關於 ship by sea ，我們在網路上蒐集到這些相關的討論、資訊與評價

輓歌詩（為錢新祖）◎楊牧
　
But by such similitudes truth is obscured.
—— Saint Thomas Aquinas
　
1.
若你選擇的方向正確，站在風裏
瞭望島與石礁那些似乎就是宿昔
先驗；聖．托瑪士．阿奎納斯以及
其他，經院傳統的結構。但香港
　
曾經看到你的哲學理念一閃而逝
那是倉促。閒適反照於我朝南的
細雨窗前，菸草，晚明，堅忍的
學業，無窮寂寥裹一顆拒不隱晦的心
　
　
2.
甚麼聲音響？海潮反覆拍擊雁鵝
藤壺的船底──彷彿這樣也等於
出發，若是乘船離開選擇黃昏時刻
當晚鐘進而取代了海潮的聲音響
　
隨身攜帶一座指北羅盤，若是沒有
就攜一本講早期耶穌會教士與
羅盤演進的關係，的書，再檯頭
星斗嵯峨處思想正反閃光如最初
　
　
3.
而我們已然失去習慣的辯論規則
試圖以沉默說服對方，無窮的冊葉
分散在書衣和引得之間，我懂得
一些你們不曾詳細說明的對，與錯
　
還不如，不如讓我陪你稍走一程
象徵，朝我們洞明雪亮的方向
這樣蹣跚搖擺，尋視此去幽黯的
前路，光明勝過宇宙創生第一個正午
　
----
詩人林餘佐賞析：
　　
　　哀悼是人類獨特的心理活動之一，也涉及到文學創作的核心：追憶與再現。我們透過各式各樣的技藝去再現、追憶掛心的人事物，其中一個迷人且魅惑的事蹟大概就漢武帝為了賓妃招魂的故事。李夫人逝世，漢武帝思念極深，這時有一位方士少翁稱說他有招魂之術，能再現李夫人的形象。於是，方士方式在宮裡裝置布幕、屏障，並剪裁少婦人影，在晚上點起燈，人影映在佈置之上，漢武帝遠遠看去，彷彿是李夫人的倩影。這個記載看似荒謬，但牽涉到文學創作的動力，也形成文學創作的類別：「輓歌」。
　　
　　楊牧的創作中不少作品是屬於輓歌這類的題材，像是〈紀念覃子豪〉、〈不是悼亡：寄溫健騮〉、〈一位英國文學教授之死〉……等。這類的作品多半在追憶自己和被悼亡者的過往情誼與共同經歷的日常事件。楊牧寫於一九九六年的〈輓歌〉（為錢新祖）也是如此。在詩的開頭楊牧引了聖．托瑪士．阿奎納斯（Saint Thomas Aquinas）的句子作為引子（But by such similitudes truth is obscured），彷彿也為了學者錢新祖一生追求的志業做了註腳。楊牧在第一段寫著：
　　
曾經看到你的哲學理念一閃而逝
那是倉促。閒適反照於我朝南的
細雨窗前，菸草，晚明，堅忍的
學業，無窮寂寥裹一顆拒不隱晦的心
　　
這裡所描述的是楊牧心中對錢新祖的追憶畫面，錢新祖所思索、追尋的哲思，在楊牧細雨的窗前相互探照下，詩人憶起昔日的菸草與共同堅忍探求的學業，在一顆拒不隱晦的心不斷地折射出回憶來。
　
　　
輓歌詩除了再現逝者與詩人的共同回憶之外，「送行」也是輓歌詩、哀悼詩常出現的敘述情景，楊牧在第二段寫著：
　　
甚麼聲音響？海潮反覆拍擊雁鵝
藤壺的船底──彷彿這樣也等於
出發，若是乘船離開選擇黃昏時刻
當晚鐘進而取代了海潮的聲音響
　　
楊牧在詩中發問是什麼聲音響，打破了我們的回憶，原來是海浪拍急著船底，這裡出現了「船」這個移動的物件，船意味著分離，意味著死者與生者的分隔，於是楊牧說，在黃昏時刻選擇乘船離去，以鐘聲代替海潮的聲音。鐘聲是一個警示，揭示著分離的到來，輓歌詩除了追憶之外，更重要的是提醒離去的事實。
　　
　　在〈輓歌詩〉（為錢新祖）這首詩中，楊牧不斷重現錢新祖遺留下來的印象，像是哲思的辯證，於是楊牧寫著：「而我們已然失去習慣的辯論規則／試圖以沉默說服對方，無窮的冊葉／分散在書衣和引得之間，我懂得／一些你們不曾詳細說明的對，與錯」那些昔日的辯論與思考，如今早已失去了發話者，只剩楊牧一人獨自回味，於是楊牧在此又再提及試圖留下彼此過往的事蹟。楊牧在《一首詩的完成》中，形容朋友像是「迎面而來的風」，讓自己得以飛翔、成長。於是，楊牧在面對錢新祖的死亡，最後寫著：
　
還不如，不如讓我陪你稍走一程
象徵，朝我們洞明雪亮的方向
這樣蹣跚搖擺，尋視此去幽黯的
前路，光明勝過宇宙創生第一個正午
　
陪著前行，可以看出楊牧與錢新祖的情誼，這裡的稍走一程可以看作彼此在問學、情誼、生活的延續，並且最終朝向「洞明雪亮方向」。最後楊牧將死亡提升到宇宙的創生，更意味著生命的終點以及日後延續的可能。輓歌詩的寫作除了是輓主與創作者的生前情誼之外，更有創發性的在於對輓主的身後的想像，楊牧在最後一段便呈現如此的臆想，將死亡與宇宙的創生做連結，是輓歌詩中的獨特展現。
------
設計：泱泱
圖源：https://pixabay.com/photos/sunset-island-ship-sea-landscape-1026239/

#每天為你讀一首詩 #楊牧 #社會關懷 #輓歌詩 #林餘佐 #臺灣大學楊牧詩文研讀課程

總部位於米蘭的國際知名藝術雜誌 Mousse在第 74 期發表對於台灣山海、歷史與藝術創作之間，如何交互連結的的綜觀，並映照出人類社會當下的普世行為。文章來自定居台北的 Robin Peckham ( Taipei Dangdai台北當代聯合總監)，揉合「在現場」與「文化不同源」的視角，在海洋史的向度上延展及連結思考。​
​

「為了讀懂藝術家辯證台灣山海關係的作品，或是透過台灣來讀懂藝術與山海，我想到了兩種廣泛的分類及比喻：一種是發散、多向的思維，另一種是純物質的；一種是文化層面，另一種是生物性的；一種看向南方與東方，回溯政治策略與古航海家的路線，另一種則看進地球的深處，充分檢驗岩層的堅硬與海水的濕度。」
​
​
本篇論述了下列藝術家：
Meuko Meuko | NAXS corp. | #黃嘉俊 | #劉芸怡 | #倪灝 | #蔡佳葳 | #許家維 | #洪子建 | #區秀詒 | #張永達 | #蘇郁心 | #蘇匯宇 Su Hui-Yu | #吳其育 | 姚瑞中 Yao Jui chung | #羅智信 | #楊順發 | #盧昱瑞 | #林銓居 | #吳季璁 | #CemelesaiTakivalet #達給伐歷 | #AruwaiKaumaka #武玉玲 ​
​
​
「如果說這篇文章道出了任何一種普世性，那即是以欲望為溫床、萌生於生態自然中的意識。山與海並不主動提供故事的素材，而是山海作為根本之物，成為被述說、被詮釋的對象。」
​
​🔵

▍This Piece of Land, These Bits of Sea ​ ▍​
​​
The 74th issue of Milan-based, internationally-renowned art journal Mousse
Magazine features a survey on the interrelationships of Taiwan’s land- and seascapes, history and artistic practices, while shedding light on current global human conditions. The article by​ Taipei-based Robin Peckham, Taipei Dangdai co-director, sets out from the realm of maritime history, intersecting the perspectives of the in-situ with culturally diverse lineages to bridge and extend such reflections.

"In attempting to read and understand works (like these) that engage the land-sea dialectic over and through Taiwan, I have come across two broad categories. One is discursive where the other is material; one is cultural where the other is biological. One looks south and east, following policy and retracing the routes of ancient seafarers, while the other looks down, testing out the hardness of rock and the wetness of water."

The article discusses works from the following artists:
Meuko Meuko | NAXS corp. | #HuangChiachun | #YunyiLiu | #NiHao | #CharweiTsai | #HsuChiaWei | #JamesTHong | #AuSowYee | #ChangYungTa | #SuYuHsin | #SuHuiYu | #WuChiYu | #YaoJuiChung |
#LuoJrShin | #YangShunFa | #LuYuJui | #LinChuanChu | #WuChiTsung | #CemelesaiTakivalet | #AruwaiKaumaka

“If there is a universalism to be discovered here, it is in the ecological nature of the consciousness that is created in this matrix of desires. Mountains and seas do not provide source matter for stories but rather become the very substrate of what can be said.“

台灣美術雙年展 Taiwan Biennial2020

Pelapor : Pai Syahira

JAIP GUNA KAEDAH RELAU LUPUS NASKAH AL-QURAN ROSAK

PEKAN, 20 Okt - Biarpun perkembangan dunia di arus era konvergens, ayat-ayat cinta Allah kepada hambanya tidak pernah dimamah usia dan kekal dijadikan panduan hidup kepada manusia sepanjang zaman.

Adab membaca dan memegang Al-Quran dalam keadaan berwuduk serta kaedah melupuskan mashaf yang rosak melambangkan ketelitian Islam menterjemah isi kandungan dalam kitab diturunkan kepada Nabi Muhammad s.a.w agar terus terpelihara kepada umat Islam.

Kewajipan memelihara kesucian dan kemuliaan Al-Quran bukan sahaja ketika fizikalnya sempurna bahkan tanggungjawab sebagai muslim tergalas dalam proses perlupusan Al-Quran yang tertib.

Krew Berita Pahang berpeluang mendalami proses perlupusan Al-Quran bersama kakitangan Unit Penapisan Media Bahagian Penyelidikan Agama Islam Pahang (JAIP) di Pusat Pemuliaan Al-Quran di Pekan, Pahang.

Terdahulu prosesnya diselanggara oleh pihak swasta namun perjuangan memartabatkan tatacara pelupusan kitab suci ini diteruskan oleh empat pegawai JAIP sejak empat tahun lalu menggunakan kaedah relau atau pembakaran.

Proses asas pengumpulan bahan Al-Quran dimulakan di semua 11 Pejabat Agama Islam Daerah di seluruh Negeri Pahang dan dihantar ke Pusat Pemuliaan Al-Quran.

Lazimnya pernerimaan dan rekod daripada agensi, institusi pendidikan dan masjid secara pukal dikumpulkan di pusat. Setelah ditimbang naskah yang diterima akan disimpan dalam stor kontena.

Kemudian proses pelupusan dimulakan dengan membakar Al-Quran yang rosak ataupun terkoyak termasuk bahan cetakan pendidikan yang mengandung teks ayat Al-Quran melalui kaedah pembakaran secara relau.

Proses relau mampu memuatkan sehingga 100 kilogram bahan dengan kadar suhu 1000 darjah celsius selama 60 minit sehingga menjadi abu.

Kebiasaannya berat 10 kilogram abu akan terhasil daripada proses relau setiap Kali pembakaran, dan sejurus itu fasa penyejukkan dilakukan lebih kurang 24 jam.

Proses ini bagi menghilangkan haba yang menggunakan mesin relau bernilai RM 35,000 ini dilihat mampu menjimatkan kos pelupusan.

Kemudian abu dibancuh bersama air mengikut kelikatan yang sesuai di dalam tong dan dimasukkan ke dalam blok acuan.

Ia akan menjadi adunan seberat lima kilogram serta dijemur selama seminggu di mana proses pengeringan di bawah cahaya matahari bergantung keadaan cuaca supaya menjadi keras, padat dan tidak mudah berderai.

Manakala proses pengurusan abu dilakukan secara teliti dengan membungkus blok abu ke dalam plastik dan disimpan di dalam stor sebelum diangkut ke kapal bagi menghanyutkan abu.

Setelah abu diangkut ke kapal dengan bantuan anggota Polis Marin dan Angkatan Penguatkuasaan Maritim Malaysia, proses terakhir melupuskan abu Al-Quran selesai apabila abu dihanyutkan ke laut.

Sehingga kini sejumlah empat tan abu Al-Quran berjaya dilupuskan ke laut oleh pihak JAIP semenjak tahun 2017 termasuk menerima sebanyak 40 tan keseluruhan bahan mengandungi kalimah ayat Al-Quran daripada pelanggan.

Berdasarkan keputusan Muzakarah Fatwa Kebangsaan ke-30 pada 22 Ogos 1992, memutuskan kaedah pembakaran dan menghanyutkan abu ke laut selain daripada penanaman abu.

#habis.
Reporter: @[279106405462987:274:Pai Syahira]

JAIP USES THE FURNITY METHOD OF THE FURNITY OF THE AL-QURAN IS BROK

PEKAN, Oct 20 - Although the development of the world in the current of the convergens era, the verses of God's love for his servants are never aged and remain a life guide to humans all the time.

The manners of reading and holding the Quran in ablution and the method of forgetting damaged mashaf symbolizing the precision of Islam translates content in the book sent down to Prophet Muhammad s.a.w so that it will continue to be preserved to Muslims.

The obligation to preserve the purity and glory of the Quran is not only when its physical is perfect, even the responsibility as a Muslim is relieved in the process of the orderly Al-Quran.

Pahang News Crew had the opportunity to study the process of Al-Quran with the staff of the Media Filter Unit of the Islamic Religion Division of Pahang (JAIP) at the Al-Quran Glory Center in Pekan, Pa

Earlier the process was held by private parties but the struggle to repress the prostitute of this holy scripture was continued by four JAIP officers since four years ago using the furnace or burning method.

The basic process of gathering of Al-Quran materials begins in all 11 District Islamic Religious Offices across the State of Pahang and is sent to the Al-Quran Glory Center.

Usually acceptance and records from agencies, education institutions and mosques are bulk collected at the center. After weighed the accepted script will be stored in the container store.

Then the extinction process begins by burning the damaged or torn Quran including educational print materials containing the text of Al-Quran verse through the burning method of furnace.

The furnace process can load up to 100 kilograms of material with a temperature rate of 1000 degrees Celsius for 60 minutes until it becomes ashes.

Usually the weight of 10 kilograms of grey will result from the furnace process every time of burning, and immediately the cooling phase is done about 24 hours.

This process to remove heat that uses RM 35,000 worth of furnace machine can save the cost of removal.

Then the ashes are built together with water according to the suitable visibility in the barrel and put in the mold block.

It will be a five-kilogram mix and dried for a week where the drying process in the sun depends on the weather so that it becomes hard, dense and not easily apart.

While the ash management process is thoroughly done by wrapping the grey blocks into plastic and stored in store before being transported to ship to drifting the ashes.

After the ashes were transported to the ship with the help of Marine Police and the Malaysian Maritime Enforcement Forces, the final process of releasing Al-Quran ashes completed when the ashes were drowned into the

Until now a total of four tonnes of Al-Quran has been successfully released into the sea by the JAIP since 2017 including receiving 40 tonnes of overall ingredients containing the word of Al-Quran verse from customers.

Based on the 30th National Fatwa Muzakarah results on August 22, 1992, decided to burn and drift ashes into the sea apart from the ash planting.

#habis.Translated

當鈴鼓聲響起時
是該跟著靈感先生走的時候了…
在音樂路上
進行一場不設限的實驗與冒險

韋禮安WeiBird
全新演繹經典英文單曲《Mr. Tambourine Man》
你準備好一起出發了嗎？

🎧 《Mr. Tambourine Man》數位平台：https://Weibird.lnk.to/MTM
🔔 訂閱韋禮安官方頻道 : https://pse.is/WeiBird_Sub

韋禮安全新演繹英文單曲《Mr. Tambourine Man》致敬民歌搖滾教父 Bob Dylan，這首歌是 Bob Dylan 被改編最多次的經典作品之一，《Mr. Tambourine Man》是一首關於「靈感」的歌曲，韋禮安化身為「鈴鼓手先生」，以輕鬆率性的唱腔和編曲重新詮釋，帶著隨性反叛的冒險精神，透過旋律不疾不徐地恣意地暢想和夢想。

《Mr. Tambourine Man》在單曲封面和 MV 設計中特別以六〇年代的復古配色為視覺基調，歌曲旋律從簡單到豐富的層層變化，象徵靈感從點線面的迸發，視覺上更用幾何色塊來呈現樂器的律動。就像《Mr. Tambourine Man》歌曲中一再重複的「I’ll come followin’ you」，對韋禮安來說，沒有靈感時最簡單的解方不是原地等待，而是出發尋找，藉由音樂、電影、書籍，甚至只是烹飪⋯⋯等等生活裡與音樂毫無相關的事情輸入新的刺激，讓身體和腦袋動一動，自然而然就能產生新的創作能量。現在就打開耳朵，準備好一起出發！

------------

♩ 歌詞 Lyrics

Hey, Mr. Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey, Mr. Tambourine Man, play a song for me
In the jingle jangle morning I'll come following you

Though I know that evening's empire has returned into sand
Vanished from my hand
Left me blindly here to stand, but still not sleeping
My weariness amazes me, I'm branded on my feet
I have no one to meet
And the ancient empty street's too dead for dreaming

Hey, Mr. Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey, Mr. Tambourine Man, play a song for me
In the jingle jangle morning I'll come following you

Take me on a trip upon your magic swirling ship
My senses have been stripped
My hands can't feel to grip
My toes too numb to step
Wait only for my boot heels to be wandering

I'm ready to go anywhere, I'm ready for to fade
Into my own parade
Cast your dancing spell my way, I promise to go under it

Hey, Mr. Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey, Mr. Tambourine Man, play a song for me
In the jingle jangle morning I'll come following you

Though you might hear laughing, spinning, swinging madly across the sun
It's not aimed at anyone
It's just escaping on the run
And but for the sky there are no fences facing

And if you hear vague traces of skipping reels of rhyme
To your tambourine in time
It's just a ragged clown behind
I wouldn't pay it any mind
It's just a shadow you're seeing that he's chasing

Hey, Mr. Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey, Mr. Tambourine Man, play a song for me
In the jingle jangle morning I'll come following you

And take me disappearing through the smoke rings of my mind
Down the foggy ruins of time
Far past the frozen leaves
The haunted frightened trees
Out to the windy beach
Far from the twisted reach of crazy sorrow

Yes, to dance beneath the diamond sky
With one hand waving free
Silhouetted by the sea
Circled by the circus sands
With all memory and fate
Driven deep beneath the waves
Let me forget about today until tomorrow

Hey, Mr. Tambourine Man, play a song for me
I'm not sleepy and there is no place I'm going to
Hey, Mr. Tambourine Man, play a song for me
In the jingle jangle morning I'll come following you

-----------

♩ 音樂製作 Song Credit

作詞｜Bob Dylan
作曲｜Bob Dylan
製作人 Producer｜韋禮安 WeiBird、蔡尚文 Aven Tsai
編曲 Arrangement｜保卜．巴督路 Baobu Badulu
吉他 Guitars｜保卜．巴督路 Baobu Badulu
和聲編寫 Chorus Arrangement｜韋禮安 WeiBird
和聲 Chorus｜韋禮安 WeiBird
口琴 Harmonica｜藤井俊充 Toshi Fujii
製作行政 Production Administrator｜廖婧紋 Melrose Liao
錄音工程師 Recording Engineers｜蔡尚文 Aven Tsai (Vocal、Chorus、Harmonica)、單為明 Link Shan (Guitars)
錄音室 Recording Studios｜Awesome Music Studio (Vocal、Chorus、Harmonica)、Lights Up Studio (Guitars)
混音工程師 Mixing Engineer｜宋星凱 Sean M. Sinclair
混音錄音室 Mixing Studio｜ff studio

------------

♩ MV製作 Music Video Credit

美術設計 Art Design | 蘇柔方 JouFang Su
動態設計 Motion Design｜朱詠任 Tino Chu


──♫─ 更多韋禮安 ─────────────────────────

韋禮安 WeiBird FB｜https://www.facebook.com/Weibird.official
韋禮安 WeiBird IG ｜https://www.instagram.com/weibirdmusic/
韋禮安 WeiBird WeiBo 微博｜https://www.weibo.com/weibird

This is one of my favourite duets of all time and the lyrics (and the subtle things behind the song..etc) are very beautiful & meaningful. If you think of anyone while watching this video, I hope you can send it to them to let them know the impact they’ve had on your life.

I have liked For Good since the first time I heard the song and have always wanted to record a cover of it, but never quite found someone I thought would be the right person to sing this song with me. When I started cosplaying as Magnus and later came across the Edom scene in Shadowhunters, where the characters were potentially separating from each other forever, I knew this was it. Plus, there are other similarities between Glinda & Elphaba in Wicked and Alec & Magnus from Shadowhunters (feel free to comment to let me know what you come up with).

Doing a cover of this song while cosplaying characters from one of my favourite shows, I knew I had to go the extra mile. The amount of time and effort spent along with the things I had to learn, get and do to pull it off was kind of insane, but worth it at the same time (lost track of how many all-nighters were involved.

Without help from Ivan Wong, Robin Oh and Chris Jayden of KANTAN Media, this project would not have been possible. Thank you so much!!

Magnus/Alec: Freeyon Chung
Piano Accompaniment: Ivan Wong
Audio Engineer: Robin Oh
Producer-Editor: KANTAN Media (Chris Jayden)
Special Thanks: Cantius Lee
Director: Freeyon Chung
Hair: Freeyon Chung
Make Up: Freeyon Chung
Lighting: Freeyon Chung
Wardrobe: Freeyon Chung/Ivan Wong
Camera Operator: Freeyon Chung

I hope you will follow my journey as I continue to create more quality content to share with all of you! I already got a few ideas, so…just sit tight til my next creation haha

#ForGood #Shadowhunters #FreeyonMusic

~~~~~~~

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https://vt.tiktok.com/r28tqY/

~~~~~~~~

I've heard it said
That people come into our lives
For a reason
Bringing something we must learn
And we are led to those
Who help us most to grow if we let them
And we help them in return

Well, I don't know if I believe that's true
But I know I'm who I am today
Because I knew you

Like a comet pulled from orbit
As it passes the sun
Like a stream that meets a boulder
Halfway through the wood
Who can say if I've been changed for the better
But because I knew you
I have been changed for good

It well may be
That we will never meet again
In this lifetime
So, let me say before we part
So much of me
Is made of what I learned from you
You'll be with me
Like a handprint on my heart

And now whatever way our stories end
I know you have rewritten mine
By being my friend

Like a ship blown from its mooring
By a wind off the sea
Like a seed dropped by a sky bird
In a distant wood
Who can say if I've been changed for the better
But because I knew you

Because I knew you

I have been changed for good

And just to clear the air
I ask forgiveness
For the things I've done, you blame me for

But then I guess
We know there's blame to share

And none of it seems to matter anymore

Like a comet pulled from orbit (like a ship blown from its mooring)
As it passes the sun (by a wind off the sea)
Like a stream that meets a boulder (like a seed dropped by a bird)
Halfway through the wood (in the wood)

Who can say if I've been changed for the better
I do believe I have been changed for the better

And because I knew you
Because I knew you
Because I knew you
I have been changed
For good

Hành Trình Đi Biển Đánh Bắt Hải Sản - Gặp Tàu Trung Quốc & Cả Đêm Bắt Mực Cá #135
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