約 3,336,047 件
https://w.atwiki.jp/legendofnorrath/pages/196.html
SS Title Sentry Watch Type Ability Faction - Attribute - Archetype Fighter Cost 2 Level 0 Attack - Defense 2 Bonus - Health - Game Text Wnen one of your units is about to begin defending, you may destroy this ability to make your avatar defend instead. 自分のUnitが防御しようとするとき、このAbilityを破壊することで、自分のAvatarが防御を肩代わりできる。 Card Number 1R26(Rare,Oathbound) Lore While those who should have kept watch slept, one grizzled veteran held the line, and nothing could escape his keen eye, not one falling leaf or fittering insect, even in that moonless night.
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Love at First Sight Fear, and Loathing in Las Vegas EXTREME Level 9 BPM 160 Notes 677 1 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 2 口口口口 |①－－－| ①口口① |－－－－| 口①①口 |－－－－| ①口口① |－－－－| 3 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 4 ①口口口 |①－－－| ①①口① |－－－－| 口口①① |－－－－| 口口口口 |－－－－| 5 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 6 口①①① |①－－－| 口口口口 |－－－－| 口口口口 |－－－－| ①①①口 |－－－－| 7 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 8 口口①① |①－－－| ①①口① |－－－－| ①口口口 |－－－－| 口口口口 |－－－－| 9 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 10 口口口口 |①－－－| 口①口① |－－－－| 口①口① |－－－－| ①口①口 |－－－－| 11 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 口口口口 |－－－－| 12 口⑤③口 |①－－－| ②口口口 |②－－－| 口④口口 |③－－－| 口口口① |④－⑤－| 13 ④口口口 |①－－－| 口口口① |②－－－| ⑤口口口 |③－－－| ③口②口 |④－⑤－| 14 ⑩⑨⑥③ |①②③－| ①④⑦⑩ |④⑤⑥－| 口⑧⑤② |⑦⑧⑨－| ⑪⑦④① |⑩－⑪－| 15 ⑩⑨⑥③ |①②③－| ①④⑦⑩ |④⑤⑥－| 口⑧⑤② |⑦⑧⑨－| ⑪⑦④① |⑩－⑪－| 16 ⑩⑨⑥③ |①②③－| ①④⑦⑩ |④⑤⑥－| 口⑧⑤② |⑦⑧⑨－| ⑪⑦④① |⑩－⑪－| 17 ⑩⑨⑥③ |①②③－| ①④⑦⑩ |④⑤⑥－| 口⑧⑤② |⑦⑧⑨－| ⑪⑦④① |⑩－⑪－| 18 口口⑥③ |①②③－| ①④口口 |④⑤⑥－| 口口⑤② 口口④① ⑪⑨口⑪ 口口⑦口 口⑧口口 |⑦⑧⑨－| ⑩⑦口⑩ |⑩－⑪－| 19 口口④口 |①－－－| ①②口① |②－③－| 口口⑤口 |④－⑤⑥| ⑥⑥③⑦ |－－⑦－| 20 ⑥①口⑥ |①－－②| ①口②① |－－③－| ④②口③ |④－－－| ⑤口③⑤ |⑤－⑥－| 21 口⑥③⑥ |①－－－| ①口口① |②－③－| ②口⑤口 |④－⑤⑥| ⑦⑦口④ |－－⑦－| 22 ⑤③口⑤ |①－－－| ③口②③ |②－－－| ①②口① |③－－－| ④口①④ |④－⑤－| 23 口口④口 |①－－－| 口②口口 |②－③－| ①口⑤① |④－⑤⑥| ⑥⑥③⑦ |－－⑦－| 24 ⑥①口⑥ |①－－②| ①口②① |－－③－| ④②口③ |④－－－| ⑤口③⑤ |⑤－⑥－| 25 口⑥③⑥ |①－－－| ①口口① |②－③－| ②口⑤口 |④－⑤⑥| ⑦⑦口④ |－－⑦－| 26 口口口口 |①－－－| 口口②口 |②－－－| ①②口① 口口①口 口③口口 ③④口③ ⑤口④口 |③－－－| 口口⑤口 |④－⑤－| 27 口口①③ |①－－－| 口口口口 |②－③－| ⑦口④① |④－⑤⑥| ②⑤⑥口 |－－⑦－| 28 口②①② |①－－②| 口③③① |－－③－| 口口③② 口口口口 ④口口口 口口口⑤ ⑥口口口 |④－－－| 口⑤⑥④ |⑤－⑥－| 29 口口①③ |①－－－| 口②④口 |②－③－| 口口口① |④－⑤⑥| ⑦口⑥⑤ |－－⑦－| 30 ③①口口 |①－－－| ①④②口 |②－－－| ⑤②④口 |③－－－| 口口⑤口 |④－⑤－| 31 口口①③ |①－－－| 口口口口 |②－③－| ⑦⑤④① |④－⑤⑥| ②口⑥口 |－－⑦－| 32 口②①② |①－－②| 口③③① |－－③－| 口口③② 口口口口 ④口口口 口口口⑤ ⑥口口口 |④－－－| 口⑤⑥④ |⑤－⑥－| 33 口口①③ |①－－－| 口②④口 |②－③－| 口口口① |④－⑤⑥| ⑦口⑥⑤ |－－⑦－| 34 口①口口 |①－－－| ①口②口 |②－－－| 口②③④ |③－－－| 口口④口 |④－－－| 35 ①口②口 |①－－－| ③口①口 |②－－－| 口②④口 |③－－－| ④③口口 |④－－－| 36 口③口③ |①－②－| 口口口口 |－－③－| 口①口① 口口②口 口口口口 ④口口口 口⑤口⑤ |－－④－| 口口口口 |⑤－－－| 37 ③口口② |①－－－| 口②①口 |②－－－| 口③④口 |③－－－| ④口口① |④－－－| 38 口口②口 |①－②－| 口①口① |－－③－| 口口口口 |－－－－| 口③③③ |－－－－| 39 口口②口 |①－－－| ①①②口 |②－－－| 口口①② 口口口口 口口口④ 口口口④ ③口④口 |③－－－| 口③③口 |④－－－| 40 ③口③口 |①－②－| 口口口④ |－－③－| ⑤①⑤① |－－④－| ②口口口 |⑤－－－| 41 口②②口 |①－－－| 口③④口 |②－－－| 口④③口 |③－－－| ①①①① |④－－－| 42 ③口口③ |①－②－| ①⑥⑦① |－－③－| ②⑧⑨② |④－⑤－| 口④⑤口 |⑥⑦⑧⑨| 43 口①口② |①－②－| 口⑧口口 |③－④⑤| ③⑦口④ |－－⑥－| ⑥⑧口⑤ |⑦－⑧－| 44 ④⑥口口 |－－①－| ③口①② |②－③④| 口⑥⑤口 |－－⑤－| 口口口口 |⑥－－－| 45 口⑤②⑤ |①－－－| ③③②口 |②－③－| 口口④口 |－－④－| 口①④口 |－－⑤－| 46 ③口口口 |－－①－| ①口口④ |②－③－| 口口口⑤ |④－⑤－| ⑥口⑥② |⑥－－－| 47 口①②口 |①－②－| 口口口口 |③－④⑤| ③⑦口④ |－－⑥－| ⑥⑧⑧⑤ |⑦－⑧－| 48 ④⑥⑥口 |－－①－| ③口①② |②－③④| 口口⑤口 |－－⑤－| 口口口口 |⑥－－－| 49 口口④④ |－－－－| 口口③③ |①－②－| ②②口口 |－－③－| ①①口口 |－－④－| 50 ②①口口 |－－①－| ②①口口 |②－－－| 口口口口 |③－－－| 口口③④ |④－－－| 51 口②④口 |①－－－| ①③口① |－－②－| 口①①口 |③－－－| 口口口口 |④－－－| 52 ②④④① |①－②－| 口口口口 |－－③－| 口③③口 |－－－－| 口口口口 |－－④－| 53 口口口口 |－－①－| ①口口② |②－③－| ③⑥口口 |④－－－| ⑤口口④ |⑤－⑥－| 54 口口口口 |①－②－| 口①④口 |－－③－| 口④②口 |－－④－| 口③③口 |－－－－| 55 ①②③口 |①②③－| ⑨⑧⑦④ |④⑤⑥－| 口口口⑤ |⑦⑧⑨－| ⑩⑪⑫⑥ |⑩⑪⑫－| 56 ⑦③②① |①②③－| ⑧口口⑥ |④⑤⑥－| ⑨口口⑤ |⑦⑧⑨－| ⑫⑪⑩④ |⑩⑪⑫－| 57 ⑦①口口 |①②③－| ⑧②口⑥ |④⑤⑥－| ⑨③口⑤ |⑦⑧⑨－| ⑫⑪⑩④ |⑩⑪⑫－| 58 口①②③ |①②③－| ⑦⑧⑨⑥ |④⑤⑥－| 口口口⑤ |⑦⑧⑨－| ⑫⑪⑩④ |⑩⑪⑫－| 59 ⑥①②③ |①②③－| ⑤⑦⑧⑨ |④⑤⑥－| ④口口口 |⑦⑧⑨－| ⑫⑪⑩口 |⑩⑪⑫－| 60 口口口口 |①②③－| 口口口⑥ |④⑤⑥－| ①②③⑤ 口口口④ ⑩⑦⑧⑨ ⑪口口口 ⑫口口口 |⑦⑧⑨－| 口口口口 |⑩⑪⑫－| 61 ⑩⑥口⑦ |①②③－| ⑪⑤口⑧ |④⑤⑥－| ⑫④口⑨ |⑦⑧⑨－| ③②①口 |⑩⑪⑫－| 62 口口⑥口 |①②③－| 口口⑤口 |④⑤⑥－| 口口④口 口③②① ⑦口口⑨ 口口口口 口口口口 |⑦－⑧－| ⑧口口⑩ |⑨－⑩－| 63 口口口口 |①－－－| ①口口① |－－②－| ①②②① 口①①口 口③③口 ④口口口 口口口口 |③－－－| 口口口口 |－－④－| 64 ⑥⑤⑤⑥ |①－②－| 口口③口 |③－④－| ②口口口 |－－⑤－| 口④口① |⑥－－－| 65 口④④口 |①－－－| 口④④口 |②－－－| ③②③② |③－－－| ①口口① |④－－－| 66 ①口口③ |①－②－| 口口口② |③－④－| 口⑤口口 |－－⑤－| ④④⑥⑥ |⑥－－－| 67 口口口口 |①－－－| 口②口② |②－－－| ①口①口 口口口口 ④口口④ ③口③口 口⑤⑤口 |③－－－| 口口口口 |④－⑤－| 68 ②①①口 |－－①－| 口口③口 |－－－－| ①③口① |－－－－| 口口口口 |②－③－| 69 口口口③ |－－①－| 口④口口 |－－②－| 口口④口 |－－－－| ②②②① |③－④－| 70 口口口口 |－－①－| 口口口② |－－②－| 口口口② |－－③－| ①③③③ |－－－－| 71 ①①①① |①－－－| 口②②口 |－－②－| ③口口③ |③－－－| ③口口③ |－－－－| 72 ④④口④ |①－－－| 口口②③ |②－－－| 口口②口 |③－－－| 口①口口 |④－－－| 73 口口①口 |①－－－| 口①口口 |②－③－| ③②口⑥ |－－④－| 口④⑤口 |⑤－⑥－| 74 ②口口③ |－－①－| ②口口④ |②－－－| 口①口⑤ |③－④－| 口口⑥口 |⑤－⑥－| 75 ①②③⑦ |①②③－| ⑥口口⑧ |④⑤⑥－| ⑤口口⑨ |⑦⑧⑨－| ④⑩⑪⑫ |⑩⑪⑫－| 76 ⑨⑧⑦口 |①②③－| ③②①口 |④⑤⑥－| 口④⑤⑥ |⑦⑧⑨－| 口⑩⑪⑫ |⑩⑪⑫－| 77 口口⑩④ |①②③－| ③⑨⑪⑤ |④⑤⑥－| ②⑧⑫⑥ |⑦⑧⑨－| ①⑦口口 |⑩⑪⑫－| 78 ①口口① |①－－－| ②口口③ |②－③－| 口口口口 ③口口② ⑤口口⑤ 口口口口 口⑤⑤口 |－－－－| 口④④口 |④－⑤－| 不確定度 0
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Booths of Fighters / RoughSketch + DD"ナカタ"Metal ※歌詞無断転載禁止のため、以下のサイトを参照 個人サイト Booths of Fighters - DD“Nakata”Metal DD“Nakata”Metalによる歌詞
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I INTRODUCTION I イントロダクション The best things in an artist s work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its place. For the artist, if he has the right stuff in him, has a consciousness, in doing his best work, of something, as Ruskin has said, not in him but through him. He has been, as it were, but the agent through which it has found expression. 芸術家の作品の中でもっとも良いものは直観に満ちているので、芸術家の要素をなす芸術的才能なるものについての知的な探究を完全に思いとどまらせようとする立場にとってはかなり有利である。直観は引っ込み思案で、近づいて見ようとすれば消えてしまいやすいものである。そして過剰な知識とトレーニングには、学生の自然で直観的な感性を、表現の意味についての冷めた知識に置き換えてしまうおそれがたしかにある。芸術家としては、彼が正しい資質を備えており、傑作を描く中でラスキンの言う「彼の中にはないが彼の中を通る」何ものかについての自覚を持つならば、彼はいわばそれを通して表現を発見する代理人であるだろう。 Talent can be described as that which we have, and Genius as that which has us. Now, although we may have little control over this power that has us, and although it may be as well to abandon oneself unreservedly to its influence, there can be little doubt as to its being the business of the artist to see to it that his talent be so developed, that he may prove a fit instrument for the expression of whatever it may be given him to express; while it must be left to his individual temperament to decide how far it is advisable to pursue any intellectual analysis of the elusive things that are the true matter of art. 才能は「われわれが持っているもの」、天才は「われわれをとらえるもの」と言える。さて、われわれはこの「われわれをとらえる」力をほとんどコントロールできないし、そのうえわれわれはその影響力にいやおうなく溺れてしまうが、どんな表現であれそれに適切な道具を示せるほどに才能を伸ばすようにするのが、芸術家の仕事であるということには、ほとんど疑いがないだろう。他方、芸術の本質というつかみどころのないものを知的に分析することを続けるのがどれだけ賢明であるかどうかは、彼個人の気質によって判断されるはずである。 Provided the student realises this, and that art training can only deal with the perfecting of a means of expression and that the real matter of art lies above this and is beyond the scope of teaching, he cannot have too much of it. For although he must ever be a child before the influence that moves him, if it is not with the knowledge of the grown man that he takes off his coat and approaches the craft of painting or drawing, he will be poorly equipped to make them a means of conveying to others in adequate form the things he may wish to express. Great things are only done in art when the creative instinct of the artist has a well-organised executive faculty at its disposal. このことや、芸術のトレーニングはある表現手段の徹底を扱うにすぎないこと、また本当の芸術というものはその上に存在し、教育の範疇を超えているということを理解している生徒は、いすぎて困るということはない。なぜなら彼は彼を動かす影響力の前では子ども同然でさえあるが、もし彼にコートを脱ぎペインティングやドローイングの技術に近づくだけの成長した人間の知性がなければ、彼は自分が表現したいことを十分な形式で他人に伝える手段にすることができないだろう。偉大なものは、芸術家の創造的直観が、彼が自由に使えるよく組織されたな実践的な能力を持つときに、芸術においてのみなされる。 ＊ ＊ ＊ ＊ ＊ * * * * * Of the two divisions into which the technical study of painting can be divided, namely Form and Colour, we are concerned in this book with Form alone. But before proceeding to our immediate subject something should be said as to the nature of art generally, not with the ambition of arriving at any final result in a short chapter, but merely in order to give an idea of the point of view from which the following pages are written, so that misunderstandings may be avoided. 絵画の技術的な学習は、フォルムと色という、2つの領域に分けられるが、われわれは本書においてフォルムのみを扱う。しかし本論に進む前に、芸術一般の本質についていくらか言及しておくべきだろう。これはいきなり最終的な結論に達しようというのではなく、以降の論述が立脚する視点の考え方を示し、誤解を避けるためのものにすぎない。 The variety of definitions that exist justifies some inquiry. The following are a few that come to mind Art is nature expressed through a personality. But what of architecture? Or music? Then there is Morris s Art is the expression of pleasure in work. But this does not apply to music and poetry. Andrew Lang s Everything which we distinguish from nature seems too broad to catch hold of, while Tolstoy s An action by means of which one man, having experienced a feeling, intentionally transmits it to others is nearer the truth, and covers all the arts, but seems, from its omitting any mention ofrhythm, very inadequate. 存在する数多くの定義がいくつかの探究を正当化している。以下に思いつくものを若干挙げてみよう。 「芸術とは個性を通して表現される本質である」 しかし建築はどうだろう？ あるいは音楽は？ それならウィリアム・モリスによるものがある。 「芸術とは仕事における喜びの表現である」 しかしこれは音楽と詩には当てはまらない。アンドリュー・ラングによる、 「われわれが自然から区別するすべてのもの」 という定義は広すぎて捉えられない。一方、トルストイの 「ある感情を経験した人間が、それを他者に伝えようとして用いられる行為」 という定義はより真実に近く、すべての芸術をカバーしているが、しかし“リズム”について言及していない点で、あまり適当ではないように思われる。 ＊ ＊ ＊ ＊ ＊ * * * * * Now the facts of life are conveyed by our senses to the consciousness within us, and stimulate the world of thought and feeling that constitutes our real life. Thought and feeling are very intimately connected, few of our mental perceptions, particularly when they first dawn upon us, being unaccompanied by some feeling. But there is this general division to be made, on one extreme of which is what we call pure intellect, and on the other pure feeling or emotion. The arts, I take it, are a means of giving expression to the emotional side of this mental activity, intimately related as it often is to the more purely intellectual side. The more sensual side of this feeling is perhaps its lowest, while the feelings associated with the intelligence, the little sensitivenesses of perception that escape pure intellect, are possibly its noblest experiences. さて、現実は知覚によってわれわれの意識に伝えられ、われわれの真の生活を構成する思考と感覚の世界を刺激する。思考と感覚はひじょうに密接に繋がっており、精神的認識は、とくにはじめてそれがもたらされる場合、ほとんど何らかの感覚を伴う。しかしここに一般的な区分を設けて、一方の極を純粋な知性、他方を純粋な感覚や感情と呼ぶことにしよう。私の言う芸術とは、この精神的活動の感覚的側面に表現を与える手段のことであり、それはじっさいはより純粋な知的側面としばしば密接に結びつく。この感覚の官能的な部分が多いものは、おそらく最低だろう。一方、知性に結びついた感覚、つまり純然たる知性を逃れるだけのごくわずかな感受性は、もっとも崇高な体験であるだろう。 Pure intellect seeks to construct from the facts brought to our consciousness by the senses, an accurately measured world of phenomena, uncoloured by the human equation in each of us. It seeks to create a point of view outside the human standpoint, one more stable and accurate, unaffected by the ever-changing current of human life. It therefore invents mechanical instruments to do the measuring of our sense perceptions, as their records are more accurate than human observation unaided. 純粋な知性は、知覚によってわれわれの意識にもたらされた事実から、正確に計測され、誰にとっても等しいありのままの現象界を組み立てようとする。それは人間の外に立ち、たとえ現在の人間の生活が変わったとしても影響をを受けないような、より確実かつ正確な視点を作ろうとする。それゆえ、知性はわれわれの知覚を計測するのに機械的な道具を発明する。それらの記録は、機械の補助のない人間が行う観察よりも正確なのだ。 But while in science observation is made much more effective by the use of mechanical instruments in registering facts, the facts with which art deals, being those of feeling, can only be recorded by the feeling instrument--man, and are entirely missed by any mechanically devised substitutes. しかし、科学的観測では事実の記載に機械的道具を使うことがより有効だとしても、芸術が扱う事実は、感覚的道具――人間によってしか記録できず、機械的に発明された物体によってはまったく理解できない。 The artistic intelligence is not interested in things from this standpoint of mechanical accuracy, but in the effect of observation on the living consciousness--the sentient individual in each of us. The same fact accurately portrayed by a number of artistic intelligences should be different in each case, whereas the same fact accurately expressed by a number of scientific intelligences should be the same. 芸術的な知性は、この機械的正確さの観点から見たものではなく、生きた認識――感覚を持ったわれわれ個人――についての観察結果に関心を持つ。科学者たちが同じ事実を正確に表現すればどれも同一になるが、芸術家たちが正確に描いた同じ事実は、それぞれ異なったものになるにちがいない。 But besides the feelings connected with a wide range of experience, each art has certain emotions belonging to the particular sense perceptions connected with it. That is to say, there are some that only music can convey those connected with sound; others that only painting, sculpture, or architecture can convey those connected with the form and colour that they severally deal with. しかし幅広い経験と結びついた感覚のほかに、それぞれの芸術には、それと関係する特別な知覚を伴った、ある感情が存在する。すなわち、音と関係するものは、音楽だけが伝えることができ、フォルムと色に関係するものは、それらを各々扱う絵画、彫刻、建築だけが伝えることができる。 In abstract form and colour--that is, form and colour unconnected with natural appearances--there is an emotional power, such as there is in music, the sounds of which have no direct connection with anything in nature, but only with that mysterious sense we have, the sense of Harmony, Beauty, or Rhythm (all three but different aspects of the same thing). 抽象的なフォルムと色、つまり自然にはないフォルムと色には、感情的なパワーがある。それはまるで音楽――そこでは音が自然とは直接には結びつかず、われわれが持つその不思議な感覚、すなわち、調和、美、リズム（これら3つは同じものの異なる側面を表す）だけに結びついている――にあるようなパワーである。 This inner sense is a very remarkable fact, and will be found to some extent in all, certainly all civilised, races. And when the art of a remote people like the Chinese and Japanese is understood, our senses of harmony are found to be wonderfully in agreement. Despite the fact that their art has developed on lines widely different from our own, none the less, when the surprise at its newness has worn off and we begin to understand it, we find it conforms to very much the same sense of harmony. この内的な感覚は非常に重要な事実であり、すべての（たしかにすべての文明的な）人種に広範に見出されるはずである。そして中国や日本のような遠く離れた人々の芸術が理解されるとき、われわれの調和の感覚が驚くほど同じであることがわかる。彼らの芸術がわれわれのものとは大きく異なる系譜の中で発展してきたという事実にもかかわらず、それでもなお、その目新しさへの驚きが薄れてそれを理解しはじめたときには、われわれはそれがわれわれの調和の感覚とひじょうによく一致していることを知るのである。 But apart from the feelings connected directly with the means of expression, there appears to be much in common between all the arts in their most profound expression; there seems to be a common centre in our inner life that they all appeal to. Possibly at this centre are the great primitive emotions common to all men. The religious group, the deep awe and reverence men feel when contemplating the great mystery of the Universe and their own littleness in the face of its vastness--the desire to correspond and develop relationship with the something outside themselves that is felt to be behind and through all things. Then there are those connected with the joy of life, the throbbing of the great life spirit, the gladness of being, the desire of the sexes; and also those connected with the sadness and mystery of death and decay, c. しかし表現方法と直接関係する感覚のほかにも、全ての芸術に共通するものは、彼らの最も深い表現の中に多く見られる。われわれの内的生活には、彼ら全てがそれに訴える共通の核心があるように思われる。おそらく、この核心にあるものは、全ての人間に共通する偉大で原始的な感情だろう。宗教家たちは、大いなる宇宙の神秘とその広大に対する己の卑小さについて人間が熟考したときに感じる深い畏怖と尊敬の念――彼らの外部にあり、あらゆるものを通してその存在を感じられるあの何ものかと通じて関係を深めたいという欲求――を集合させる。そしてこれらを、生の楽しみ、偉大な魂の鼓動、生きることの喜び、性への欲望、また死や衰えの悲しみと神秘といったことと結びつける。 The technical side of an art is, however, not concerned with these deeper motives but with the things of sense through which they find expression; in the case of painting, the visible universe. しかし、芸術の技術的な側面は、これら深遠なモチーフとではなく、彼らが表現を見つける感覚についてのことがらと関係がある。絵画の場合、それは視覚の宇宙である。 The artist is capable of being stimulated to artistic expression by all things seen, no matter what; to him nothing comes amiss. Great pictures have been made of beautiful people in beautiful clothes and of squalid people in ugly clothes, of beautiful architectural buildings and the ugly hovels of the poor. And the same painter who painted the Alps painted the Great Western Railway. 芸術家は見たものすべてから芸術表現への刺激を受けることができる。たとえどんなものでも、彼にとって不都合なものはない。偉大な絵画は、美しい服装の美しい人々と、醜い服を着た汚い人々、そして美しい建築と、貧民の掘っ立て小屋から作られる。そしてアルプスを描いたその同じ画家が、グレート・ウェスタン鉄道を描くのである。［訳者注：ターナーおじさんのこと］ The visible world is to the artist, as it were, a wonderful garment, at times revealing to him the Beyond, the Inner Truth there is in all things. He has a consciousness of some correspondence with something the other side of visible things and dimly felt through them, a still, small voice which he is impelled to interpret to man. It is the expression of this all-pervading inner significance that I think we recognise as beauty, and that prompted Keats to say Beauty is truth, truth beauty. 目に見える世界は芸術家のものであり、いわばすばらしい衣服である。それはときどき彼に、すべてに内在する内なる真実の向こうを見せてくれる。彼は視角の向こう側にあるものと通じているという意識を持ち、誰かに説明したくなるような「静かで、小さな声」を通してそれをかすかに感じる。このすべてに広がる内的な意味の表現こそが、われわれが美として認識し、ジョン・キーツにかのように言わしめたものである。 「美は真であり、真は美である」 And hence it is that the love of truth and the love of beauty can exist together in the work of the artist. The search for this inner truth is the search for beauty. People whose vision does not penetrate beyond the narrow limits of the commonplace, and to whom a cabbage is but a vulgar vegetable, are surprised if they see a beautiful picture painted of one, and say that the artist has idealised it, meaning that he has consciously altered its appearance on some idealistic formula; whereas he has probably only honestly given expression to a truer, deeper vision than they had been aware of. The commonplace is not the true, but only the shallow, view of things. それゆえ真と美への愛は芸術家の作品の中でともに存在できることになる。この内的な真理の探究が美の探究である。凡庸さの狭い限界を超えた認識をする視点を持たない人々（彼らにとってキャベツは庶民の野菜でしかないのだが）は、芸術家の描いた美しい絵を見て驚き、そしてこう言うのである。この芸術家はそれを理想化した、つまり彼はその外観をある理想的な様式に意識的に変化させたのだと。しかし彼はおそらく、彼らがすでに気づいていたある真なる深遠なビジョンに対して誠実に表現を与えただけだろう。平凡さは真実ではなく、単にものの見方の浅薄さにすぎない。 [Illustration Plate II. DRAWING BY LEONARDO DA VINCI FROM THE ROYAL COLLECTION AT WINDSOR _Copyright photo, Braun Co._] Fromentin s Art is the expression of the invisible by means of the visible expresses the same idea, and it is this that gives to art its high place among the works of man. Beautiful things seem to put us in correspondence with a world the harmonies of which are more perfect, and bring a deeper peace than this imperfect life seems capable of yielding of itself. Our moments of peace are, I think, always associated with some form of beauty, of this spark of harmony within corresponding with some infinite source without. Like a mariner s compass, we are restless until we find repose in this one direction. In moments of beauty (for beauty is, strictly speaking, a state of mind rather than an attribute of certain objects, although certain things have the power of inducing it more than others) we seem to get a glimpse of this deeper truth behind the things of sense. And who can say but that this sense, dull enough in most of us, is not an echo of a greater harmony existing somewhere the other side of things, that we dimly feel through them, evasive though it is. But we must tread lightly in these rarefied regions and get on to more practical concerns. By finding and emphasising in his work those elements in visual appearances that express these profounder things, the painter is enabled to stimulate the perception of them in others. In the representation of a fine mountain, for instance, there are, besides all its rhythmic beauty of form and colour, associations touching deeper chords in our natures--associations connected with its size, age, and permanence, c.; at any rate we have more feelings than form and colour of themselves are capable of arousing. And these things must be felt by the painter, and his picture painted under the influence of these feelings, if he is instinctively to select those elements of form and colour that convey them. Such deeper feelings are far too intimately associated even with the finer beauties of mere form and colour for the painter to be able to neglect them; no amount of technical knowledge will take the place of feeling, or direct the painter so surely in his selection of what is fine. There are those who would say, This is all very well, but the painter s concern is with form and colour and paint, and nothing else. If he paints the mountain faithfully from that point of view, it will suggest all these other associations to those who want them. And others who would say that the form and colour of appearances are only to be used as a language to give expression to the feelings common to all men. Art for art s sake and Art for subject s sake. There are these two extreme positions to consider, and it will depend on the individual on which side his work lies. His interest will be more on the aesthetic side, in the feelings directly concerned with form and colour; or on the side of the mental associations connected with appearances, according to his temperament. But neither position can neglect the other without fatal loss. The picture of form and colour will never be able to escape the associations connected with visual things, neither will the picture all for subject be able to get away from its form and colour. And it is wrong to say If he paints the mountain faithfully from the form and colour point of view it will suggest all those other associations to those who want them, unless, as is possible with a simple-minded painter, he be unconsciously moved by deeper feelings, and impelled to select the significant things while only conscious of his paint. But the chances are that his picture will convey the things he was thinking about, and, in consequence, instead of impressing us with the grandeur of the mountain, will say something very like See what a clever painter I am! Unless the artist has painted his picture under the influence of the deeper feelings the scene was capable of producing, it is not likely anybody will be so impressed when they look at his work. And the painter deeply moved with high ideals as to subject matter, who neglects the form and colour through which he is expressing them, will find that his work has failed to be convincing. The immaterial can only be expressed through the material in art, and the painted symbols of the picture must be very perfect if subtle and elusive meanings are to be conveyed. If he cannot paint the commonplace aspect of our mountain, how can he expect to paint any expression of the deeper things in it? The fact is, both positions are incomplete. In all good art the matter expressed and the manner of its expression are so intimate as to have become one. The deeper associations connected with the mountain are only matters for art in so far as they affect its appearance and take shape as form and colour in the mind of the artist, informing the whole process of the painting, even to the brush strokes. As in a good poem, it is impossible to consider the poetic idea apart from the words that express it they are fired together at its creation. Now an expression by means of one of our different sense perceptions does not constitute art, or the boy shouting at the top of his voice, giving expression to his delight in life but making a horrible noise, would be an artist. If his expression is to be adequate to convey his feeling to others, there must be some arrangement. The expression must be ordered, rhythmic, or whatever word most fitly conveys the idea of those powers, conscious or unconscious, that select and arrange the sensuous material of art, so as to make the most telling impression, by bringing it into relation with our innate sense of harmony. If we can find a rough definition that will include all the arts, it will help us to see in what direction lie those things in painting that make it an art. The not uncommon idea, that painting is the production by means of colours of more or less perfect representations of natural objects will not do. And it is devoutly to be hoped that science will perfect a method of colour photography finally to dispel this illusion. What, then, will serve as a working definition? There must be something about feeling, the expression of that individuality the secret of which everyone carries in himself; the expression of that ego that perceives and is moved by the phenomena of life around us. And, on the other hand, something about the ordering of its expression. But who knows of words that can convey a just idea of such subtle matter? If one says Art is the rhythmic expression of Life, or emotional consciousness, or feeling, all are inadequate. Perhaps the rhythmic expression of life would be the more perfect definition. But the word life is so much more associated with eating and drinking in the popular mind, than with the spirit or force or whatever you care to call it, that exists behind consciousness and is the animating factor of our whole being, that it will hardly serve a useful purpose. So that, perhaps, for a rough, practical definition that will at least point away from the mechanical performances that so often pass for art, #the Rhythmic expression of Feeling# will do for by Rhythm is meant that ordering of the materials of art (form and colour, in the case of painting) so as to bring them into relationship with our innate sense of harmony which gives them their expressive power. Without this relationship we have no direct means of making the sensuous material of art awaken an answering echo in others. The boy shouting at the top of his voice, making a horrible noise, was not an artist because his expression was inadequate--was not related to the underlying sense of harmony that would have given it expressive power. [Illustration Plate III. STUDY FOR APRIL In red chalk on toned paper.] Let us test this definition with some simple cases. Here is a savage, shouting and flinging his arms and legs about in wild delight; he is not an artist, although he may be moved by life and feeling. But let this shouting be done on some ordered plan, to a rhythm expressive of joy and delight, and his leg and arm movements governed by it also, and he has become an artist, and singing and dancing (possibly the oldest of the arts) will result. Or take the case of one who has been deeply moved by something he has seen, say a man killed by a wild beast, which he wishes to tell his friends. If he just explains the facts as he saw them, making no effort to order his words so as to make the most telling impression upon his hearers and convey to them something of the feelings that are stirring in him, if he merely does this, he is not an artist, although the recital of such a terrible incident may be moving. But the moment he arranges his words so as to convey in a telling manner not only the plain facts, but the horrible feelings he experienced at the sight, he has become an artist. And if he further orders his words to a rhythmic beat, a beat in sympathy with his subject, he has become still more artistic, and a primitive form of poetry will result. Or in building a hut, so long as a man is interested solely in the utilitarian side of the matter, as are so many builders to-day, and just puts up walls as he needs protection from wild beasts, and a roof to keep out the rain, he is not yet an artist. But the moment he begins to consider his work with some feeling, and arranges the relative sizes of his walls and roof so that they answer to some sense he has for beautiful proportion, he has become an artist, and his hut has some architectural pretensions. Now if his hut is of wood, and he paints it to protect it from the elements, nothing necessarily artistic has been done. But if he selects colours that give him pleasure in their arrangement, and if the forms his colour masses assume are designed with some personal feeling, he has invented a primitive form of decoration. And likewise the savage who, wishing to illustrate his description of a strange animal he has seen, takes a piece of burnt wood and draws on the wall his idea of what it looked like, a sort of catalogue of its appearance in its details, he is not necessarily an artist. It is only when he draws under the influence of some feeling, of some pleasure he felt in the appearance of the animal, that he becomes an artist. Of course in each case it is assumed that the men have the power to be moved by these things, and whether they are good or poor artists will depend on the quality of their feeling and the fitness of its expression. [Illustration Plate IV. STUDY ON TISSUE-PAPER IN RED CHALK FOR FIGURE OF BOREAS] The purest form of this rhythmic expression of feeling is music. And as Walter Pater shows us in his essay on The School of Giorgione, music is the type of art. The others are more artistic as they approach its conditions. Poetry, the most musical form of literature, is its most artistic form. And in the greatest pictures form, colour, and idea are united to thrill us with harmonies analogous to music. The painter expresses his feelings through the representation of the visible world of Nature, and through the representation of those combinations of form and colour inspired in his imagination, that were all originally derived from visible nature. If he fails from lack of skill to make his representation convincing to reasonable people, no matter how sublime has been his artistic intention, he will probably have landed in the ridiculous. And yet, #so great is the power of direction exercised by the emotions on the artist that it is seldom his work fails to convey something, when genuine feeling has been the motive#. On the other hand, the painter with no artistic impulse who makes a laboriously commonplace picture of some ordinary or pretentious subject, has equally failed as an artist, however much the skilfulness of his representations may gain him reputation with the unthinking. The study, therefore, of the #representation of visible nature# and of #the powers of expression possessed by form and colour# is the object of the painter s training. And a command over this power of representation and expression is absolutely necessary if he is to be capable of doing anything worthy of his art. This is all in art that one can attempt to teach. The emotional side is beyond the scope of teaching. You cannot teach people how to feel. All you can do is to surround them with the conditions calculated to stimulate any natural feeling they may possess. And this is done by familiarising students with the best works of art and nature. * * * * * It is surprising how few art students have any idea of what it is that constitutes art. They are impelled, it is to be assumed, by a natural desire to express themselves by painting, and, if their intuitive ability is strong enough, it perhaps matters little whether they know or not. But to the larger number who are not so violently impelled, it is highly essential that they have some better idea of art than that it consists in setting down your canvas before nature and copying it. 芸術を構成するものについて理解している美術学生の少なさは、おどろくべきことである。彼らはおそらく、絵画によって彼ら自身を表現したいという自然な欲求によって駆り立てられている。もし彼らの直観的な能力が十分に強いのであれば、彼らが知っているどうかはたいした問題ではないだろう。しかしそこまで暴力的に駆り立てられない多くの学生にとって、芸術についてよりよく理解することは、自然の前にキャンバスを据えてそれを模写することよりも、ひじょうに重要で不可欠なことである。 Inadequate as this imperfect treatment of a profoundly interesting subject is, it may serve to give some idea of the point of view from which the following pages are written, and if it also serves to disturb the copying theory in the minds of any students and encourages them to make further inquiry, it will have served a useful purpose. 大いに興味深い主題についてこのような不完全な論じ方をするのは不適当であるが、以降の論述がもとづく視点の考え方を示すことにはなるだろう。そしてまた、学生の心に浮かぶ「模写説」を防ぎ、彼らをさらなる探究へ促すことにもなったのならば、役立つ目的は果たしたことになる。
https://w.atwiki.jp/youtube-jyuku/pages/27.html
『Robots help sushi-go-round turn high tech』 With its masters required to home their skills over decades, sushi is steeped in tradition. But it is also a high-tech operation where robotic precision steals the limelight from the chef s knife. Japan is dotted with thousands of kaiten sushi restaurants where raw fish slices atop rice balls travel on conveyor belts along counters waiting to be picked up by diners. "Sushi isn t going round at random, but rather it is coming out based on a number of calculations," said Akihito Tsuji, public relations manager at Kura Corp., a major operator in a market expected to hit $5 billion in revenue this year, according to industry figures. "Though traditional, sushi is stuffed with high technology. You can t operate low-price revolving sushi restaurants without databased and scientific management," he said at a Tokyo outlet. Since their birth half a century ago, kaiten sushi restaurants have evolved from selling traditional sushi, today offering other dishes popular with Japanese, including tempura, noodles, and even ice cream. The dishes are cheap, usually starting at around ¥100 for two pieces of sushi. Now, more and more outlets are equipped with "high-speed" lanes where customers can receive their order via touch-screen menu. Inside the kitchen, screens show how many adults and children are dining and roughly how long they have been I the restaurant. The system combines real-time date with information about how many items were consumed in similar circumstances in the past, displaying results for kitchen staff. Complementing on-the-spot efforts, the Kura chain also has a remote assistance system serving its network of more than 300 outlets. In-store cameras feed images to dozens of supervisors who move from restaurant to restaurant with laptops―while others watch from monitoring centers―to advise restaurants instantly if there is enough food and the right mix of offerings on the conveyer belt. High technology costs money, but sales at kaiten sushi restaurants have grown 20 percent over the past five years, according to research firm Fuji-Keizai Group.
https://w.atwiki.jp/gcmatome/pages/7810.html
Fight of Animals 【ふぁいと おぶ あにまるず】 ジャンル 動物ミーム格闘アクション 対応機種 Steam Windows CS機 Nintendo SwitchPlayStation 4 開発・発売元 Digital Crafter 発売日 Win 2019年12月19日 Switch 2020年4月30日 PS4 2020年9月24日 定価 Win/Switch 1,000円 PS4 1,540円 プレイ人数 1～2人 レーティング CERO A(全年齢対象) 備考 共通 ダウンロード専売最大8人でオンライン対戦可能 Switch おすそ分けプレイ対応 PS4 発売時点で他機種で配信済みのDLCを全て収録 判定 バカゲー ポイント ネットで有名になったあの動物達 が格闘ゲームに見た目はネタだが作りはガチ野性的なゲームバランス 概要 操作キャラクター一覧 システム 評価点 賛否両論点 問題点 総評 余談 概要 世界中の神々が殴り合う格闘ゲーム『Fight of Gods』を開発した台湾のインディーデベロッパーDigital Crafterが手掛けた「動物ミーム(*1)格闘ゲーム」。 元々Switch版は3月末の配信を予定していたが、諸般の事情によって開発が遅れ、欧米版が4月9日に、日本版が4月30日にそれぞれ発売される形となった。 そしてSwitch版発売から約半年後の9月24日にはPS4版の配信も開始された。 正式タイトルには入っていないが、パッケージには「Legend of the strongest creature」（直訳：最強生物伝説）というサブタイトルが入っている。 簡単な操作 X 可愛い動物達 X 熱闘！！お好きな動物でバトル！ 超！エキサイティング！オンライン機能で世界中のプレイヤーに挑む！ 大ヒットだったネタ動物たちに戦わせるとどれだけ激しい戦いになるのか？ 簡単な操作 X 可愛い動物達 X 熱闘！！ お好きな動物でバトル！超！エキサイティング！ オンライン機能で世界中のプレイヤーに挑む！ アーケードモードで強敵にチャレンジして、動物の王になる！ パワーフック犬、筋肉狐、二足歩行猫、カラスリラ、マジシャンリス…君を待っている！ (ダウンロードページより引用) 操作キャラクター一覧 本作での名称/読み 日本での通称 元ネタ画像 POWER HOOK DOGパワーフックドッグ 右フック犬 CROWRILLAカリラ(*2) ゴリラみたいなカラス WALKING CATウォーキングキャット 二足歩行猫 MAGIC SQUIRRELマジックスクアロー 水を操るリス MIGHTY FOXマイティフォックス マッスルギツネ MUSCLE BELUGAマッスルベルーガ マッチョイルカ EGG DOGエッグドッグ アザラシ犬 卵犬 SLENDER CATスレンダーキャット のびーるたん imageプラグインエラー 画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 また、オリジナルの隠しキャラとして「TRICKY FOX」「BAD DOG」がいる。それぞれ「MIGHTY FOX」「POWER HOOK DOG」のコンパチキャラであり、アーケードモードを進めていくと敵として登場(*3)、勝利するとプレイヤーキャラとして使用可能になる。難易度は問わない。 システム ※本記事におけるボタン表記はSwitch版基準で行う。 対戦をメインとした作品であり、ストーリーの類は一切存在しない。 ゲームモードは勝ち抜きのアーケード、一戦だけのバーサス、オンライン対戦、トレーニングの四つで、CPU同士や他人の試合を観戦する事も可能。 3Dキャラクターを軸移動無しのフィールドで操作する2D対戦形式。 使用するのはLスティック/方向キーとABXYのみ。 基本操作 Yで弱攻撃、Xで強攻撃、Aで中段/スキル、Bでスーパースキル/バースト、後退で中段ガード、方向キー下のしゃがみで下段ガード、横移動二回入力でダッシュ/バックステップ、方向キー上でジャンプ。 相手に攻撃を当てる、攻撃を当てられる、スキル攻撃を使う事で画面下部のゲージが増加し、満タン状態でBボタンを押すとスーパースキル(必殺技)/バースト(コンボ脱出)が使用できる。 また、一部の技後の硬直はダッシュキャンセルで隙消し可能。 キャラクターを選択した後、自分でコンボを繋げるスタンダードモードと、自動でコンボが繋がるアシストモードを選ぶことが出来る。そのため、格ゲー初心者でも楽しめるようになっている。 評価点 カオス過ぎる操作キャラ達 本作をバカゲーたらしめる根幹の要素であり最大の評価点。 作品情報の画像の時点で察し、キャラクター一覧の項目で確信に変わった人も居ると思うが、本作の操作キャラは全員が インターネット上で有名になった動物の錯視画像 から着想を得て制作されている。初見の人は困惑するか抱腹絶倒すること間違いなし。 かつてこれほど面子の濃い格ゲーがあっただろうか？ 各キャラクターの動きは大半が本作オリジナルだが、他の格ゲーや同じ動物の別のネタ画像を元に作られているものもある。しかもそれらのアクションに違和感が無く、見事にキャラクターとマッチしている。 「MIGHTY FOX」はわざわざイントロで下半身を地面に潜らせているという芸コマっぷり。 万人向けのゲームシステム エンジョイ勢や初心者でも楽しめる"笑える格ゲー"としての完成度 おすそ分けプレイ(Switch版のみ)やアシストモードも可能なため、ガチ勢でなくとも、家族や友人と爆笑しながらエンジョイプレイをすることができる。 シンプルだが奥深い戦略性 本作には所謂"投げ"が存在せず、攻撃の火力が全体的に控えめに設定されており、「どれだけ長く攻撃を当て続けることが出来るか」「どれだけ的確に相手の攻撃を凌げるか」といった点が非常に重要になるため、シンプルな操作にもかかわらず「どんな風にコンボを繋げばよりダメージを稼ぐことが出来るか」という点を研究する楽しさは他の格ゲーに決して劣らない魅力があると言える。 BGMも地味に良曲揃い。特にタイトル画面からステージ選択までの間流れているBGMは、聞いてると段々耳から離れなくなってくる謎の中毒性がある。 開発元によるキャラ性能の調整やキャラ追加 特定の技の吹っ飛ばしの高さを下げる、硬直のフレーム数を増やすと言った調整が度々行われており、その点を評価する格ゲーマーも少なくない。 また、のびーるたんや卵犬と言った新キャラが無料アップデートで度々追加されていた為、「次はどの面白動物が参戦するんだ」とユーザーをワクワクさせてくれた。 賛否両論点 対戦しか出来ないゲーム性 同社の『Fight of Gods』よりも安いとは言え、ストーリーモード等が無いせいで、一緒に遊べる友達が居ない、又はスタンダードモードでのコンボ構築に楽しみを見出だせなかったりするとすぐ飽きてしまう。 CPUが強い 難易度「普通」でもコンボを決めてくるため初心者には厳しめ。(*4)。 問題点 苛烈極まる超火力コンボ 本作最大の問題点。 Steam版の発売初日から続々と高火力コンボが発見されており、現在もスーパースキル抜きで5割が消し飛ぶのは日常茶飯事。投げが無い分全キャラ共通の中段技もコンボ始動技となっており、コンボ偏重のゲームバランスに拍車を掛けている。 格ゲー初心者やライトユーザーにはその長すぎるコンボが「ハメ」に映ることもあり、オンラインに潜ってコンボを自重しないガチ勢になすすべなくボコボコにされたという声が少なくない。 スーパースキルとバーストが任意で切り替えられない ボタンが一つに纏められており、被弾しているか否かで発動する技が自動判別されてしまうのが原因。また、どちらもゲージを全消費してしまうため、バーストを意図せず使ってしまった際の喪失感が大きい。「別々のボタンに割り当ててほしかった」「バーストのゲージ消費量を下げてくれ」という声が多い。 直訳丸出しの翻訳文章 海外制作のインディーゲーム故仕方のない事だが、チュートリアルは妙な文章が目立ち、CERO Aなのにフリガナも無いので日本向けにしては不親切なイメージが目立つ。 クロスプレイは不可能。知人とハードが合わない場合は買うか諦めるしかない。 総評 ゲームとしては、ゲームバランスがもう少し整っていれば良作であると言えた惜しい作品。 しかし、「身内で楽しめるバカゲー」としてのポテンシャルは十分満たしており、何より「あの右フック犬や二足歩行猫で暴れる格ゲーをやってみたい」という皆の声を実現したという点で、本作が唯一無二の存在感を放っている事は間違いない。 価格も1000円とお手頃でオンライン対戦も可能なため、暇を持て余している友人を誘って遊んでみては如何だろうか。 余談 Windows版は2020年4月24日のアップデート(Ver.1.0.5)に伴い、各キャラの追加コスチュームが個別の有料DLCとして配信された(*5)。Switch版でもバンドルパック(1000円)のみ、６月末に追加された。 だが、そのコスチュームはバカゲーらしく、一部は「なんでこんなコスチュームなんだ？」という代物もある。(*6) アップデートで キャラクターイメージが3Dモデルからイラストに変更された。 2020年11月23日に、戦闘システムをライフ制2D対戦アクションに変更した派生作品『Fight of Animals：Arena』が発表。2020年12月17日にSteamで配信開始された。 新キャラとしてリリース時から「カンフーダックスフンド」、後にアップデートで「ふわふわ羊」が追加され、2月26日には本家Steam版にも逆輸入された。Switch版とPS4版も後々実装するとのこと。
https://w.atwiki.jp/oper/pages/1462.html
第2節 【ゲロンティアスの魂】 私は寝入り、そして元気を回復しました。 奇妙な感じの回復です。 私の中に表現しようのない軽さを感じるのです、 自由になったような感覚、やっと自分自身になったような感覚、こんな感覚は以前に一度もありません。何と静かなのでしょう。もはやせわしない時の刻みも聞こえず、 不規則な呼吸も、もがく鼓動すら聞こえません。 ある瞬間と次の瞬間との差がまったくないのです。 I had a dream; yes — someone softly said “He’s gone;” and then a sigh went round the room. And then I surely heard a priestly voice Cry “Subvenite;” and they knelt in prayer. I seem to hear him still; but thin and low, And fainter and more faint the accents come, As at an ever-widening interval. Ah whence is this? What is this severance? この静寂は私の魂の真髄に 孤独を注ぎます。 そして、深い休息は、気持ちが静まり、心地よいと同時に 厳格さと苦痛を伴っています。 For it drives back my thoughts upon their spring By a strange introversion, and perforce I now begin to feed upon myself, Because I have nought else to feed upon. Am I alive or dead? I am not dead, But in the body still; for I possess A sort of confidence which clings to me, That each particular organ holds its place As heretofore, combining with the rest Into one symmetry that wraps me round, And makes me man; and surely I could move, Did I but will it, every part of me. And yet I cannot to my sense bring home, By very trial, that I have the power. ‘Tis strange; I cannot stir a hand or foot, I cannot make my fingers or my lips By mutual pressure witness each to each, Nor by the eyelid’s instantaneous stroke Assure myself I have a body still. Nor do I know my very attitude, Nor if I stand, or lie, or sit, or kneel. So much I know, not knowing how I know, That the vast universe, where I have dwelt, Is quitting me, or I am quitting it. Or I or it is rushing on the wings Of light or lightning on an onward course, And we e en now are million miles apart. Yet… is this peremptory severance Wrought out in lengthening measurements of space, Which grow and multiply by speed and me? Or am I traversing infinity By endless subdivision, hurrying back From finite towards infinitesimal, Thus dying out of the expansed world? さらに不思議なことに、私は誰かのしっかりとした 大きな手のひらの中にいるのです。 ‘tis not a grasp Such as they use on earth, but all around Over the surface of my subtle being, As though I were a sphere, and capable To be accosted thus, 均一でゆるやかな圧力によってわかります、 私は自分で動いているのではなく、前方に運ばれているのが。 そして、聞きなさい、甘美な歌声を。 私はその音楽を、聞いているのか、触れているのか、 感じているのか、はっきりしません。 何と気持ちの安らぐ旋律なのでしょう。 【天使】 私の仕事は済みました、 私の務めは終わりました、 それを家に連れ帰るために来ました。 王冠がとこしえに得られたからです。 アレルヤ。 私の父は、この地上の子を その生誕から私に引き渡しました、 仕えそして救うためにです。そして彼は救われました。 アレルヤ。 この土から生まれた子が 私に与えられました、 悲しみと苦痛で育て 訓練するために、 地から天にかけられている 狭い道の中で。 アレルヤ。 【魂】 あれは、すばらしい人々からなる、あの一族の一人、 世界が作られるよりも前に、 何百万年も昔に、 神の王座の周りに立っていた人々（の一族）。 —he never has known sin; But through those cycles all but infinite, Has had a strong and pure celestial life, And bore to gaze on th’ unveiled face of God And drank from the eternal Fount of truth, And served Him with a keen ecstatic love, Hark! he begins again. 【天使】 O LORD, how wonderful in depth and height, But most in man, how wonderful Thou art! With what a love, what soft persuasive might Victorious o’er the stubborn fleshly heart, Thy tale complete of saints Thou dost provide, To fill the thrones which angels lost through pride! He lay a groveling babe upon the ground, Polluted in the blood of his first sire, With his whole essence shattered and unsound, And, coiled around his heart, a demon dire, Which was not of his nature, but had skill To bind and form his opening mind to ill. Then was I sent from heaven to set right The balance in his soul of truth and sin, And I have waged a long relentless fight, Resolved that death-environed spirit to win, Which from its fallen state, when all was lost, Had been repurchased at so dread a cost. O what a shifting parti-coloured scene Of hope and fear, of triumph and dismay, Of recklessness and penitence, has been The history of that dreary, lifelong fray! And 0 the grace to nerve him and to lead, How patient, prompt, and lavish at his need! O man, strange composite of heaven and earth! Majesty dwarfed to baseness! Fragrant flower Running to poisonous seed! and seeming worth Cloking corruption! weakness mastering power! Who never art so near to crime and shame, As when thou hast achieved some deed of name. How should ethereal natures comprehend A thing made up of spirit and of clay, Were we not tasked to nurse it and to tend, Linked one to one throughout its mortal day? More than the Seraph in his height of place, The Angel-guardian knows and loves the ransomed race. 【魂】 NOW know I surely that I am at length Out of the body had I part with earth, I never could have drunk those accents in, And not have worshipped as a god the voice That was so musical; but now I am So whole of heart, so calm, so self-possessed, With such a full content, and with a sense So apprehensive and discriminant, As no temptation can intoxicate. Nor have I ever terror at the thought That I am clasped by such a saintliness. 【天使】 ALL praise to Him, at whose sublime decree The last are first, the first become the last; By whom the suppliant prisoner is set free, By whom proud first-borns from their thrones are cast; Who raises Mary to be Queen of heaven, While Lucifer is left, condemned and unforgiven. SECOND PHASE SOUL OF GEROINTIUS I WENT to sleep; and now I am refreshed. A strange refreshment For I feel in me an inexpressive lightness, And a sense of freedom, as I were at length myself And ne’er had been before. How still it is! I hear no more the busy beat of time, No, nor my fluttering breath, nor struggling pulse; Nor does one moment differ from the next. I had a dream; yes — someone softly said “He’s gone;” and then a sigh went round the room. And then I surely heard a priestly voice Cry “Subvenite;” and they knelt in prayer. I seem to hear him still; but thin and low, And fainter and more faint the accents come, As at an ever-widening interval. Ah whence is this? What is this severance? This silence pours a solitariness Into the very essence of my soul; And the deep rest, so soothing and so sweet, Hath something too of sternness and of pain. For it drives back my thoughts upon their spring By a strange introversion, and perforce I now begin to feed upon myself, Because I have nought else to feed upon. Am I alive or dead? I am not dead, But in the body still; for I possess A sort of confidence which clings to me, That each particular organ holds its place As heretofore, combining with the rest Into one symmetry that wraps me round, And makes me man; and surely I could move, Did I but will it, every part of me. And yet I cannot to my sense bring home, By very trial, that I have the power. ‘Tis strange; I cannot stir a hand or foot, I cannot make my fingers or my lips By mutual pressure witness each to each, Nor by the eyelid’s instantaneous stroke Assure myself I have a body still. Nor do I know my very attitude, Nor if I stand, or lie, or sit, or kneel. So much I know, not knowing how I know, That the vast universe, where I have dwelt, Is quitting me, or I am quitting it. Or I or it is rushing on the wings Of light or lightning on an onward course, And we e en now are million miles apart. Yet… is this peremptory severance Wrought out in lengthening measurements of space, Which grow and multiply by speed and me? Or am I traversing infinity By endless subdivision, hurrying back From finite towards infinitesimal, Thus dying out of the expansed world? Another marvel; someone has me fast Within his ample palm; ‘tis not a grasp Such as they use on earth, but all around Over the surface of my subtle being, As though I were a sphere, and capable To be accosted thus, A uniform and gentle pressure tells me I am not self-moving, but borne forward on my way. And hark! I hear a singing; yet in sooth I cannot of that music rightly say Whether I hear or touch or taste the tones. Oh what a heart-subduing melody! ANGEL My work is done, My task is o’er, And so I come, Taking it home, For the crown is won, for evermore. Alleluia. My Father gave In charge to me This child of earth e’en from its birth, To serve and save, and saved is he. Alleluia. This child of clay To me was given, To rear and train By sorrow and pain In the narrow way, From earth to heaven. Alleluia. SOUL It is a member of that family of wondrous beings, who, ere the worlds were made, Millions of ages back, have stood around The throne of God —he never has known sin; But through those cycles all but infinite, Has had a strong and pure celestial life, And bore to gaze on th’ unveiled face of God And drank from the eternal Fount of truth, And served Him with a keen ecstatic love, Hark! he begins again. ANGEL O LORD, how wonderful in depth and height, But most in man, how wonderful Thou art! With what a love, what soft persuasive might Victorious o’er the stubborn fleshly heart, Thy tale complete of saints Thou dost provide, To fill the thrones which angels lost through pride! He lay a groveling babe upon the ground, Polluted in the blood of his first sire, With his whole essence shattered and unsound, And, coiled around his heart, a demon dire, Which was not of his nature, but had skill To bind and form his opening mind to ill. Then was I sent from heaven to set right The balance in his soul of truth and sin, And I have waged a long relentless fight, Resolved that death-environed spirit to win, Which from its fallen state, when all was lost, Had been repurchased at so dread a cost. O what a shifting parti-coloured scene Of hope and fear, of triumph and dismay, Of recklessness and penitence, has been The history of that dreary, lifelong fray! And 0 the grace to nerve him and to lead, How patient, prompt, and lavish at his need! O man, strange composite of heaven and earth! Majesty dwarfed to baseness! Fragrant flower Running to poisonous seed! and seeming worth Cloking corruption! weakness mastering power! Who never art so near to crime and shame, As when thou hast achieved some deed of name. How should ethereal natures comprehend A thing made up of spirit and of clay, Were we not tasked to nurse it and to tend, Linked one to one throughout its mortal day? More than the Seraph in his height of place, The Angel-guardian knows and loves the ransomed race. SOUL NOW know I surely that I am at length Out of the body had I part with earth, I never could have drunk those accents in, And not have worshipped as a god the voice That was so musical; but now I am So whole of heart, so calm, so self-possessed, With such a full content, and with a sense So apprehensive and discriminant, As no temptation can intoxicate. Nor have I ever terror at the thought That I am clasped by such a saintliness. ANGEL ALL praise to Him, at whose sublime decree The last are first, the first become the last; By whom the suppliant prisoner is set free, By whom proud first-borns from their thrones are cast; Who raises Mary to be Queen of heaven, While Lucifer is left, condemned and unforgiven. Elgar,Edward/The Dream of Gerontius/III
https://w.atwiki.jp/vocaloidenglishlyric/pages/1163.html
【Tags Ebot Kaito tS S】 Original Music title 信號燈-SIGNAL- English music title Signal Light -SIGNAL- Romaji music title Shingoutou -SIGNAL- Music Lyrics written, Voice edited by Ebot Music arranged by Ebot Singer(s) Kaito This is the last song of "Rasen series". Click here for the original Japanese Lyrics English Lyrics (translated by animeyay)： As I stand still in the dusk on a street contorting into a spiral, my chest rustles noisily, ah, to the bell chimes echoing in the silence. I was preached to, made to fly off, and forced to burden the laws of nature. Looking back at my lashed past, I caress the scars on my body. I begin to dash through a labyrinth without even a pause for breath. Even when I recline on a rattan chair, the tranquility is merely an illusion. As the light of a slowly singed candle diffuses, I suddenly come to the realization that I am a hermit, who hold too many useless truths of this world. My voice does not reach, I cannot backtrack the path I've walked, nor can I keep up with my parching tears. As a signal light rotates among my compromises, I find its blurry flashes unbearable. It's easy to say that one has been a disappointment, but it's too somber to say that one's fate is ephemeral. Back in the days I pursued too much, but my reward remained unchanged. I hurled indescribably elegant lies, ah, as well as oblique smiles. I ask relentlessly for the meaning in things, but struggle at the answers, that I become filled with trepidation at the coldness of my gushing sweats. Although I brandish that old splint for my grinning knee, I end up choked up in tears at my empty dream in an ash-filled era. Drowning in the conceit I have gathered and clung onto, I suddenly come to the realization that I am a loner, who, while tripped up, am crawling towards old age. I cannot choose my journey, I cannot tell about it through songs, nor can I keep up with the going-and-returning dawns. As the warning light dims in the mirrors, it can't even display the glow I want to see anymore. I gaze up at the condensing moon, become flushed away by snow thaw, become fearful of death, and avert my eyes from the heat haze. As I keep chasing up the doubts I have, my life has been slowly fading. When I have deceived to the point of lamenting, I lie down on the retribution of my chanted paradoxes. My voice does not reach, I cannot backtrack the path I've walked, nor can I keep up with my parching tears. I cannot choose my journey, I cannot tell about it through songs, nor can I keep up with the going-and-returning dawns. As a signal light rotates among my compromises, I find its blurry flashes unbearable. As the warning light dims in the mirrors, it can't even display the glow I want to see anymore. The small grains of sand slipping through my fingers are indiscernible, but I have spent my whole life trampling over them while walking on, covered in concealed thorns. Romaji lyrics (transliterated by animeyay)： rasen ni yugamu machi no tasogare tatazumu shijima ni hibiku kane no ne ni aa sanzameku mune satosare habatakasare setsuri o owasare muchiutsu waga mi kaerimite kasabuta o tsumaguru iki tsugu koto mo naku hashiridasu meikyuu touisu ni motaredo yasuragi wa maboroshi kogasareyuku dake no rou no akari nijimu ki ga tsukeba yosutebito iranu shinjitsu hodo kono te ni amaru todokanai koe modorenai michi kareru namida ni oitsukenai dakyou no naka de mawaru shigunaru kasumu hikari ni taerarenai fugainashi to iu ni wa amari ni tayasuku hakanaki sadame to iu ni wa amari ni mo wabishii motomesugite'ta hibi to kawaranu houshuu e mo iwarenu uso o nagete aa naozari no emi imi bakari o toikake kotae ni agakeba fukidasu ase no tsumetasa ni ozoke o furuwaseru warau hiza ni ateta soegi furikazasedo hai no mau jidai ni musebinaku sorayume muragarisokonete wa sugaru jifu ni obore ki ga tsukeba wasurebito ashi o torareta mama yofuke e nijiru erabenai tabi katarenai uta meguru yoake ni oitsukenai kagami no naka de yaseru shigunaru nozomu iro sae miserarenai kogoru tsuki o miage yukidoke ni nagasare sange ni obiete wa me o somuku kagerou sagashidasu giwaku to aozameta unmei nageku hodo azamukeba tonaeta gyakusetsu no mukui ni fuseru todokanai koe modorenai michi kareru namida ni oitsukenai erabenai tabi katarenai uta meguru yoake ni oitsukenai dakyou no naka de mawaru shigunaru kasumu hikari ni taerarenai kagami no naka de yaseru shigunaru nozomu iro sae miserarenai surinukete yuku suna no tsubu nado mienai hisometa toge o furuwasete fumishidaku meisuu []
https://w.atwiki.jp/gamemusicbest100/pages/4093.html
Sky of Twilight スカイ オブ トワイライト 収録作品：エスカ＆ロジーのアトリエ ～黄昏の空の錬金術士～［PS3］ ボーカル／コーラス：いとうかなこ ギター：大和 オルガン：ms-jacky 作詞：下田佑 作曲／編曲：Shade レコーディングエンジニア：下田佑 ミキシングエンジニア：ms-jacky 概要 いとうかなこ×ShadeというPCゲーム音楽界において有名な二人がタッグを組んだ、今作のインフィニティーバトルテーマ。 ゲーム発売の2ヶ月以上前から公式サイトでインスト版が公開されていたため、プレイ前から気になっていた人も多いだろう。 特にShadeが一般ゲームに曲を提供するのはこの曲が初となるため、ファンから大きな注目を集めたようだ。 Shadeの得意技とも言える「転調」を曲全体に駆使した激しいギターロックと、いとうかなこの「哀切」を帯びた独特の歌声が見事にハマっており、熱いバトルを大いに盛り上げてくれる一曲。 世界観・バトル・登場人物に合った歌詞も高く評価されており、曲タイトルが「Sky of Twilight（黄昏の空）」であることから今作における目玉曲・隠し球であることは間違いないだろう。 この曲をバックに戦うバトルが非常に燃えるものであったために、人によってはいわゆるラスボス詐欺の一種でもあったようだ。 （一方で、アイテム面を強化しすぎた結果バトルが速攻で終わってしまうプレイヤーもいたようだ。「四極天の知恵書」は用法用量を守って適度にご使用ください） ちなみに、ギターの演奏を担当している大和はニコニコ動画でShade本人がスカウトした人物。詳しくは「Rebirth the edge」の項目を参照。 ms-jackyはハモンドオルガン等を得意とするミュージシャン。ポルノグラフィティやL'Arc〜en〜Cielといったアーティストのサポートメンバーとして活躍している。 過去ランキング順位 第8回みんなで決めるゲーム音楽ベスト100 28位 第9回みんなで決めるゲーム音楽ベスト100 10位 第10回みんなで決めるゲーム音楽ベスト100 26位 第11回みんなで決めるゲーム音楽ベスト100 28位 第12回みんなで決めるゲーム音楽ベスト100 56位 第13回みんなで決めるゲーム音楽ベスト100 37位 第14回みんなで決めるゲーム音楽ベスト100 80位 第15回みんなで決めるゲーム音楽ベスト100 150位 第16回みんなで決めるゲーム音楽ベスト100 269位 第17回みんなで決めるゲーム音楽ベスト100 225位 みんなで決める2013年の新曲ランキング 4位 みんなで決めるRPGバトルBGMランキングベスト100 10位 みんなで決めるゲーム音楽歴代ベスト100ランキング 25位 第3回みんなで決めるゲームソングBEST100 72位 第2回みんなで決めるガスト音楽ベスト100 146位 みんなで決めるボス戦BGMベスト100 260位 歌詞 + あの空目指してた…… あの空目指してた…… 歴史は繰り返す 何度でも人の業 人が人の世を築き 壊してゆく何度も 時が過ぎてく 幾千 それでも人は愛のために 何度滅びても生きる この空の向こうにキミがいるなら この羽で飛び跳ねて 今あと少し キミに届きそうな 指先を伸ばしているのに 仮初の夢でも この空の向こうに夢があるなら キミとその景色見たくて 歴史は繰り返す 何度でも人の業 それでも ボクらは人らしく 今、キミとボクがいる黄昏には 人々、夢があって 皆がそれぞれの暮らしの中で 生きている 夢をいだいて さぁ 今すぐ ボクらも歩きだそう 光へ この空の向こうに 夢があるから つかみ取れるはずさキミと この先の未来のこと キミがいたなら この空 雲を突き抜けてく キミと夢見た場所を目指して 行こう この空の向こうに キミがいるなら この羽で飛び跳ねて 今あと少し キミに届きそうな 指先に触れているのに キミと描いた この夢 ここに希望抱いて この場所で そう キミと二人で行こう この空の果てへ 羽ばたいて 見下そうボクらの大地を 仮初の夢でも この空の向こうに夢があるなら キミとその景色見て いつかきっと掴み取るよ 黄昏の空へと 向かって ボクらは行くのさ 地平線が赤く燃えるその先へと さぁ サウンドトラック Twilight Sky エスカ＆ロジーのアトリエ ～黄昏の空の錬金術士～ ボーカルアルバム エスカ＆ロジーのアトリエ ～黄昏の空の錬金術士～ オリジナルサウンドトラック インスト版を収録。
https://w.atwiki.jp/p2rdj/pages/1621.html
ジムタル Ximtal The struggles of loneliness and the anxiety that accompanies that feeling plague many creatures, and ximtals delight in exploiting this fear for their own perverse gain. Appearing as hybrids of rats and crabs with grasping tentacles, these scheming fiends manipulate their victims over long spans of time, like pakalchis, to savor the most fear they can. Ximtals use subtlety to entrap their prey and often don't directly engage their targets. They use insecurities as a tool and force poor behavior in mortals they set their sights on. They prefer to focus their machinations on strong-willed and well-intentioned mortals, hoping to erode their pride and self-worth and ultimately lead them eschew altruistic efforts. Rather than focusing on a single victim, a ximtal might instead seek out a particular cause of interest to the sahkil's appetites. These creatures often wander the multiverse seeking to sabotage societal crusades or suppress divergent ideologies. While most ximtals work alone, they sometimes enlist the assistance of pakalchis, who share similar tastes in mortal fear. Together and focused, these two types of fiends can dissolve individual self-worth, relationships, and even entire organizations. “知識の想起”――フィーンド（〈宗教〉） DC 36 一般的な知識 DC 34 専門知識 DC 31 ジムタル Ximtal クリーチャー17 NE 大型 サーキル フィーンド 出典 Bestiary 3 221ページ 知覚＋30；暗視、トゥルー・シーイング 言語 奈落語、天上語、地獄語、サイコポンプ語；テレパシー100フィート 技能 〈威圧〉＋33、〈隠密〉＋28、〈宗教〉＋30、〈伝承学〉＋27、〈秘術〉＋27、〈ペテン〉＋33 【筋】＋9、【敏】＋3、【耐】＋9、【知】＋2、【判】＋5、【魅】＋8 Easy to Call／Easy to Call A sahkil's level is considered 2 lower for the purpose of being conjured by the planar binding ritual (and potentially other rituals、at the GM's discretion)、but it is always free to attack or leave instead of negotiate unless the primary caster's check is a critical success. AC 39；頑健＋32、反応＋26、意志＋28 HP 380；完全耐性 恐怖；弱点 ［善］10 Despoiler／Despoiler (オーラ、信仰、死霊術) 1,000フィート. Creatures within the aura take a –2 circumstance penalty to all saving throws against poisons, diseases, and drugs. 移動速度 40フィート、登攀20フィート、飛行40フィート 近接 [one-action] 顎 ＋34［＋29／＋24］（魔法、間合い：10フィート）、ダメージ 3d12＋17［刺突］、加えて2d6［悪］ and sensory fever 近接 [one-action] 爪 ＋34［＋30／＋26］（機敏、魔法、間合い：15フィート）、ダメージ 3d8＋17［斬撃］、加えて2d6［悪］ and sensory fever 信仰生得呪文 DC 38；8レベル サジェスチョン（回数無制限）、フィアー（回数無制限）、ホリッド・ウィルティング(×3)、メイズ(×3)；キャントリップ （9レベル） ディテクト・マジック；常時 （9レベル） トゥルー・シーイング、フライ Isolate Foes／Isolate Foes [two-actions] (呪い、信仰、感情、心術、無力化、精神) 頻度 1日に1回; 効果 The ximtal attempts to isolate its enemy's companions, forcing an impression that each creature's friends and allies have vanished and they are all alone against an insurmountable threat. The ximtal chooses up to four creatures, each of whom must be adjacent to one other target. Each target must attempt a DC 38 Will save. On a failure, a target becomes out of phase with all allies. The affected creatures can't perceive their allies or interact with them in any way, and they can move into allies' spaces as if their allies simply weren't there. Allies similarly can't perceive or interact with the affected creatures with one exception an ally can target an effected creature with remove curse to remove the effects. Every 24 hours, an affected creature can attempt a new saving throw to end this effect. Sensory Fever／Sensory Fever (病気) A ximtal's withering attacks cause a debilitating disease targeting the senses; セーヴィング・スロー DC 36 頑健；第1段階 creature loses one sense determined randomly taste, smell, hearing, or sight (1 day) 第2段階 creature loses an additional sense from the stage 1 list (1 day) 第3段階 creature loses an additional sense from the stage 1 list (1 day) 第4段階 creature loses the last sense from the stage 1 list and any special senses, such as tremorsenseor lifesense(1 day) 第5段階 all lost senses are permanent unless restored via restore senses or a similar effect Skip Between／Skip Between [one-action] (召喚術、信仰、teleportation) The sahkil moves from the Material Planeto the Ethereal Planeor vice-versa, with the effects of ethereal jaunt except that the effect has an unlimited duration and can be Dismissed. A summoned sahkil can't use Skip Between.