：玉井健二、百田留衣
歌：Aimer
翻譯：澄野（CH Music Channel）
意譯：CH（CH Music Channel）
English Translation : CH

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Copyright Info:
Be aware this channel is for promotion purpose only without any illegal profit. All music's ownership belongs to the original creators.
Please support the original creator.

すべての権利は正当な所有者/作成者に帰属します。あなたがこの音楽（または画像）の作成者で、この動画に使用されたくない場合はメッセージまたはこのYoutubeチャンネルの概要のメールアドレスにご連絡ください。私はすぐに削除します。

如果你喜歡我的影片，不妨按下喜歡和訂閱，你的支持就是我創作的最大原動力！
If you like my videos, please click like and subscribe! Thx :)

粉絲團隨時獲得最新訊息！
https://www.facebook.com/chschannel/

Check my Facebook page for more information!
https://www.facebook.com/chschannel/

背景 / Background - 偽装 - Hiten :
https://www.pixiv.net/artworks/72300463

中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=4728012

日文歌詞 / Japanese Lyrics :
呼吸を　分け合ううちに　眩暈を覚えた　この世界で
約束した未来　壊れない　そう信じられた　幸せの記憶

離れそうになる度に　繋がるそれは命綱のように強くて
ただこの手をすり抜けて　舞い昇ってく風船みたいだ　空に溶けてく

はらはらと　朽ちるまで　咲き乱れ
引き止める残響を　風よ連れ去って
孤独の香り　祝福してる　そうさ迷わない
いま錆び付いた時を　解いて

築いた　帰る場所に　不変を求めた　いつかの夢
失うものなど　無いだろう　次の何かを　得るための衝動

手放せなかったはずの　鎖が千切れた結末　虚しくて
ただ去りゆく人の背を　見送らずに歩き出すんだ　だけど刹那

ひらひらと　立ち込める　面影が
拭えない焦燥を　夜に斷ち切って
野生の息吹　響く鳴き声
辿り損ねた愛をもう悔やまないで　駆け出して

花びら　燦々と　包まれて　目を閉じた　夢から醒めますように
声が響いてる　愛しい　誰かの声が響いてる

はらはらと　朽ちるまで　咲き乱れ
引き止める残響を　風よ連れ去って
孤独の香り　祝福してる　いいよ迷わない
胸が奮い立つように
ひらひらと　舞い踊れ　褪せるまで
拭えない焦燥を　夜に斷ち切って
永遠の淵　覗いてみよう
辿り損ねた愛をもう悔やまないで　笑って

中文歌詞 / Chinese Lyrics :
與他人同享這份吐息之時，才理解何謂暈眩的感受，這便是這世界的法則
在幸福的記憶中，我曾堅信彼此相誓共度並訂下的未來，將永不破裂

每當接近別離之時， 又以鋼索般的強硬苟延殘喘地牽繫彼此的羈絆
即使這鋼索僅需擦過手，便將如氣球般飛揚而去、消逝於天空的一隅不見蹤跡

肆意放縱地散下群花，直至僅剩枯枝殘留
那些呼籲遏止的殘響，就任由風去驅退吧
連孤寂芬芳的氛圍也正為我們獻上祈福，所以我將不再迷茫卻步
現在就親手解開那些，糾纏在這段充滿陳舊鏽斑時光的桎梏吧

曾幾何時夢想著，艱辛構築起的容身之處能夠保持原樣、一成不變
倘若仍抱有渴望獲得的衝動，便不會再有任何能夠失去的事物了吧

明明未能鬆開纏繞於手的鎖鍊，最終卻僅有，虛渺斷裂的碎片殘存
僅只是一瞬，卻連那離去的背影也未能盼上別離前行的步伐一眼

徐徐搖曳紛飛瀰漫的是你自記憶中漸漸浮現的臉龐
無法撲滅滋生的焦躁，為寂靜的黑夜劃下了結尾
伴隨心中的野性吐息，與無數次迴響的呼喊
別再為沒能結成正果的愛戀感到懊悔，各自奔向未來前進吧

在燦爛華麗的花雨環繞之下，為了自虛假的美夢中醒來而選擇閉上雙瞳　
腦海中迴響起了呼喊、響起了，曾使我心動的、那人的聲音

肆意放縱地散下群花，直至僅剩枯枝殘留
那些呼籲遏止的殘響，就任由風去驅退吧
連孤寂芬芳的氛圍也正為我們獻上祈福，放心吧，我已不再如往昔般的迷茫
胸口彷彿正湧現勇氣
伴隨紛飛的花朵翩翩起舞吧，直至花的香色黯淡
無法撲滅滋生的焦躁，為寂靜的黑夜劃下了結尾
一同鼓起勇氣窺向過去永恆的深淵
別再為沒能結成正果的愛戀感到懊悔，笑一個吧

英文歌詞 / English Lyrics :
Sharing my breath with others,
then I discovered how dizzy the world is.
"Promised future can't be broken",
I once believed in such memories full of happiness.

Connect every time you're about to leave.
It's as strong as a lifeline.
Just slip through this hand.
It’s like a balloon, melting into the sky.

Fluttering down, flowers blooms until it rots.
The reverberation that keeps me down, just let the wind takes it away.
The fragrance of loneliness is sending its blessing,
I'll hesitate no more.
Right now just unravel the rusty time we once had.

I once built a place where I belong.
"Please do not ever change" That was my dream then.
There're already nothing to lose for me,
as long as I have the impulse to obtain whatever I get next.

I hadn't been able to loosen the chains twining on my hands,
but they eventually shattered in the end, fruitlessly.
I couldn't see you off with your back because I had already step forward,
however that was just an instant.

Fluttering down, the look of your face suffuses my memories.
I can't obliterate this fret which ended the calm evening.
As if wild breaths and echoes of several sounds.
There's no need regretting for the love that cannot be together, just move forward.

Enclosed by brilliant petals, I chose to close my eyes in order to wake up from this dream.
There's a voice echoing, the voice of someone I once loved echoes.

Fluttering down, flowers blooms until it rots.
The reverberation that keeps me down, just let the wind takes it away.
The fragrance of loneliness is sending its blessing, it's okay, I won't hesitate anymore.
As if there's a courage emerging in my heart.
Fluttering down, flowers will keep dancing until they fade.
I can't obliterate this fret which ended the calm evening.
Let us face the eternal abyss we had together.
There's no need regretting for the love that cannot be together, just smile away.