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City Shrouded in Shadow／ 巨影都市 - 劇情 STORY - Part 1【中文字幕 & Eng Sub】 - Duration: 12:05.
(rain...)
I am....( choose male ) I am....( choose female )
I am...
1.my work is over and leaving the office 2.I finish my class and leaving the school 3.I just come here and very exciting 4.I don't know why I come here
my work is over and leaving the office
my name is...
my name is Matsuhara Miharu I'm a office lady
I have to meet a girl and ready to go there
1.She is my friend 2.She is very important to me 3.She is my lover ~ 4....I don't know her very much...
She is my friend
We're meeting at the park in front of the main street turn right
Let's go
Stage 01 Giant shadow appears in the night city
( Oh my god! )
( Just like movie )
Yuki sent message: looks like something happened there Are you alright I'm still in the park, you have to be careful
choose message back 1.I'm OK I'll be there in a hurry 2.not okay, anyway I'll be there in a hurry 3.when i get there treat me tender~ 4.are you kidding, you still want me go there~!?
I'm OK I'll be there in a hurry
Everyone hurry up and hide! Be careful !
Lady ! please hurry! There was no fire on the opposite side of the street!
Never give up! If we don't give up, we can survive!
I won't give up, too. We can be saved!
What the…! Damn it, what the explosion came from!
Oh no, smoke everywhere!
1.I saw the duralumin case on the table unconsciously 2.I saw the callous guy with glasses unconsciously 3.I saw the tall rough guy unconsciously 4.I want the money
...um!?
Not good! We having been found!
Let me handle it!
What the hell...?
Mutou!
1.Anyway... run! 2.These people looks strange...run! 3.They don't look friendly...run! 4: It's over if i have been caught by them...run!
...run!
This is...
1.It's very impressive.... 2.They all looks the same! Which one is good ? which one is evil? Confused 3.You two keep fighting! Oh yeah! 4. It's a big chance for take a picture with Ultraman
Oh my! It's very impressive....
1.It's really huge 2.I can't stay here, it will be danger 3.He looks very friendly ( Wave hand )
Wow... It's really huge
What ... what's that?!
This is great! I totally got the scoop! also took how the alien change back !
It looks like we can't go outside now
The fire smoke getting worse, we can't stay here no more
No electricity, elevator doesn't work
1.Tell everyone it will be danger if we keep stay here let's go upstairs 2.Go upstairs sneak alone
If we keep stay here will be danger Let's go upstairs
It looks like you are being targeted by the giant alien
Did you ever do something piss him off?
1.Why did you think that I was being targeted 2.I don't do anything ( angry ) 3.I just follow the script came here
Why did you think that I was being targeted?
I saw you from pedestrian overpass to this building You are being targeted by the giant alien totally
If that's true, it will be dangerous together with you I have to go upstairs,too
Wait... if I keep follow you I should probably get more scoops
My name is Otsuka I am net news journalist Nice to meet you!
From Yuki Thanks god, please be careful
What the giant hand is
Oh no! I don't want to die! Miss kinoshita! Help me!
Section manager ! Don't you always being arrogant Shame on you!
What happened!? he retracted his hand...?
Who ...are you...? What the light is...?
1.What? What's this light...? is this my ability...?( confused ) 2.Wwwwwha!? What happened~?? (panic ) 3.I can feel! Inside me my new power awakens! (burning heart ) 4.My power is gushing out! ( exciting )
What? What's this light...? is this my ability...?
( Miharu Matsu hara strange purple light level up to 3 )
That giant hand become scared! It's because you, right?
Amazing! Amazing ability!
You are so reliable! Totally different from Section manager talking without action
Hey! Did you always look at me that way?! Let's run now hurry!
Translated by atsuki
-------------------------------------------
La llum de la Gràcia i la llum de la Raó - Duration: 3:12.
There are two ideas that summarize the thinking of Ramon Llull:
movement and interaction.
In a certain way, this extraordinary man of the fourteenth century,
between the thirteenth and the fourteenth century
who wrote more than 260 books in Catalan, in Latin and in Arabic,
conceived reality as a set of constantly connected elements.
For him, the principle of this reality was God. But what God meant for Ramon Llull?
A principle of interacting; the relationship between God himself and men,
and between men and the various elements of creation,
and the different stages or levels of existence:
stones, angels, plants, metals...
To be able to explain the complex relationships of such rich and broad thinking
we are at the Center of Contemporary Culture of Barcelona (CCCB),
which has prepared an exhibition entitled "The thinking machine. Ramon Llull and the Ars combinatoria".
Why the Ars Combinatoria? The Ars combinatoria is the language that includes the method
that makes us understand how these elements of reality are interrelated.
To my right is the first volume
of the complete works of Ramon Llull in Latin, published in Germany in 1724.
Why in Germany? Over the centuries, Lullism became a school of thought in Europe
with both admirers and detractors.
But Ramon Llull's thinking interested mathematicians, scientists, theologians and philosophers.
This first volume by Ramon Llull is introduced by an ink engraving,
in which we see two beams of light.
Symbolically, they are the light of grace and the light of reason:
precisely the great theme of medieval philosophy and, especially, of the thinking of Ramon Llull.
That is to say, it is not necessary to sacrifice intellect
to understand the great mysteries of Christian theology,
such as the dogmas of the incarnation and the trinity.
Other philosophers of the time, such as Thomas Aquinas,
however, believed that the incarnation and the trinity could not be understood intellectually,
that is, the entire conceptual apparatus could not be used to understand them.
This is not the case of Llull.
Llull dignified intellect because he believed that everything could be understood rationally.
-------------------------------------------
L'arbre - Duration: 7:01.
We are right in the thick of a Mediterranean forest.
Why a forest? Why the trees?
The tree is one of the other important symbols
in Ramon Llull's thinking.
In fact, it is like a ladder, connecting Heaven and Earth.
But we must also bear in mind that there are the roots, the trunk and the branches.
Therefore, the tree is the symbol of the great encyclopaedia of all knowledge.
Llull wrote many books with titles such as Tree of Science or the Tree of the philosophy of love
with the idea that the tree is the instrument
that leads us to knowledge.
This installation, by the artist Perejaume,
is called The root of the tree is a wheel.
In fact, this is a sentence by Ramon Llull in one of his books: The beginnings of medicine.
The wheel that is the root of the tree are the principles,
the universal principles: the names of God but also the powers of the knowledge of mankind
and this is what functions as a root.
Above this root are the branches, the trunk and the various fields of knowledge.
In this installation, the trees turn about themselves,
not just reproducing Ramon Llull's idea, according to which logic, reason,
must be at the base of all that flourishes,
that comes out of the earth,
but also have a certain mystical inspiration.
Just think of the dance of the Dervishes,
who whirl while they dance.
In fact, this is a cosmic dance.
Llull also wrote books with a certain literary argument, fiction,
but which in fact sought to convey his doctrine, his ideas.
One of the most important books, along with Blanquerna,
is the Felix or the Book of wonders, about a young man,
we could say Ramon Llull's alter ego,
who journeys the world and always travels through forests
where he encounters a series of wise people, one Jewish, one Christian and one Muslim,
who want reach an agreement.
In this Book of wonders there is a chapter, the best known of all, called the Book of the beasts,
that has, in fact, been transmitted over the centuries as a separate book.
This Book of the beasts has a tradition, too, in the history of literature, with origins in India.
There is a book called Panchatantra, commissioned by a king
and then translated into Persian, and from Persian into Arabic under the name of Kalila wa-Dimna
that tells the story of two jackals who speak between themselves,
in the form of allegories.
Translations into Latin and several romance languages are known about and, in fact, Llull renders a version
of this great tradition, which shows a large network;
not just of philosophical, theological and scientific principles,
but also of this great network that is literature,
which in a way also arrives at the great creators of the 20th century,
such as Borges, or Italo Calvino with The invisible cities,
which apply the Ars combinatoria also to literature.
In the installation by Perejaume not only do we have forests
with rolling turning,
but also some singers who recite, who sing, texts from books by Ramon Llull,
accompanied by Mediterranean melodies,
in this case from Corsica.
-------------------------------------------
L'escala - Duration: 4:12.
To explain this world of relationships, a world where all is interrelated and interconnected,
Llull, in addition to the use of geometric figures, like the circle, the triangle, the square, and others,
proposed two major symbols: the ladder and the tree.
The ladder is one of the symbols that best express
the relationships of all levels of creation and nature.
For example, at the bottom of this whole ladder structure
we see artificial works, the works produced by men artificially.
Then are the four elements of nature: fire, water, air and earth.
Further up is the the vegetative faculty, the sensory faculty, that is to say, the external senses:
sight, hearing, etc.
Above we have the imagination as a synthesis between sensory faculties and superior faculties.
On the next step is man, fundamental for Llull, since his philosophy basically consists of an anthropology.
Llull believed that Man is not something that is born as such, but one must become man.
Llull was very modern, practically like a man of the Renaissance:
he believed that we do not attain humanity merely by being born, but we must achieve it.
One step further up we have heaven, that is to say, the cosmological system.
Then, the angels, those beings who, according to Francesc Pujols
one of the philosophers of the 20th century who followed some of the ideas of Ramon Llull
were like stones that had awoken in heaven.
Above is empty space, which indicates the great separation between created beings and God,
the principle of all reality.
In fact, we could say, and this is one of the important points of Ramon Llull's scientific system,
that God is pure interaction.
And, this interaction, for example, can be seen in the dogma of the trinity:
there is an interaction between the Father and the Son and the Holy Spirit,
therefore, God is an internal interaction.
This internal interaction is conveyed to the other levels of creation,
heaven, human kind, the faculties of the soul, that is to say, memory, understanding and will.
Not only must we remember, understand and want,
but understanding, will and memory must be interrelated,
that is to say, we must understand and we must love or we must turn the object of our understanding
into something that can also be loved.
This is one of Ramon Llull's great thinkings.
All this is accompanied by one basic idea: the difference is at the basis of any thing,
at the basis of any unity.
There must be unity, but that this unity is guaranteed by difference;
Llull says that without difference there cannot be love.
Therefore, there can be no union without this difference.
Next we will see one of Llull's other major symbols, together with the ladder, which is the symbol of the tree,
and by extension, the forest, which are symbolic or allegorical elements of the thinking Ramon Llull
exposed through his literature.
-------------------------------------------
Conclusió - Duration: 1:47.
"Science has no other enemy than the ignorant".
This sentence by Ramon Llull perfectly sums up his thinking.
Llull was not afraid, he was not afraid of knowledge,
he was not afraid of trying to unite the different religions:
Jewish, Christian and Muslim...
but neither of trying to unite or connect the sciences of his time,
physics, medicine, logic... with the dogmas of the faith.
Therefore, this is a good conclusion for a course that aims to show the universality of this huge personality,
with a deep and, at the same time, valiant and subtle mind.
Thank you for attending this course.
I hope that the various knowledge of Llull goes with you,
and that you can look in greater depth
at some of his books and, above all,
that you can talk about it among yourselves and with others.
-------------------------------------------
Llull en l'art contemporani - Duration: 5:01.
Llull did not want to convince the Jews and Muslims by force.
How was he to do it, then?
He invented a method, known as Ars magna, which is based on an intuition.
This intuition, which he called 'divine intuition',
explains that Jews, Christians and Muslims, the three communities in the book,
that is to say, the three religions of Abrahamic tradition,
when they pray, when they address their god, do so always in the same or in a similar way:
They use the names of God: goodness, greatness, worship, eternity, glory...
what the Greek philosophers, like Plato, for example, called 'ideas', a sort of archetype
according to which if good things exist it is because there is goodness,
if great things exist it is because there is greatness.
Llull called that 'dignities of God'.
He believed that a universal grammar could be formed,
the universal and rational principles of which were precisely the names of God
goodness, greatness... as the principle of communication between one man and another,
between a Jew and a Christian, between a Christian and a Muslim.
Because, in fact, all three used the same language
not the same tongue, but the same language: the names of God.
Before Llull, this had been used by the Jewish kabalists or mystics of Judaism,
the Sufi or mystics of Islam and the Christian contemplative.
So Llull's system disposed of a series of geometric figures,
and at the centre of the first of these figures, figure A, there is God, represented by the letter A,
God is being and around this letter are all the names of God:
goodness, greatness, eternity...
each of which was represented by a letter, that is to say, by means of an algebraic notation.
Therefore, combining one letter with another we get that goodness is great,
in the same way that the greatness is good.
Llull believed that it was possible to form a universal language,
through this combination of the names of God
and this combination was to be applied to the sciences:
physics, astronomy, and medicine.
We also find it in his literary works, novels or fiction,
that in this way seek to convey this same doctrine.
We are now in an area called 'variations on the Ars magna'
which aims to show the application of this universal grammar, this Ars combinatoria,
to the various disciplines.
We thought it would be rather interesting to propose the interpretation made by some 20th century artists,
such as Salvador Dalí, of whom we have a video and also an important painting.
Salvador Dalí is considered a disciple of Ramon Llull,
at the same time through some disciples of Llull, such as Juan de Herrera.
Juan de Herrera was one of the two architects of The Escorial.
A mathematician and an architect, he also influenced Philip II
to buy books for the library of The Escorial,
meaning Philip II was also a great Llulist.
There are those who say that the architecture of El Escorial is based on Lullian geometry.
Llull also wrote books on geometry, such as the book On the quadrature and the triangulation of the circle.
These followers of Ramon Llull,
like Juan de Herrera, but also Salvador Dalí,
are some of the disciples of Llull through the centuries.
And they are the ones who give the tone
of a Lullism that has not always been explicit,
but implicitly displays the richness of the language of Llull.
Now we will see other examples of literature and music
in which the Ars combinatoria is applied,
that is, this language, invented by Ramon Llull,
based on the combination of all the elements of reality,
and that can be applied to various discourses.
-------------------------------------------
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Vida i visió de Ramon Llull - Duration: 7:43.
We are now at the centre of an installation that reproduces an extraordinary illuminated manuscript,
in this case animated. This is the manuscript written by one of Llull's first disciples,
Frenchman Thomas Le Myésier, circa 1311,
depicting the most important scenes of the life,
events and travels of Ramon Llull.
Llull was born in Mallorca in 1232 three years after it was occupied by the troops of of James I of Aragon.
The island, inhabited by Muslims for centuries,
was occupied this time by the troops of James I.
Llull, therefore, was born in Mallorca in 1232 to a Catalan family that came from the Maresme coast.
Through a text that we could consider autobiographical, conceived by Llull at the age of 80
and dictated to the monks of the Charterhouse of Vauvert in Paris,
we know that towards the end of his youth, when he was about 30, he had a series of visions.
These visions of the cross brought about a life change in Llull,
from a secular life, in which he was mainly focused on love for the woman,
to a life centred on the love for God.
And hence he decided, especially, to undertake three missions:
to write the best book in the world against the errors of unbelievers,
make the popes and kings help him to build monasteries of oriental languages,
in fact, schools of oriental languages where missionaries who were to go to preach in Africa
could acquire a basic knowledge of Hebrew and Arabic
and also, get them to help him to promote crusades to recover Holy Land.
Crusades, however, that were to be not just military but also spiritual,
because Llull believed that unbelievers should be convinced through reason.
This is a precious manuscript, animated with twelve illustrations or illuminations
that correspond to the Gothic school of Paris.
These twelve pages represent the most important moments,
from the visions of the cross to pilgrimage to holy places
like Saint James of Galicia or Rocamadour in Occitanie.
Returning from these sites, Llull went to Barcelona,
where he spoke to the general of the Dominicans
therefore a very important order as regards preaching to the infidels,
Saint Raymond of Penyafort.
Saint Raymond of Penyafort recommended that he not go to Paris, as he wanted,
to provide himself with the tools of science and theology to write this book.
And, in fact, Llull did not yet know how to "write".
Llull returned to Mallorca and instead of receiving a formal university education,
settled down to study Arabic with a Muslim slave he bought.
This slave, supposedly a cultivated person, taught him Arabic
and also some of the principles of Islamic philosophy and theology.
This was essential for Llull because he wanted to convince others
and his way of convincing had to be through rational arguments.
But, to do so, he also had to know the principles of Islamic philosophy and theology.
This illustrated manuscript depicts some of these scenes, such as, for example,
the scene where the slave is teaching him Arabic, an opened Qur'an sitting between them.
The Vita Coetanea, an autobiographical text,
says that they discussed issues of faith, that the Muslim slave tried to kill him
and ended up incarcerated.
The slave committed suicide, which caused something of an upheaval in the life of Llull,
as he had great esteem for his former teacher.
In any case, after this dramatic moment,
Llull retired to Mount Randa, in Pla de Mallorca,
where he had his great illustration.
What does 'illustration' mean?
Well, the way of making the book he wanted to write and didn't know how
as he did not have the academic and scientific knowledge to carry it out.
But he had a revelation;
that is to say, he understood how to explain the rational principles
from which, as he believed, Muslims, Christians and Jews had to come to an agreement.
The animation we can see here shows not only the key moments in the life of Llull,
but also his system.
There is a series of figures or symbols, like the tree or ladder,
that show the tools to bring together what is up and what is down.
But not only what is in heaven and what is on Earth,
also the link between higher and lower faculties;
therefore, between intellect and the senses,
namely sight, hearing, touch, smell and taste.
We believe it to be a remarkable manuscript, not just because it is an excellent illustration of the life of Ramon Llull,
but also because the scribes and illustrators who made it
wanted to confer movement in it.
They did not have the instruments we have today
and that is why we have made this animation.
Nevertheless, through speech bubbles and scenes repeated in the same image,
they aimed to show that it was all something that was moving,
moving not just in history, that is to say, in the life of Ramon Llull
but it was also something that was moving inside the person who contemplated it,
who read it.
It was necessary, therefore, to produce movement, also within the reader,
and this was conversion, not just religious but also intellectual conversion.
Now we will see some of the scientists, artists and writers
who have received and have been influenced by this system known as Ars magna or Ars combinatoria,
found at the centre of the thoughts of Ramon Llull.
-------------------------------------------
Claire Huangci - A Chopin Diary - Nocturne No. 16 (Teaser) - Duration: 0:36.
The next nocturne, opus fifty-five, number two in E flat major, is that nocturne that began it all for me.
I was assigned to it when I was ten years old, by my teacher.
And I used it for every entrance examination, every recital, every audition
that I attended for many, many years.
And I learned it and I remember being fascinated and begging my teacher for more.
-------------------------------------------
Claire Huangci - A Chopin Diary - Nocturne No. 17 (Teaser) - Duration: 0:34.
The nocturnes opus sixty-two are the final opus, that Chopin wrote in the last years of his life.
And from the first time I heard this piece, I found that there is a transcendental sound about it.
There is also an unearthly sound,
but only in the way that only something coming from the heavens could sound so luminous.
-------------------------------------------
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In my fantasy
I see a fair world
They all live
in peace and honesty
I dream of souls
that are always free
like clouds
that are flying
full of humanity
at the depth of the soul
OBOE Solo by ILSE VANDEPOEL
In the fantasy
exists a warm wind
blowing on cities,
as a friend
I dream of souls
that are always free
like clouds
that are flying
full of humanity
at the bottom of the soul
-------------------------------------------
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abc
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NELLA FANTASIA (Ennio Morricone, performed by: Licia Fox)[Audio] - Duration: 3:43.In my fantasy
I see a fair world
They all live
in peace and honesty
I dream of souls
that are always free
like clouds
that are flying
full of humanity
at the depth of the soul
OBOE Solo by ILSE VANDEPOEL
In the fantasy
exists a warm wind
blowing on cities,
as a friend
I dream of souls
that are always free
like clouds
that are flying
full of humanity
at the bottom of the soul
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