http://wiki.novoyuuparosk.org/api.php?action=feedcontributions&feedformat=atom&user=MikkeliNovoyuuparosk Wiki - User contributions [en]2026-06-07T19:46:48ZUser contributionsMediaWiki 1.39.3http://wiki.novoyuuparosk.org/index.php?title=Pulse_under_latent_semantic_envelopes&diff=1132Pulse under latent semantic envelopes2026-06-07T07:48:13Z<p>Mikkeli: /* Chinese translation (not great) */</p>
<hr />
<div>This is a song. The title is stylised in all lowercases:<br />
<br />
<code>pulse under latent semantic envelopes</code><br />
<br />
== External repo ==<br />
http://novoyuuparosk.org:1551/mikkeli/ncmr-songs.git<br />
<br />
== Lyrics ==<br />
第一部。<br />
<br />
Surface.<br />
<br />
The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves.<br />
<br />
Blurred and mangled electronic signs over the outbound atmospheric leeway.<br />
<br />
Distant stations estimated in abnormal heat perform the inconsistent collimation rite.<br />
<br />
Dive.<br />
<br />
The black screen of stalemate conceals the massive stars, the charred comets, and the meteorites.<br />
<br />
Their questionable glitters, once emissions of brave borderers and dark adventurers,<br />
<br />
now the only traces, obscured and indifferent to all but those with a special breed of faith.<br />
<br />
The noise floor of a receiving environment is the aggregate of all background signal energy present across a given frequency band at any instant. In urban contexts, primary contributors include electromagnetic emissions from power distribution infrastructure, wireless communications networks, and consumer electronic devices. The noise floor is not centrally coordinated; no single source generates it. It emerges from the cumulative output of many independently operating transmitters, each functioning within its own parameters, whose combined effect is persistent and largely uniform. Under standard conditions, this background level is treated as a fixed baseline rather than a variable of interest. Signals whose amplitude falls at or below this baseline remain physically present in the medium but cannot be distinguished from the background by a receiving system, and are not considered recoverable.<br />
<br />
An impulse signal, also referred to as a unit impulse, is defined as a signal with zero value at all points in time except a single instant, at which its value is notionally unbounded, subject to the constraint that its total integrated area equals unity. In practice, true impulse signals cannot be physically produced; they are approximated by short-duration, high-amplitude pulses of sufficient bandwidth. The impulse response of any linear time-invariant system — that is, the output produced when an impulse is presented as input — fully characterises that system's behaviour under any subsequent input. In the absence of any input, a system at rest produces no output and exhibits no properties that distinguish it from any other inactive system. From a single impulse and its measured response, the complete transfer function of the system can be derived.<br />
<br />
第二部。<br />
<br />
Subdued sonic scalars vectorise<br />
<br />
Acoustic aberrations dissipate<br />
<br />
Isotropic funnel strikes a packet rain<br />
<br />
Fine-grained bags of acks ground astray<br />
<br />
Ocean as a desert buries all of its life<br />
<br />
Deck the shell with a perfect thermocline<br />
<br />
Curtain shut before the Fresnel bights<br />
<br />
Plasma buildup swells your rovers' thighs<br />
<br />
第三部。<br />
<br />
Particulate pressure across a landlocked island<br />
<br />
Ultraviolet utilitarian paints every third crag bland<br />
<br />
Lossy lies lament the ludicrous lawful liberty<br />
<br />
Siren sounds soaken in the sauna of substantiality<br />
<br />
Eccentric sediments launch unbidden perpetuity<br />
<br />
== Chinese translation (not great) ==<br />
'''第一部。'''<br />
<br />
上浮。<br />
<br />
静磁噪声、水的平面、还有光波之间是沉默的平衡。<br />
<br />
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。<br />
<br />
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。<br />
<br />
下潜。<br />
<br />
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。<br />
<br />
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射，<br />
<br />
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。<br />
<br />
任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。<br />
<br />
冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。<br />
第二部。<br />
<br />
'''第二部。'''<br />
<br />
压低的声音标量，化作矢量<br />
<br />
声学的像差，渐渐耗散<br />
<br />
各向同性的烟囱砸中一场数据包之雨<br />
<br />
一袋袋细碎的应答被研磨得迷路<br />
<br />
海洋作为荒漠埋藏自己所有的生命<br />
<br />
完美的温跃层敲打外壳<br />
<br />
菲涅尔拐角前的帷幕关闭<br />
<br />
等离子堆积，肿胀了流浪者的大腿<br />
第三部。<br />
<br />
'''第三部。'''<br />
<br />
颗粒状的压力遍历一座内陆的孤岛<br />
<br />
紫外功利主义者把每三个石头里的第三个涂成无色<br />
<br />
有损的谎言哀悼荒唐的合法自由<br />
<br />
警笛声音浸泡在实在的桑拿里<br />
<br />
诡异的沉积物发射了没人要求的永恒<br />
<br />
== Notes about the song ==<br />
<br />
=== Why pulse ===<br />
Some time after witnessing the rover song go locally viral at the second transparent fes I said to myself there will be a third. Almost immediately after that, I was sure the keyword would be 'pulse'. Then it took me several months to figure out the third recursive acronym composition. Maybe more than several months.<br />
<br />
The choice in 'pulse' is for a very apparent reason. It's literally the last kairo (original) song. That is, the last song in the last album. I know they had more 2hu released after that but that's a different business, isn't it.<br />
<br />
It also is a very good word in itself because there is vitality, there is machinery, there is electronics and engineering, all in one package. It's kairo plus Northwich committee of magic researches.<br />
<br />
=== Educational rock ===<br />
It's now a traditional practice to sample random people speaking random stuff in a post-rock / prog rock / chill hip-hop / shoegaze / you name it song. There is a hip-hop remix of Niinistö's new year's day address but I can't really dig it out of the Internet rabbit hole. And to start with literally the first post-rock I ever listened to was the 2hu band 'the distant journey to you' by our Veto guy and there was an excerpt of Kon Satoshi's 'Paprika' in one of the songs.<br />
<br />
When I really started to shape this song I was listening to way more Snakes Don't Belong In Alaska than I should. Two of their later songs sampled someone presumably giving a lecture or speech or that sort of presentation. I very much liked it as I'm a big podcast person. It's like listening to your podcasts with psychedelica music accompanying.<br />
<br />
I also have been a firm believer that signal processing is something any music-aware people should have at least a slightest idea about. So here we are. It's only natural to make my own mini lecture about some signal basics and incorporate that audio signal into the song.<br />
<br />
The other parts of the song are intentionally cryptic, evasive, indirect, fuzzy, ambiguous but the educational bit should be factual enough it can be considered a decent crash course on what it talks about. Aside from being the catalyst for the song's underlying emotional progressions. We'll talk about that later or never.<br />
<br />
=== Football manager ruined my life and LLM agents severed it into pieces ===<br />
Back in your 2022s and 2023s, I wasn't aware of Anthropic and ChatGPT was basically chat powered by GPT. But this time I approach my songwriting as a relatively heavy Claude user. I never fully hand the lyric composition to LLM agents or raw LLMs as that's the fun bit, not the chore bit.<br />
<br />
What I personally do is usually tell the Claude 'hey I'm thinking about something like this' in either the plainest of languages or just a draft verse. 9 out of 10 times its response pisses me off. Which is consistent with the experience when you do these exchanges with any verified decent human counterpart. No disrespect to my verified 'I can talk poetic bullshit with them' friends but that just happens. And it happens for good.<br />
<br />
You see the key here is I have someone to talk to, 24/7, super fluent in languages I speak or not, only restricted by usage limits. For writing lyrics I never hit the limits, by the way. An adversary is an essential upgrade to a rubber duck as it gives you feedback. LLM at the core means this adversary is complex enough to be considered unpredictable and thus inspiring.<br />
<br />
Your Claudes and ChatGPTs and maybe Geminis out of the box loves proposing verses after verses which is less helpful. Fortunately, I've tweaked my instances to hold fire and communicate in a more atmospheric way. In a convo I get myself immersed in the atmosphere I initiated and the agent amplified. I guess that's where all the fever dreams root from.<br />
<br />
=== On professionalism and why I consider myself pro enough even if I have no proper proof ===<br />
In a way, I think it's probably true that flair and discipline has a dance of balance in many things, and I take music and association football as two seemingly irrelevant examples. Simply because I'm somewhat invested in those two.<br />
<br />
A classical piece in the broadest sense takes many, many players with their respective instruments. There would be a leader violinist or a pianist or similar role but let's face it, for like 99% of the time, orchestra players don't play flashy solo phrases. I feel it's like how you have no-nonsense centre backs and anchor defensive midfielders like Jordan Rossiter, that in a sense stand out even less than a goalkeeper.<br />
<br />
Your rock and pop bands of 3, 4, 5 people is something else. Basically everyone needs to be a star. Everyone will have flashy, tricky solo riffs.<br />
<br />
And don't get me wrong, I by no means am stating that playing simple notes correctly is inferior to smashing an outrageous riff, or that only getting the ball and passing to the nearest full back is inferior to dribbling over 5 defenders and driving home with a full bollocks swing. That is just not true. Doing the less fancy 'basic' but proper and well is just a slightly, or very different dimension of professionalism. I personally very like no-nonsense centre backs because I played as one because I couldn't do fancy stuff on the pitch.<br />
<br />
I don't think I can do fancy stuff in my FL studio either. The justification around all this equity of professionalism had a big portion of making myself feel less useless when I tried and mostly failed to learn to play the guitar then bass. Today I'm totally ok and free of complexes like that.<br />
<br />
The financial stability is also very real. My plan about music has always been 'find a job so I can play with music' and I've finally done it. I mean I never got anywhere around trying to be self-sustainable with music alone or as the main means, but having that peace of mind of a roof above is certainly helpful even for a hobby. Having music to unleash my creativity buildup when there is any also helps me cope with the 'boring' day job so it's a win-win. Probably.<br />
<br />
=== Music, bloody hell ===<br />
I don't think one should be expecting me to elaborate on how delicate my music craftsmanship is after the revelation and identification as a no-nonsense FL Studio user at best Conference National level. But you see, there are people who watch Conf Nat as devoted as they themselves watch the Prem, or even more. Absolute skill levels are not that much of a matter.<br />
<br />
I opted to go for a classic dual-bass, dual-telecaster setup with various other helper instruments because that's simply my favourite. The second bass actually turned out to be utilised less than I originally planned based on how things went in 'rover over virtually eternal roundabouts'.<br />
<br />
Also, the song started as my experiment of a more techno-heavy style. It didn't end well, but the techno leftovers might be (I'm doubtful) spotted around the place.<br />
<br />
Then I switched to the target of making this one the third piece in the recursive acronym trilogy, so essentially I'm doing humble plagiarism on the previous two songs. 'sauna as universal neural analeptic' and 'rover over virtually eternal roundabouts' if you're wondering (no one asked).<br />
<br />
Like stated elsewhere the psychedelica influence from SDBIA is faintly visible (audible). I also applied some of the minimalism principles to the guitar lines, they should be perceivably sparser than some contemporaries.<br />
<br />
Drums and percussions have always been my passion but I think I just got too lazy to fine tune every loop pattern. A drum track of eternally-morphing patterns is not realistic in some sense after all.<br />
<br />
=== Vocal synthesis masterclass ===<br />
Could be stating the obvious, but I'm much better at English than Japanese. When it comes to songwriting I might even argue English enjoys priority over my first language, which is Chinese. So it's a bit of a hassle when there is no good enough Yukari TTS on the shelf. On a side note, Kotonoha sisters got their official English / Chinese TTS but that's a shambles. To put it mildly.<br />
<br />
When I discovered GPT-SoVITS which in English is something that allows you to generate many languages in person A's voice and person B's accent (partly), it's only natural that I immediately went for it. It fit like a glove on the foot.<br />
<br />
You see, the problem with many voice changers, even in the l'époque de l'intelligence artificielle, is that they end up with English (simplified) pronunciations. Some give you RP but that's not what I want either. It's the models that are my problem and I needed something more weird.<br />
<br />
The goal was to mix rallienglanti, Bristolian, and some Aussie flavour to produce the random and weird English I usually speak. The end product is nowhere near that, but equally far from 'standard' English. Which is very acceptable.<br />
<br />
Also, this synthesised voice should not be considered truly Yukari in the copyright or trademarks sense. I credited Yukari because I included pieces of Japanese voice made with the authentic A.I.VOICE 2 editor with a valid license. Just saying.<br />
<br />
For the sung parts, Synthesiser V Studio Pro 2 is the weapon of massive destruction of choice as always. The actual labour is rather boring so I'll leave it as 'I mix-matched mostly Spanish and English phonemes'.<br />
<br />
=== So what is this song about? ===<br />
It's all in the title mate.<br />
<br />
Keep reading if you think that alone is not meaningful enough.<br />
<br />
I'm firmly against providing an answer as standard yet very happy to write my personal interpretations. On condition that no one promotes the following text as the only valid official explanation to the song, I can give this:<br />
<br />
There is atmospheric pressure around every one of us. It is like the environmental noise that suffocates signals without malice. The noise itself also contains various meaningful, info-bearing signals but all piled up together as a big blob of something. This is the 'latent semantic envelopes' bit.<br />
<br />
The pulse is an object as well as an action. It's both the signal that gets sent (and drowned) and the action of sending such signals. Not to mention it also means one's heart beats which is a necessary condition for that guy to be alive.<br />
<br />
Pulsing, under 'latent semantic envelopes' or more straightforwardly, under overwhelming noise, is absurd. But if you subscribe to the absurd, it's not really a problem. That's it.<br />
<br />
I probably should have required signing an EULA to have access to this.<br />
<br />
=== A personal crusade against claims of superhuman frequential cognitive abilities ===<br />
The decision to use the 192 kbps MP3 as a source of truth, converting from that to nominally WAV and everything else was based on several grounds. But the dominant one is that I never liked high fidelity above a certain threshold of good enough. And that threshold for me is roughly 192 kbps of MP3. Another reason is that I would like even one more person to think outside of the box, into the channels, towards the corner flag, that this is a form of proper, intentional digital lofi rather than lossy media.<br />
<br />
It's totally fair to consider this shithousery because shithousery is what I see it as. I'm not doing this digital lo-fi for the sake of art, I do this as reactive banter invoked by phonophile nonsense. If 192 kbps MP3 is good enough to me, then it's good enough.<br />
<br />
I do think at 128 kbps I start to sense that something is missing and more information density would be appreciated. So the personal threshold is there or thereabouts.<br />
<br />
=== Trivia ===<br />
<br />
* In case you didn't notice, the title forms a recursive acronym.<br />
* In case you didn't notice, the final verse is an acrostic of 'pulse'.<br />
* In case you didn't notice, the last line is a reverse acrostic of 'pulse'.<br />
* Brave Borderer and Dark Adventurer are RN fast patrol crafts, or in English, torpedo boats. And I believe both are playable in War Thunder which is why I know them.<br />
* 'Ocean as a desert buries all of its life' is a blatant steal from America's 'A horse with no name'. The original line is 'ocean is a desert with its life underground'.<br />
* I have to sneak in the exact words 'rover' and 'sauna', sorry. And in case you didn't notice, they are two related songs.<br />
* Many of the words could be understood with a leaning towards their optical engineering aspects. That said, I was more on the electronics end of my opto-electronic science and engineering syllabus.<br />
* Meta-trivia: this note is plagued by football cliches, and the song has contracted some.<br />
<br />
[[Category:Lyrics]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pulse_under_latent_semantic_envelopes&diff=1131Pulse under latent semantic envelopes2026-06-07T07:47:27Z<p>Mikkeli: </p>
<hr />
<div>This is a song. The title is stylised in all lowercases:<br />
<br />
<code>pulse under latent semantic envelopes</code><br />
<br />
== External repo ==<br />
http://novoyuuparosk.org:1551/mikkeli/ncmr-songs.git<br />
<br />
== Lyrics ==<br />
第一部。<br />
<br />
Surface.<br />
<br />
The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves.<br />
<br />
Blurred and mangled electronic signs over the outbound atmospheric leeway.<br />
<br />
Distant stations estimated in abnormal heat perform the inconsistent collimation rite.<br />
<br />
Dive.<br />
<br />
The black screen of stalemate conceals the massive stars, the charred comets, and the meteorites.<br />
<br />
Their questionable glitters, once emissions of brave borderers and dark adventurers,<br />
<br />
now the only traces, obscured and indifferent to all but those with a special breed of faith.<br />
<br />
The noise floor of a receiving environment is the aggregate of all background signal energy present across a given frequency band at any instant. In urban contexts, primary contributors include electromagnetic emissions from power distribution infrastructure, wireless communications networks, and consumer electronic devices. The noise floor is not centrally coordinated; no single source generates it. It emerges from the cumulative output of many independently operating transmitters, each functioning within its own parameters, whose combined effect is persistent and largely uniform. Under standard conditions, this background level is treated as a fixed baseline rather than a variable of interest. Signals whose amplitude falls at or below this baseline remain physically present in the medium but cannot be distinguished from the background by a receiving system, and are not considered recoverable.<br />
<br />
An impulse signal, also referred to as a unit impulse, is defined as a signal with zero value at all points in time except a single instant, at which its value is notionally unbounded, subject to the constraint that its total integrated area equals unity. In practice, true impulse signals cannot be physically produced; they are approximated by short-duration, high-amplitude pulses of sufficient bandwidth. The impulse response of any linear time-invariant system — that is, the output produced when an impulse is presented as input — fully characterises that system's behaviour under any subsequent input. In the absence of any input, a system at rest produces no output and exhibits no properties that distinguish it from any other inactive system. From a single impulse and its measured response, the complete transfer function of the system can be derived.<br />
<br />
第二部。<br />
<br />
Subdued sonic scalars vectorise<br />
<br />
Acoustic aberrations dissipate<br />
<br />
Isotropic funnel strikes a packet rain<br />
<br />
Fine-grained bags of acks ground astray<br />
<br />
Ocean as a desert buries all of its life<br />
<br />
Deck the shell with a perfect thermocline<br />
<br />
Curtain shut before the Fresnel bights<br />
<br />
Plasma buildup swells your rovers' thighs<br />
<br />
第三部。<br />
<br />
Particulate pressure across a landlocked island<br />
<br />
Ultraviolet utilitarian paints every third crag bland<br />
<br />
Lossy lies lament the ludicrous lawful liberty<br />
<br />
Siren sounds soaken in the sauna of substantiality<br />
<br />
Eccentric sediments launch unbidden perpetuity<br />
<br />
== Chinese translation (not great) ==<br />
第一部。<br />
<br />
上浮。<br />
<br />
静磁噪声、水的平面、还有光波之间是沉默的平衡。<br />
<br />
模糊而残损的电子牌匾，掠过向外敞开的那一线大气余隙。<br />
<br />
热异常里估算出来的远方站点定期执行和上一次不一样的校准仪式。<br />
<br />
下潜。<br />
<br />
僵局的黑屏掩住了庞大的恒星、焦黑的彗星，还有陨石。<br />
<br />
它们存疑的微光是勇敢拓边者与黑暗冒险者放出的辐射，<br />
<br />
如今只是晦暗不明，无人在意的痕迹，只有一些信仰特殊者关心。<br />
<br />
任何接收环境的本底噪声，指的是某一频段内任一时刻全部背景信号能量的总和。在城市环境中，其主要来源包括配电设施、无线通信网络以及各类消费电子产品的电磁辐射。本底噪声没有统一来源，也不受集中调度，而是众多独立运行的发射源累积叠加的结果：各发射源均在自身参数范围内工作，叠加之后形成一种持续而大致均匀的背景。通常将这一背景电平视为固定基线，而不作为需要关注的变量。幅度等于或低于该基线的信号，在物理上仍存在于介质之中，但接收系统无法将其同背景区分开来，因而被认为无法恢复。<br />
<br />
冲激信号，又称单位冲激，是指这样一种信号：它在所有时刻的取值均为零，仅在某一瞬间例外；在该瞬间，其取值理论上为无穷大，但总积分面积须恒等于一。实际中，理想的冲激信号无法物理实现，通常以持续时间极短、幅度极高、带宽足够的脉冲来近似。对任一线性时不变系统而言，其冲激响应（即以冲激作为输入时所得到的输出）足以完整描述该系统在此后任意输入下的行为。若没有输入，处于静止的系统不产生输出，也不表现出任何可与其他静止系统相区别的特性。仅凭一个冲激及其测得的响应，即可推导出系统完整的传递函数。<br />
<br />
第二部。<br />
<br />
压低的声音标量，化作矢量<br />
<br />
声学的像差，渐渐耗散<br />
<br />
各向同性的烟囱砸中一场数据包之雨<br />
<br />
一袋袋细碎的应答被研磨得迷路<br />
<br />
海洋作为荒漠埋藏自己所有的生命<br />
<br />
完美的温跃层敲打外壳<br />
<br />
菲涅尔拐角前的帷幕关闭<br />
<br />
等离子堆积，肿胀了流浪者的大腿<br />
<br />
第三部。<br />
<br />
颗粒状的压力遍历一座内陆的孤岛<br />
<br />
紫外功利主义者把每三个石头里的第三个涂成无色<br />
<br />
有损的谎言哀悼荒唐的合法自由<br />
<br />
警笛声音浸泡在实在的桑拿里<br />
<br />
诡异的沉积物发射了没人要求的永恒<br />
<br />
== Notes about the song ==<br />
<br />
=== Why pulse ===<br />
Some time after witnessing the rover song go locally viral at the second transparent fes I said to myself there will be a third. Almost immediately after that, I was sure the keyword would be 'pulse'. Then it took me several months to figure out the third recursive acronym composition. Maybe more than several months.<br />
<br />
The choice in 'pulse' is for a very apparent reason. It's literally the last kairo (original) song. That is, the last song in the last album. I know they had more 2hu released after that but that's a different business, isn't it.<br />
<br />
It also is a very good word in itself because there is vitality, there is machinery, there is electronics and engineering, all in one package. It's kairo plus Northwich committee of magic researches.<br />
<br />
=== Educational rock ===<br />
It's now a traditional practice to sample random people speaking random stuff in a post-rock / prog rock / chill hip-hop / shoegaze / you name it song. There is a hip-hop remix of Niinistö's new year's day address but I can't really dig it out of the Internet rabbit hole. And to start with literally the first post-rock I ever listened to was the 2hu band 'the distant journey to you' by our Veto guy and there was an excerpt of Kon Satoshi's 'Paprika' in one of the songs.<br />
<br />
When I really started to shape this song I was listening to way more Snakes Don't Belong In Alaska than I should. Two of their later songs sampled someone presumably giving a lecture or speech or that sort of presentation. I very much liked it as I'm a big podcast person. It's like listening to your podcasts with psychedelica music accompanying.<br />
<br />
I also have been a firm believer that signal processing is something any music-aware people should have at least a slightest idea about. So here we are. It's only natural to make my own mini lecture about some signal basics and incorporate that audio signal into the song.<br />
<br />
The other parts of the song are intentionally cryptic, evasive, indirect, fuzzy, ambiguous but the educational bit should be factual enough it can be considered a decent crash course on what it talks about. Aside from being the catalyst for the song's underlying emotional progressions. We'll talk about that later or never.<br />
<br />
=== Football manager ruined my life and LLM agents severed it into pieces ===<br />
Back in your 2022s and 2023s, I wasn't aware of Anthropic and ChatGPT was basically chat powered by GPT. But this time I approach my songwriting as a relatively heavy Claude user. I never fully hand the lyric composition to LLM agents or raw LLMs as that's the fun bit, not the chore bit.<br />
<br />
What I personally do is usually tell the Claude 'hey I'm thinking about something like this' in either the plainest of languages or just a draft verse. 9 out of 10 times its response pisses me off. Which is consistent with the experience when you do these exchanges with any verified decent human counterpart. No disrespect to my verified 'I can talk poetic bullshit with them' friends but that just happens. And it happens for good.<br />
<br />
You see the key here is I have someone to talk to, 24/7, super fluent in languages I speak or not, only restricted by usage limits. For writing lyrics I never hit the limits, by the way. An adversary is an essential upgrade to a rubber duck as it gives you feedback. LLM at the core means this adversary is complex enough to be considered unpredictable and thus inspiring.<br />
<br />
Your Claudes and ChatGPTs and maybe Geminis out of the box loves proposing verses after verses which is less helpful. Fortunately, I've tweaked my instances to hold fire and communicate in a more atmospheric way. In a convo I get myself immersed in the atmosphere I initiated and the agent amplified. I guess that's where all the fever dreams root from.<br />
<br />
=== On professionalism and why I consider myself pro enough even if I have no proper proof ===<br />
In a way, I think it's probably true that flair and discipline has a dance of balance in many things, and I take music and association football as two seemingly irrelevant examples. Simply because I'm somewhat invested in those two.<br />
<br />
A classical piece in the broadest sense takes many, many players with their respective instruments. There would be a leader violinist or a pianist or similar role but let's face it, for like 99% of the time, orchestra players don't play flashy solo phrases. I feel it's like how you have no-nonsense centre backs and anchor defensive midfielders like Jordan Rossiter, that in a sense stand out even less than a goalkeeper.<br />
<br />
Your rock and pop bands of 3, 4, 5 people is something else. Basically everyone needs to be a star. Everyone will have flashy, tricky solo riffs.<br />
<br />
And don't get me wrong, I by no means am stating that playing simple notes correctly is inferior to smashing an outrageous riff, or that only getting the ball and passing to the nearest full back is inferior to dribbling over 5 defenders and driving home with a full bollocks swing. That is just not true. Doing the less fancy 'basic' but proper and well is just a slightly, or very different dimension of professionalism. I personally very like no-nonsense centre backs because I played as one because I couldn't do fancy stuff on the pitch.<br />
<br />
I don't think I can do fancy stuff in my FL studio either. The justification around all this equity of professionalism had a big portion of making myself feel less useless when I tried and mostly failed to learn to play the guitar then bass. Today I'm totally ok and free of complexes like that.<br />
<br />
The financial stability is also very real. My plan about music has always been 'find a job so I can play with music' and I've finally done it. I mean I never got anywhere around trying to be self-sustainable with music alone or as the main means, but having that peace of mind of a roof above is certainly helpful even for a hobby. Having music to unleash my creativity buildup when there is any also helps me cope with the 'boring' day job so it's a win-win. Probably.<br />
<br />
=== Music, bloody hell ===<br />
I don't think one should be expecting me to elaborate on how delicate my music craftsmanship is after the revelation and identification as a no-nonsense FL Studio user at best Conference National level. But you see, there are people who watch Conf Nat as devoted as they themselves watch the Prem, or even more. Absolute skill levels are not that much of a matter.<br />
<br />
I opted to go for a classic dual-bass, dual-telecaster setup with various other helper instruments because that's simply my favourite. The second bass actually turned out to be utilised less than I originally planned based on how things went in 'rover over virtually eternal roundabouts'.<br />
<br />
Also, the song started as my experiment of a more techno-heavy style. It didn't end well, but the techno leftovers might be (I'm doubtful) spotted around the place.<br />
<br />
Then I switched to the target of making this one the third piece in the recursive acronym trilogy, so essentially I'm doing humble plagiarism on the previous two songs. 'sauna as universal neural analeptic' and 'rover over virtually eternal roundabouts' if you're wondering (no one asked).<br />
<br />
Like stated elsewhere the psychedelica influence from SDBIA is faintly visible (audible). I also applied some of the minimalism principles to the guitar lines, they should be perceivably sparser than some contemporaries.<br />
<br />
Drums and percussions have always been my passion but I think I just got too lazy to fine tune every loop pattern. A drum track of eternally-morphing patterns is not realistic in some sense after all.<br />
<br />
=== Vocal synthesis masterclass ===<br />
Could be stating the obvious, but I'm much better at English than Japanese. When it comes to songwriting I might even argue English enjoys priority over my first language, which is Chinese. So it's a bit of a hassle when there is no good enough Yukari TTS on the shelf. On a side note, Kotonoha sisters got their official English / Chinese TTS but that's a shambles. To put it mildly.<br />
<br />
When I discovered GPT-SoVITS which in English is something that allows you to generate many languages in person A's voice and person B's accent (partly), it's only natural that I immediately went for it. It fit like a glove on the foot.<br />
<br />
You see, the problem with many voice changers, even in the l'époque de l'intelligence artificielle, is that they end up with English (simplified) pronunciations. Some give you RP but that's not what I want either. It's the models that are my problem and I needed something more weird.<br />
<br />
The goal was to mix rallienglanti, Bristolian, and some Aussie flavour to produce the random and weird English I usually speak. The end product is nowhere near that, but equally far from 'standard' English. Which is very acceptable.<br />
<br />
Also, this synthesised voice should not be considered truly Yukari in the copyright or trademarks sense. I credited Yukari because I included pieces of Japanese voice made with the authentic A.I.VOICE 2 editor with a valid license. Just saying.<br />
<br />
For the sung parts, Synthesiser V Studio Pro 2 is the weapon of massive destruction of choice as always. The actual labour is rather boring so I'll leave it as 'I mix-matched mostly Spanish and English phonemes'.<br />
<br />
=== So what is this song about? ===<br />
It's all in the title mate.<br />
<br />
Keep reading if you think that alone is not meaningful enough.<br />
<br />
I'm firmly against providing an answer as standard yet very happy to write my personal interpretations. On condition that no one promotes the following text as the only valid official explanation to the song, I can give this:<br />
<br />
There is atmospheric pressure around every one of us. It is like the environmental noise that suffocates signals without malice. The noise itself also contains various meaningful, info-bearing signals but all piled up together as a big blob of something. This is the 'latent semantic envelopes' bit.<br />
<br />
The pulse is an object as well as an action. It's both the signal that gets sent (and drowned) and the action of sending such signals. Not to mention it also means one's heart beats which is a necessary condition for that guy to be alive.<br />
<br />
Pulsing, under 'latent semantic envelopes' or more straightforwardly, under overwhelming noise, is absurd. But if you subscribe to the absurd, it's not really a problem. That's it.<br />
<br />
I probably should have required signing an EULA to have access to this.<br />
<br />
=== A personal crusade against claims of superhuman frequential cognitive abilities ===<br />
The decision to use the 192 kbps MP3 as a source of truth, converting from that to nominally WAV and everything else was based on several grounds. But the dominant one is that I never liked high fidelity above a certain threshold of good enough. And that threshold for me is roughly 192 kbps of MP3. Another reason is that I would like even one more person to think outside of the box, into the channels, towards the corner flag, that this is a form of proper, intentional digital lofi rather than lossy media.<br />
<br />
It's totally fair to consider this shithousery because shithousery is what I see it as. I'm not doing this digital lo-fi for the sake of art, I do this as reactive banter invoked by phonophile nonsense. If 192 kbps MP3 is good enough to me, then it's good enough.<br />
<br />
I do think at 128 kbps I start to sense that something is missing and more information density would be appreciated. So the personal threshold is there or thereabouts.<br />
<br />
=== Trivia ===<br />
<br />
* In case you didn't notice, the title forms a recursive acronym.<br />
* In case you didn't notice, the final verse is an acrostic of 'pulse'.<br />
* In case you didn't notice, the last line is a reverse acrostic of 'pulse'.<br />
* Brave Borderer and Dark Adventurer are RN fast patrol crafts, or in English, torpedo boats. And I believe both are playable in War Thunder which is why I know them.<br />
* 'Ocean as a desert buries all of its life' is a blatant steal from America's 'A horse with no name'. The original line is 'ocean is a desert with its life underground'.<br />
* I have to sneak in the exact words 'rover' and 'sauna', sorry. And in case you didn't notice, they are two related songs.<br />
* Many of the words could be understood with a leaning towards their optical engineering aspects. That said, I was more on the electronics end of my opto-electronic science and engineering syllabus.<br />
* Meta-trivia: this note is plagued by football cliches, and the song has contracted some.<br />
<br />
[[Category:Lyrics]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Tunnels&diff=1126Tunnels2026-02-11T15:28:57Z<p>Mikkeli: </p>
<hr />
<div>This is a song. <br />
<br />
== Lyrics ==<br />
The long dark road spanning within the mountains <br />
<br />
is plagued by tunnels <br />
<br />
and an illusion induced by mechanical and neural fatigue <br />
<br />
that the night sky is but an arch over <br />
<br />
the long dark road spanning within the mountains.<br />
[[Category:Lyrics]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Tunnels&diff=1125Tunnels2026-02-11T15:28:35Z<p>Mikkeli: </p>
<hr />
<div>This is a song. <br />
<br />
== Lyrics ==<br />
The long dark road spanning within the mountains <br />
<br />
is plagued by tunnels <br />
<br />
and an illusion induced by muscular and neural fatigue <br />
<br />
that the night sky is but an arch over <br />
<br />
the long dark road spanning within the mountains.<br />
[[Category:Lyrics]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Tunnels&diff=1124Tunnels2026-02-11T15:06:26Z<p>Mikkeli: </p>
<hr />
<div>This is a song. <br />
<br />
== Lyrics ==<br />
The long dark road spanning between the mountains<br />
<br />
is plagued by tunnels<br />
<br />
and an illusion induced by the lack of light<br />
<br />
as well as muscular and neural fatigue<br />
<br />
that the night sky<br />
<br />
is but an arch over<br />
<br />
the long dark road spanning between the mountains.<br />
[[Category:Lyrics]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Tunnels&diff=1123Tunnels2026-02-11T15:01:43Z<p>Mikkeli: Created page with "Category:Lyrics"</p>
<hr />
<div>[[Category:Lyrics]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Takinoue-Tomisato&diff=1118SES: Takinoue-Tomisato2026-01-25T04:38:17Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
= Outline =<br />
A small shrine and a train stop that's no longer there.<br />
<br />
= Story =<br />
<br />
=== The border bridge ===<br />
Even with the functional administration and associated maintenance of roadside signs to reflect that gone for a while, the very adjacent municipality signs of Kuriyama, Yuubari and Yuni are persisting, to an extent. At least, I can still tell one from another and get the unrealistic feeling of crossing borders. <br />
<br />
I don' think I have experienced a lot of meaningful border crossing. The very ceremonial type. Or should I say, the ceremonially artificial type? Like when I first came here there was immigration, customs, and all that. I do think that border crossing is quite ceremonial in itself, though. The artificial borders created by someone drawing a dotted or dashed or solid line on a map, and the not-so-artificial borders naturally imposing themselves wherever they are because there is a river, a ridge, a pet, a nay, a put, a nupri, or something else happens to there. <br />
<br />
In this semi-post-modernity world that I currently live in, moving by road remains part of the common sense and people still prefer roads over not-roads, even if the roads deteriorated more or less since they were last restored to a suboptimal condition. The result of that persisting common sense that is relevant to all the talk about borders, is that 'river' archetype is the most usually encounterable border. <br />
<br />
Still, it's not exactly like the legendary border marker somewhere down south, where due to the original river being redirected elsewhere and the borders remaining as-is, the physical legislative symbol can be easily accessed by land and literally within touch. The borders here are less rare than that one. Partly due to no rivers were radically moved, by human or nature's will. <br />
<br />
The Kawabata bridge still holds - here's the</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Useless_Links&diff=1112Useless Links2025-12-19T06:24:22Z<p>Mikkeli: Created page with "https://www.koudourokyo.net/search/"</p>
<hr />
<div>https://www.koudourokyo.net/search/</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Wakkanai&diff=1098SES: Wakkanai2025-10-22T14:57:49Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
Around the end of September, along the Saropet line.<br />
<br />
== Story ==<br />
It's around 16:00, the skies are becoming slightly darker. I'm not exactly sure if it is really darker because the cloud or the fog fuzzies the remaining sunlight, but judging from the time, it probably is getting darker.<br />
<br />
I open the door and land my feet on the ground for a first time in several hours. It's not always good how human civilisation has retreated from sparsely populated corners like this, but it's good to be able to park wherever and whenever I want to.<br />
<br />
There is no wind, almost. Which is curious. I think nine times out of eight these coasts are terrifyingly windy, and it has something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the land so the air stays mostly stationary. <br />
<br />
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up no more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It's about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It's a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist. The rest is a more virtual, psychological, atmospheric kind of mist, I think.<br />
<br />
Making stops like this will inevitably extend my trip. I have known that though numerous past experiences and now I account for these stops so I won't extend my trips beyond control. And I'm well under control now. There's less than 3 hours to go until I should arrive in Wakkanai. I don't know, though, the reason why I always feel I need to have control. I have always decided to overlook this ignorance, as thinking too deep into it will probably relieve me of any control. One thing I'm probably sure is that keeping my times managed gives me a slight satisfactory sensation.<br />
<br />
I think I've stopped some 10 minutes now. The skies have surely become even one step darker since I last commented on them becoming slightly darker. Darkness is something I don't intuitively like. It could constitute as one reason, analytically, why I am almost paranoid on maintaining control of my trips, timewise. It is simple, if it's dark, it's hard to see things, driving gets tiring, and when tired and driving humans have a higher chance of suffering serious or fatal injury. <br />
<br />
I believe I have a rather negative emotion towards my own death, but I can't find a precise word or simple phrase to describe that. Well, an imperfect approximate would be 'I don't want to die'. This is largely different from what I think I have in mind but is easy to utter, write, or for someone else to understand, so it is the go-to if I have to explain this mundane chain of thought to anyone else. Not that I've actually met a lot of people interested in seeking after such explanations. I think I've only said this to Emms and Sags, and I'm sure they were not especially fond of it. <br />
<br />
But the emotion towards darkness is quite certain for me. I can say with much confidence that I hate darkness - when I'm driving. This hatred does not lend itself to other circumstances i.e. when I'm not driving. I think I enjoy darkness rather wholeheartedly, when I'm not driving. <br />
<br />
I hate tunnels unconditionally, by the way.<br />
<br />
<br />
Having driven for yet another hour, I believe I am finally seeing the lights of Wakkanai. Behind me now is the Bakkai. Yes, ''The'' Bakkai. There probably is nothing significant about it bar the usual local history that every human settlement is cursed to bear. It's just the nearly symmetrical written form, the sound when pronounced in Richard Keys intonation, and the perfectly transliterated Cyrillic notations on the road signs, Баккаи, that fascinate me.<br />
<br />
I believe it's not immoral to like a name only for its phonological and typological properties, and not due to the mediocre history behind it. And what's even better, the Bakkai has now zero residents to issue me any sort of complaint about my potential disrespect to their history and culture, in adjecting with the adjective 'mediocre'. <br />
<br />
Besides, I think I actually like the post-apocalyptic looks of the Bakkai, which had been there even before the apocalyptic - well, maybe not as apocalyptic - war came. Which could well be yet another insult to the residents if there were any. When I arrived there today it was simply too dark to see anything. Not like the Bakkai has any working illumination left.<br />
<br />
<br />
Driving through the Bakkai in its current state should be legitimately classified as a kind of hard labour, and I do not wish to dwell on that further. The initial metropolitan lights finally enter my adjacency in the form of faintly lit hotel advertising boards. Then a fuelling station. The density and intensity of streetlamps increase gradually and stabilise at a level that is rather easy for the eye. <br />
<br />
If I pick my standards adaptively, I am in Wakkanai now. Or maybe the moment when my cockpit reached the edge of the fuel station shed. In more practical standards, I think I'm still some tens of kilometres (and minutes, almost equally) away from where I believed I could spend the night. I stopped caring about my previous prediction of less than 3 hours, because I'm ahead of that by a good margin. <br />
<br />
<br />
And thus, it's time for a break. Maybe not 'thus', a break doesn't depend on or require a good margin of time ahead of schedule. If a consequential construct must be present, I think I would rather nominate simply wanting to go to the northernmost Mac in 'Do as the reason for me to have a break. I don't think this works well as a reason, nor do I want to further elaborate on why I want to go to the northernmost Mac. It just happens to be the northernmost Mac and I just happen to be in close vicinity to it. <br />
<br />
To some, there is an extra layer of significance that it's also the northernmost Mac that survived the war, but that is absolutely not anything significant especially if one takes into consideration that more Macs shut down due to a shortage of onion dip rather than the war. A persistent verbal combatant might argue that the onion dip shortage was also a direct or indirect consequence of the war, and thus that portion of closing downs should also be attributed to the war, and the significance is again proved significant. This is exactly why I have an intricate negative feeling towards statisticians, me myself included. It is this mindset that bothers me so much at times like when I want to go to the northernmost Mac for no apparent reason. <br />
<br />
Gladly enough, I have learnt to come to terms with my problems. Gladly as well, when I arrived at the parking lot, the lights are on. Neither my inner professional orator nor the business hours are stopping me from having something at the northernmost Mac. <br />
<br />
The not-so-jolly jester, which happens to be the northernmost instance among many of his clones, is sitting on the usual bench enjoying his final few weeks or maybe just days before getting obscured, covered, and finally buried in high quality snow. Then it could well be until next April that the happy face can be seen again. Cheers, mate. <br />
<br />
Not another motor vehicle is in the parking lot, which probably means I will be the only customer at this moment. I get off my truck and realise how I have now entered the effective range of the chilly Okhotsk sea winds, so I grabbed my coat which solves the potential hypothermia problem.<br />
<br />
<br />
Turns out I am the only customer at this moment. I return to the truck with my cheeseburger and nuggets, ready to enjoy the marvels of post-modern humanity which is already not that modern literally. <br />
<br />
There was only one female staffer in the shop. The self-service booths were all out of function. The girl looked like a high school student working part time here and would prefer anything but holding the line against thin air. I thought about chatting with her a bit or maybe even having my food inside of the building, but eventually I said nothing more than necessary to order and pay, and I took the food away.<br />
<br />
At times like these - or more precisely, after times like these, people, I included, might tend to think that they've done something mean, improper, bad, immoral, ..., wrong. In this instance, a more 'appropriate' take might have been initiating a social conversation with the girl. Then I realise I'm just doing what I have always been doing and there is nothing inherently wrong. Not that she was craving so eagerly for any sort of social engagement, and nor was I. <br />
<br />
And I don't blame myself for feeling that initial sense of guilty, even if I deem it irrational now. I think I have been living within a surrounding that is comfortably irrational so some of that way of thinking have contacted me. It's not ideal if I want to live completely logical, but it's acceptable given that I know I am not an automaton.<br />
<br />
Having cleared my needless thoughts, I finally start to consume the already half-cold cheeseburger. The nuggets are unexpectedly hot, I'm quite sure these have stayed in the fryer for more time than they should. Which is fine by me. <br />
<br />
I am totally unsure why I opted for a cheeseburger rather than anything else now. It's not exactly good, and probably a chicken fillet would have been much better. Or probably not. That is yet another needless thought, and I believe I just successfully stopped it from growing into something that is usually considered 'regret'. I am not sure why I opted for the cheeseburger over all the other options (albeit not a lot, really, they've axed many of the old time favourites citing scarcity of everything as a reason.) but I don't regret it. I don't regret most of my decisions.<br />
<br />
I am here even going the extra centimetre to try and dig from my memory one of those decisions that I fully regret. Nothing comes to mind immediately. Thus I hold my statement true: I don't regret most of my decisions. There eventually might be something if I dig deep enough, though, wouldn't rule that out too soon. <br />
<br />
<br />
<br />
Wakkanai is anything but a charm for those expecting activities after night falls. Sapporo still had that last bit of metropolitan madness left when I last went there. It was bad. <br />
<br />
The lack of entertainment, psychological excitement, and physical illuminations is not as uncharming to me as to some. Surely at some point in history Wakkanai also had its trade port-y prosperity (alongside all of the bad aspects of being a prosperous trade port). That still would be a different brand of charm than that of central Sapporo, or the famed... whatever it is, one of those cores of Tokyo which I've never been to. <br />
<br />
I did, for my sins, grow up in a very urban part of Helsinki. At an inappropriate age all things considered. There might have been a world where I enjoyed that lifestyle so much that I already killed myself when Helsinki was reduced to ashes. That is already way too unimaginable at this point. I distanced myself from it, or was distanced from it so much that I cannot even try to go into any kind of realistic detail. <br />
<br />
Wakkanai is very quiet now. In many aspects. Where I am staying was a rather premium hotel. Now it is a place where people come and stay the night and little more than that. The room now is only half of the original room, and I wouldn't easily purchase that a premium hotel used collapsible pipe beds and apparently harshly used tatamis on the pipe beds. The building, in contrary, was sturdily built and is still holding together very impressively, while some of its contemporaries had already crumbled, partly collapsed, or already returned to an empty block of ground. <br />
<br />
Kudos to whoever did the recycling, I'm quite sure the materials are fervorously sought after. The ancient horrors of asbestos are a somewhat obsolete topic nowadays, as those asbestos-insulated buildings are mostly dealt with (properly or not) until two decades ago. What construction and deconstruction tradies face now are walls that have everything integrated: water pipes, gas pipes, high voltage conduits, low voltage conduits, and all other cables or pipes that probably only became a de facto standard for buildings since the 1980s but have persisted ever since. These are not as lethal as the asbestos, but they do render recycling whole builidings way, way more of a hassle. Wasn't really a problem when building materials was abundantly produced and nobody really thought about recycling buildings, but now building materials are not abundant no more. Then there's the problem. But thankfully that's not my problem for today. I don't face work problems off work, never. <br />
<br />
Then again, it really is quiet. No sounds of buildings being taken down, torn apart; no sounds of things being constructed, neither. Of course, wind blows all the time, from time to time a car passes by, and by good or rotten luck I even hear a drunkard producing drunkard noises around. I am doubtful if the guy could live to see the next sunrise but honestly that's not one of my biggest concerns. <br />
<br />
I am tired after all the driving and sightseeing detours. I need to lie down and keep my body in that state for some consecutive hours so my legs can recover. From fatigue, mostly, but also from the injuries that simply refuses to completely check out. Or maybe at this point it's part of the fatigue already. I am not sure.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1094Pastebin2025-10-06T14:37:32Z<p>Mikkeli: </p>
<hr />
<div>Lots of fun!<br />
<br />
<br />
https://www.jcca.or.jp/kaishi/306/306_contents.html<br />
<br />
[https://wals.info/ WALS Online - Home]<br />
<br />
[[wikipedia:Round_the_Horne|Round the Horne - Wikipedia]]<br />
<br />
https://globalhonda.sharepoint.com/sites/jphm100367/ar/Welfare%20portal%20site/SitePages/welfit.aspx<br />
<br />
https://biz.honda.co.jp/fim/sps/hmidpext/saml20/logininitial?RequestBinding=HTTPPost&NameIdFormat=Email&PartnerId=https://www.c-canvas.jp/s/samlsp/honda</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Wakkanai&diff=1093SES: Wakkanai2025-10-06T13:42:49Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
Around the end of September, along the Saropet line.<br />
<br />
== Story ==<br />
It's around 16:00, the skies are becoming slightly darker. I'm not exactly sure if it is really darker because the cloud or the fog fuzzies the remaining sunlight, but judging from the time, it probably is getting darker.<br />
<br />
I open the door and land my feet on the ground for a first time in several hours. It's not always good how human civilisation has retreated from sparsely populated corners like this, but it's good to be able to park wherever and whenever I want to.<br />
<br />
There is no wind, almost. Which is curious. I think nine times out of eight these coasts are terrifyingly windy, and it has something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the land so the air stays mostly stationary. <br />
<br />
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up no more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It's about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It's a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist. The rest is a more virtual, psychological, atmospheric kind of mist, I think.<br />
<br />
Making stops like this will inevitably extend my trip. I have known that though numerous past experiences and now I account for these stops so I won't extend my trips beyond control. And I'm well under control now. There's less than 3 hours to go until I should arrive in Wakkanai. I don't know, though, the reason why I always feel I need to have control. I have always decided to overlook this ignorance, as thinking too deep into it will probably relieve me of any control. One thing I'm probably sure is that keeping my times managed gives me a slight satisfactory sensation.<br />
<br />
I think I've stopped some 10 minutes now. The skies have surely become even one step darker since I last commented on them becoming slightly darker. Darkness is something I don't intuitively like. It could constitute as one reason, analytically, why I am almost paranoid on maintaining control of my trips, timewise. It is simple, if it's dark, it's hard to see things, driving gets tiring, and when tired and driving humans have a higher chance of suffering serious or fatal injury. <br />
<br />
I believe I have a rather negative emotion towards my own death, but I can't find a precise word or simple phrase to describe that. Well, an imperfect approximate would be 'I don't want to die'. This is largely different from what I think I have in mind but is easy to utter, write, or for someone else to understand, so it is the go-to if I have to explain this mundane chain of thought to anyone else. Not that I've actually met a lot of people interested in seeking after such explanations. I think I've only said this to Emms and Sags, and I'm sure they were not especially fond of it. <br />
<br />
But the emotion towards darkness is quite certain for me. I can say with much confidence that I hate darkness - when I'm driving. This hatred does not lend itself to other circumstances i.e. when I'm not driving. I think I enjoy darkness rather wholeheartedly, when I'm not driving. <br />
<br />
I hate tunnels unconditionally, by the way.<br />
<br />
<br />
Having driven for yet another hour, I believe I am finally seeing the lights of Wakkanai. Behind me now is the Bakkai. Yes, ''The'' Bakkai. There probably is nothing significant about it bar the usual local history that every human settlement is cursed to bear. It's just the nearly symmetrical written form, the sound when pronounced in Richard Keys intonation, and the perfectly transliterated Cyrillic notations on the road signs, Баккаи, that fascinate me.<br />
<br />
I believe it's not immoral to like a name only for its phonological and typological properties, and not due to the mediocre history behind it. And what's even better, the Bakkai has now zero residents to issue me any sort of complaint about my potential disrespect to their history and culture, in adjecting with the adjective 'mediocre'. <br />
<br />
Besides, I think I actually like the post-apocalyptic looks of the Bakkai, which had been there even before the apocalyptic - well, maybe not as apocalyptic - war came. Which could well be yet another insult to the residents if there were any. When I arrived there today it was simply too dark to see anything. Not like the Bakkai has any working illumination left.<br />
<br />
<br />
Driving through the Bakkai in its current state should be legitimately classified as a kind of hard labour, and I do not wish to dwell on that further. The initial metropolitan lights finally enter my adjacency in the form of faintly lit hotel advertising boards. Then a fuelling station. The density and intensity of streetlamps increase gradually and stabilise at a level that is rather easy for the eye. <br />
<br />
If I pick my standards adaptively, I am in Wakkanai now. Or maybe the moment when my cockpit reached the edge of the fuel station shed. In more practical standards, I think I'm still some tens of kilometres (and minutes, almost equally) away from where I believed I could spend the night. I stopped caring about my previous prediction of less than 3 hours, because I'm ahead of that by a good margin. <br />
<br />
<br />
And thus, it's time for a break. Maybe not 'thus', a break doesn't depend on or require a good margin of time ahead of schedule. If a consequential construct must be present, I think I would rather nominate simply wanting to go to the northernmost Mac in 'Do as the reason for me to have a break. I don't think this works well as a reason, nor do I want to further elaborate on why I want to go to the northernmost Mac. It just happens to be the northernmost Mac and I just happen to be in close vicinity to it. <br />
<br />
To some, there is an extra layer of significance that it's also the northernmost Mac that survived the war, but that is absolutely not anything significant especially if one takes into consideration that more Macs shut down due to a shortage of onion dip rather than the war. A persistent verbal combatant might argue that the onion dip shortage was also a direct or indirect consequence of the war, and thus that portion of closing downs should also be attributed to the war, and the significance is again proved significant. This is exactly why I have an intricate negative feeling towards statisticians, me myself included. It is this mindset that bothers me so much at times like when I want to go to the northernmost Mac for no apparent reason. <br />
<br />
Gladly enough, I have learnt to come to terms with my problems. Gladly as well, when I arrived at the parking lot, the lights are on. Neither my inner professional orator nor the business hours are stopping me from having something at the northernmost Mac. <br />
<br />
The not-so-jolly jester, which happens to be the northernmost instance among many of his clones, is sitting on the usual bench enjoying his final few weeks or maybe just days before getting obscured, covered, and finally buried in high quality snow. Then it could well be until next April that the happy face can be seen again. Cheers, mate. <br />
<br />
Not another motor vehicle is in the parking lot, which probably means I will be the only customer at this moment. I get off my truck and realise how I have now entered the effective range of the chilly Okhotsk sea winds, so I grabbed my coat which solves the potential hypothermia problem.<br />
<br />
<br />
Turns out I am the only customer at this moment. I return to the truck with my cheeseburger and nuggets, ready to enjoy the marvels of post-modern humanity which is already not that modern literally. <br />
<br />
There was only one female staffer in the shop. The self-service booths were all out of function. The girl looked like a high school student working part time here and would prefer anything but holding the line against thin air. I thought about chatting with her a bit or maybe even having my food inside of the building, but eventually I said nothing more than necessary to order and pay, and I took the food away.<br />
<br />
At times like these - or more precisely, after times like these, people, I included, might tend to think that they've done something mean, improper, bad, immoral, ..., wrong. In this instance, a more 'appropriate' take might have been initiating a social conversation with the girl. Then I realise I'm just doing what I have always been doing and there is nothing inherently wrong. Not that she was craving so eagerly for any sort of social engagement, and nor was I. <br />
<br />
And I don't blame myself for feeling that initial sense of guilty, even if I deem it irrational now. I think I have been living within a surrounding that is comfortably irrational so some of that way of thinking have contacted me. It's not ideal if I want to live completely logical, but it's acceptable given that I know I am not an automaton.<br />
<br />
Having cleared my needless thoughts, I finally start to consume the already half-cold cheeseburger. The nuggets are unexpectedly hot, I'm quite sure these have stayed in the fryer for more time than they should. Which is fine by me. <br />
<br />
I am totally unsure why I opted for a cheeseburger rather than anything else now. It's not exactly good, and probably a chicken fillet would have been much better. Or probably not. That is yet another needless thought, and I believe I just successfully stopped it from growing into something that is usually considered 'regret'. I am not sure why I opted for the cheeseburger over all the other options (albeit not a lot, really, they've axed many of the old time favourites citing scarcity of everything as a reason.) but I don't regret it. I don't regret most of my decisions.<br />
<br />
I am here even going the extra centimetre to try and think of one of those decisions that I fully regret. Nothing comes to mind immediately. Thus I hold my statement, I don't regret most of my decisions. There eventually might be something if I dig deep enough, though, wouldn't rule that out too soon.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Wakkanai&diff=1092SES: Wakkanai2025-10-06T12:32:05Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
Around the end of September, along the Saropet line.<br />
<br />
== Story ==<br />
It's around 16:00, the skies are becoming slightly darker. I'm not exactly sure if it is really darker because the cloud or the fog fuzzies the remaining sunlight, but judging from the time, it probably is getting darker.<br />
<br />
I open the door and land my feet on the ground for a first time in several hours. It's not always good how human civilisation has retreated from sparsely populated corners like this, but it's good to be able to park wherever and whenever I want to.<br />
<br />
There is no wind, almost. Which is curious. I think nine times out of eight these coasts are terrifyingly windy, and it has something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the land so the air stays mostly stationary. <br />
<br />
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up no more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It's about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It's a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist. The rest is a more virtual, psychological, atmospheric kind of mist, I think.<br />
<br />
Making stops like this will inevitably extend my trip. I have known that though numerous past experiences and now I account for these stops so I won't extend my trips beyond control. And I'm well under control now. There's less than 3 hours to go until I should arrive in Wakkanai. I don't know, though, the reason why I always feel I need to have control. I have always decided to overlook this ignorance, as thinking too deep into it will probably relieve me of any control. One thing I'm probably sure is that keeping my times managed gives me a slight satisfactory sensation.<br />
<br />
I think I've stopped some 10 minutes now. The skies have surely become even one step darker since I last commented on them becoming slightly darker. Darkness is something I don't intuitively like. It could constitute as one reason, analytically, why I am almost paranoid on maintaining control of my trips, timewise. It is simple, if it's dark, it's hard to see things, driving gets tiring, and when tired and driving humans have a higher chance of suffering serious or fatal injury. <br />
<br />
I believe I have a rather negative emotion towards my own death, but I can't find a precise word or simple phrase to describe that. Well, an imperfect approximate would be 'I don't want to die'. This is largely different from what I think I have in mind but is easy to utter, write, or for someone else to understand, so it is the go-to if I have to explain this mundane chain of thought to anyone else. Not that I've actually met a lot of people interested in seeking after such explanations. I think I've only said this to Emms and Sags, and I'm sure they were not especially fond of it. <br />
<br />
But the emotion towards darkness is quite certain for me. I can say with much confidence that I hate darkness - when I'm driving. This hatred does not lend itself to other circumstances i.e. when I'm not driving. I think I enjoy darkness rather wholeheartedly, when I'm not driving. <br />
<br />
I hate tunnels unconditionally, by the way.<br />
<br />
<br />
Having driven for yet another hour, I believe I am finally seeing the lights of Wakkanai. Behind me now is the Bakkai. Yes, ''The'' Bakkai. There probably is nothing significant about it bar the usual local history that every human settlement is cursed to bear. It's just the nearly symmetrical written form, the sound when pronounced in Richard Keys intonation, and the perfectly transliterated Cyrillic notations on the road signs, Баккаи, that fascinate me.<br />
<br />
I believe it's not immoral to like a name only for its phonological and typological properties, and not due to the mediocre history behind it. And what's even better, the Bakkai has now zero residents to issue me any sort of complaint about my potential disrespect to their history and culture, in adjecting with the adjective 'mediocre'. <br />
<br />
Besides, I think I actually like the post-apocalyptic looks of the Bakkai, which had been there even before the apocalyptic - well, maybe not as apocalyptic - war came. Which could well be yet another insult to the residents if there were any. When I arrived there today it was simply too dark to see anything. Not like the Bakkai has any working illumination left.<br />
<br />
<br />
Driving through the Bakkai in its current state should be legitimately classified as a kind of hard labour, and I do not wish to dwell on that further. The initial metropolitan lights finally enter my adjacency in the form of faintly lit hotel advertising boards. Then a fuelling station. The density and intensity of streetlamps increase gradually and stabilise at a level that is rather easy for the eye. <br />
<br />
If I pick my standards adaptively, I am in Wakkanai now. Or maybe the moment when my cockpit reached the edge of the fuel station shed. In more practical standards, I think I'm still some tens of kilometres (and minutes, almost equally) away from where I believed I could spend the night. I stopped caring about my previous prediction of less than 3 hours, because I'm ahead of that by a good margin. <br />
<br />
<br />
And thus, it's time for a break. Maybe not 'thus', a break doesn't depend on or require a good margin of time ahead of schedule. If a consequential construct must be present, I think I would rather nominate simply wanting to go to the northernmost Mac in 'Do as the reason for me to have a break. I don't think this works well as a reason, nor do I want to further elaborate on why I want to go to the northernmost Mac. It just happens to be the northernmost Mac and I just happen to be in close vicinity to it. <br />
<br />
To some, there is an extra layer of significance that it's also the northernmost Mac that survived the war, but that is absolutely not anything significant especially if one takes into consideration that more Macs shut down due to a shortage of onion dip rather than the war. A persistent verbal combatant might argue that the onion dip shortage was also a direct or indirect consequence of the war, and thus that portion of closing downs should also be attributed to the war, and the significance is again proved significant. This is exactly why I have an intricate negative feeling towards statisticians, me myself included. It is this mindset that bothers me so much at times like when I want to go to the northernmost Mac for no apparent reason. <br />
<br />
Gladly enough, I have learnt to come to terms with my problems. Gladly as well, when I arrived at the parking lot, the lights are on. Neither my inner professional orator nor the business hours are stopping me from having something at the northernmost Mac. <br />
<br />
The not-so-jolly jester, which happens to be the northernmost instance among many of his clones, is sitting on the usual bench enjoying his final few weeks or maybe just days before getting obscured, covered, and finally buried in high quality snow. Then it could well be until next April that the happy face can be seen again. Cheers, mate. <br />
<br />
Not another motor vehicle is in the parking lot, which probably means I will be the only customer at this moment. I get off my truck and realise how I have now entered the effective range of the chilly Okhotsk sea winds, so I grabbed my coat which solves the potential hypothermia problem.<br />
<br />
<br />
Turns out I am the only customer at this moment. I return to the truck with my cheeseburger and nuggets, ready to enjoy the marvels of post-modern humanity which is already not that modern literally. <br />
<br />
There was only one female staffer in the shop. The self-service booths were all out of function. The girl looked like a high school student working part time here and would prefer anything but holding the line against thin air. I thought about chatting with her a bit or maybe even having my food inside of the building, but eventually I said nothing more than necessary to order and pay, and I took the food away.<br />
<br />
At times like these - or more precisely, after times like these, people, I included, might tend to think that they've done something mean, improper, bad, immoral, ..., wrong. In this instance, a more 'appropriate' take might have been initiating a social conversation with the girl. Then I realise I'm just doing what I have always been doing and there is nothing inherently wrong. Not that she was craving so eagerly for any sort of social engagement, and nor was I. <br />
<br />
And I don't blame myself for feeling that initial sense of guilty, even if I deem it irrational now. I think I have been living within a surrounding that is comfortably irrational so some of that way of thinking have contacted me. It's not ideal if I want to live completely logical, but it's acceptable given that I know I am not an automaton.<br />
<br />
Having cleared my needless thoughts, I finally start to consume the already half-cold cheeseburger. The nuggets are unexpectedly hot, I'm quite sure these have stayed in the fryer for more time than they should. Which is fine by me. <br />
<br />
I am totally unsure how or</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1071Pastebin2025-09-15T23:05:45Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
<br />
https://globalhonda.sharepoint.com/sites/jphm100367/ar/Welfare%20portal%20site/SitePages/welfit.aspx<br />
<br />
https://biz.honda.co.jp/fim/sps/hmidpext/saml20/logininitial?RequestBinding=HTTPPost&NameIdFormat=Email&PartnerId=https://www.c-canvas.jp/s/samlsp/honda<br />
<br />
hysteria2://ebvciQqJ9cmQmpC2@uusimaa:8080/?obfs=salamander&obfs-password=identity'<br />
<br />
hysteria2://bOAgCDf4yUcxGN2G@ny.o:4132/?obfs=salamander&obfs-password=1</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1070Pastebin2025-09-15T23:05:23Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
<br />
https://globalhonda.sharepoint.com/sites/jphm100367/ar/Welfare%20portal%20site/SitePages/welfit.aspx<br />
<br />
https://biz.honda.co.jp/fim/sps/hmidpext/saml20/logininitial?RequestBinding=HTTPPost&NameIdFormat=Email&PartnerId=https://www.c-canvas.jp/s/samlsp/honda<br />
<br />
hysteria2://ebvciQqJ9cmQmpC2@uusimaa:8080/?obfs=salamander&obfs-password=identity'<br />
<br />
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<br />
<br />
hysteria2://very_strong_password@novoyuuparosk.org:4321/?obfs=salamander&obfs-password=yetAnotherG00dPassword</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1069Pastebin2025-08-31T23:48:01Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
<br />
https://globalhonda.sharepoint.com/sites/jphm100367/ar/Welfare%20portal%20site/SitePages/welfit.aspx<br />
<br />
https://biz.honda.co.jp/fim/sps/hmidpext/saml20/logininitial?RequestBinding=HTTPPost&NameIdFormat=Email&PartnerId=https://www.c-canvas.jp/s/samlsp/honda<br />
<br />
hysteria2://ebvciQqJ9cmQmpC2@uusimaa:8080/?obfs=salamander&obfs-password=identity'<br />
<br />
hysteria2://bOAgCDf4yUcxGN2G@ny.o:4132/?obfs=salamander&obfs-password=1</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1062Pastebin2025-08-25T03:43:36Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
<br />
顺丰 SF3287406383837<br />
<br />
WAN ZIYU，18905426269，山东省 青岛市 李沧区 #KDXDRJQQ#青岛市李沧区临汾路75号锦丽苑中邮TB驿站@Q68OZF<br />
<br />
<br />
https://globalhonda.sharepoint.com/sites/jphm100367/ar/Welfare%20portal%20site/SitePages/welfit.aspx<br />
<br />
https://biz.honda.co.jp/fim/sps/hmidpext/saml20/logininitial?RequestBinding=HTTPPost&NameIdFormat=Email&PartnerId=https://www.c-canvas.jp/s/samlsp/honda<br />
<br />
hysteria2://ebvciQqJ9cmQmpC2@uusimaa:8080/?obfs=salamander&obfs-password=identity'<br />
<br />
hysteria2://bOAgCDf4yUcxGN2G@ny.o:4132/?obfs=salamander&obfs-password=1</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1061Pastebin2025-08-25T03:42:40Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
<br />
<br />
https://globalhonda.sharepoint.com/sites/jphm100367/ar/Welfare%20portal%20site/SitePages/welfit.aspx<br />
<br />
https://biz.honda.co.jp/fim/sps/hmidpext/saml20/logininitial?RequestBinding=HTTPPost&NameIdFormat=Email&PartnerId=https://www.c-canvas.jp/s/samlsp/honda<br />
<br />
hysteria2://ebvciQqJ9cmQmpC2@uusimaa:8080/?obfs=salamander&obfs-password=identity'<br />
<br />
hysteria2://bOAgCDf4yUcxGN2G@ny.o:4132/?obfs=salamander&obfs-password=1</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1059Pastebin2025-08-22T03:23:57Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
<br />
WAN ZIYU，18905426269，山东省 青岛市 李沧区 #KDXDRJQQ#青岛市李沧区临汾路75号锦丽苑中邮TB驿站@Q68OZF<br />
<br />
https://globalhonda.sharepoint.com/sites/jphm100367/ar/Welfare%20portal%20site/SitePages/welfit.aspx<br />
<br />
https://biz.honda.co.jp/fim/sps/hmidpext/saml20/logininitial?RequestBinding=HTTPPost&NameIdFormat=Email&PartnerId=https://www.c-canvas.jp/s/samlsp/honda<br />
<br />
hysteria2://ebvciQqJ9cmQmpC2@uusimaa:8080/?obfs=salamander&obfs-password=identity'<br />
<br />
hysteria2://bOAgCDf4yUcxGN2G@ny.o:4132/?obfs=salamander&obfs-password=1</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin2&diff=1058Pastebin22025-08-21T11:56:18Z<p>Mikkeli: Created page with "For interesting things to view in work <nowiki>https://zerokey.com/quantum-rtls/?utm_term=&utm_campaign=Performance-Max-First&utm_source=adwords&utm_medium=ppc&hsa_acc=7079635611&hsa_cam=21796073721&hsa_grp=&hsa_ad=&hsa_src=&hsa_tgt=&hsa_kw=&hsa_mt=&hsa_net=adwords&hsa_ver=3&gad_source=1&gad_campaignid=21802446398&gclid=Cj0KCQjwh5vFBhCyARIsAHBx2wxHFierV_31exIYsc-bv5wT9kmRHszM5zS3X0CH7FQJqZYW2wplM7gaAjd5EALw_wcB</nowiki>"</p>
<hr />
<div>For interesting things to view in work<br />
<br />
<br />
<nowiki>https://zerokey.com/quantum-rtls/?utm_term=&utm_campaign=Performance-Max-First&utm_source=adwords&utm_medium=ppc&hsa_acc=7079635611&hsa_cam=21796073721&hsa_grp=&hsa_ad=&hsa_src=&hsa_tgt=&hsa_kw=&hsa_mt=&hsa_net=adwords&hsa_ver=3&gad_source=1&gad_campaignid=21802446398&gclid=Cj0KCQjwh5vFBhCyARIsAHBx2wxHFierV_31exIYsc-bv5wT9kmRHszM5zS3X0CH7FQJqZYW2wplM7gaAjd5EALw_wcB</nowiki></div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1049Pastebin2025-08-03T08:00:44Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
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<div>nuttin yet!<br />
<br />
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hysteria2://ebvciQqJ9cmQmpC2@uusimaa:8080/?obfs=salamander&obfs-password=identity</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1047Pastebin2025-08-02T17:17:46Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
<br />
<br />
hysteria2://ebvciQqJ9cmQmpC2@uusimaa.novoyuuparosk.org:8080/?obfs=salamander&obfs-password=identity</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1046Pastebin2025-08-02T16:11:40Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!<br />
<br />
<br />
hysteria2://ebvciQqJ9cmQmpC2@uusimaa.novoyuuparosk.org:8080/?obfs=salamander&obfs-password=1dent1ty</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1045Pastebin2025-07-30T00:02:50Z<p>Mikkeli: </p>
<hr />
<div>nuttin yet!</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1044Pastebin2025-07-29T23:59:57Z<p>Mikkeli: </p>
<hr />
<div>https://limewire.com/d/BywTh#41TlaFPAwI</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1043Pastebin2025-07-29T23:53:18Z<p>Mikkeli: </p>
<hr />
<div>http://novoyuuparosk.org:801/BS.pdf<br />
<br />
https://drive.google.com/file/d/1CmzuveMBTZ6iR_lY3vEGxm4-g93Q35Rv/view?usp=sharing</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Pastebin&diff=1042Pastebin2025-07-29T23:47:50Z<p>Mikkeli: Created page with "https://drive.google.com/file/d/1CmzuveMBTZ6iR_lY3vEGxm4-g93Q35Rv/view?usp=sharing"</p>
<hr />
<div>https://drive.google.com/file/d/1CmzuveMBTZ6iR_lY3vEGxm4-g93Q35Rv/view?usp=sharing</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Horokanai&diff=1041SES: Horokanai2025-07-09T13:42:33Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
End of September, from Enbetsu to Horokanai.<br />
<br />
== Story ==<br />
I always hated tunnels. Especially the tunnels of Hokkaido highways. Gone with the bureaucracy that only collects tolls to drink for 90% of the time, but still take their precious 10% to pay someone else to maintain the tunnels and roads, are the well maintained tunnels and the roads. These tunnels used to have lighting that emulate a smoother transition from light to darkness when you enter the tunnel, or vice versa. Now that the highways are only maintained by semi-volunteers. And not-so-high ways, too. <br />
<br />
We don't have the luxury to keep those transitional lightings no more. But more essential and less noticed aspects are being highly respected. The ventilations. Whoever's been giving these tunnels some extended life has done rather well, I can tell. Or maybe they're just good at vents and not so good at lightings. That happens when the best hands you have are semi-professional. <br />
<br />
I don't think I'm good at either ventilations or lightings. Maybe that's why I rarely gets tunnel jobs and when I rarely gets one I turn it down. There's no shame in it, though. I like a world where you try your best and still fail sometimes and most others understand.<br />
<br />
That said, I'm totally not about working on roads now.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Horokanai&diff=1040SES: Horokanai2025-07-07T15:59:51Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
End of September, from Enbetsu to Horokanai.<br />
<br />
== Story ==<br />
I always hated tunnels. Especially the tunnels of Hokkaido highways. Gone with the bureaucracy that only collects tolls to drink for 90% of the time, but still take their precious 10% to pay someone else to maintain the tunnels and roads, are the well maintained tunnels and the roads. These tunnels used to have lighting that emulate a smoother transition from light to darkness when you enter the tunnel, or vice versa. Now that the highways are only maintained by half volunteers</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Horokanai&diff=1039SES: Horokanai2025-07-07T15:59:02Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
End of September, from Enbetsu to Horokanai.<br />
<br />
== Story ==<br />
I always hated tunnels. Especially the tunnels of Hokkaido highways. Gone with the bureaucracy that only collects tolls for 90% of the time but still take their precious 10% to pay people who maintain the tunnels and the roads, are the well maintained tunnels and the roads. These tunnels used to have lighting that emulate a smoother transition from light to darkness when you enter the tunnel, or vice versa. Now that the highways are only maintained by half volunteers</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Shirokaba_Express_Service&diff=1038Shirokaba Express Service2025-07-07T15:58:47Z<p>Mikkeli: </p>
<hr />
<div>[[Category:SES]]<br />
This is the new project name for the light...maybe novel...maybe story, project. Once upon a time it was called the Novoyuuparosk Radio or something like that. But we have minor to major changes and tweaks all along the way. So here it is now. I wonder if this will further change in the future. <br />
<br />
== Quick notes ==<br />
Move to [[SES: Settings]] when this becomes too long.<br />
<br />
'''Shirokaba Express Service?'''<br />
<br />
Name of the band formed by Emy (Whyte), Niina (Koivisto), and Jun (Sagawa). They were far from legendary but some people do know at least the name. A lesser amount of people also listened to their releases.<br />
<br />
The name is now kind of 'gifted' to Niina and is used as a mock pseudonym. When she does things good or bad.<br />
<br />
Whyte and Sagawa adopted a new name of []. <br />
<br />
'''Niina Koivisto?'''<br />
<br />
Forester by trade and traveler by nature, or vice versa. The rare breed that can both drive and fix a manual car and a forklift.<br />
<br />
Enjoyer of roads. Broadcaster of the mystical Novoyuuparosk Radio.<br />
<br />
Also a part-time 'roader', one who maintains the roads after the government kicked the buckets.<br />
<br />
Her ride is a 20<br />
<br />
'''Emy Whyte-Iwami?'''<br />
<br />
Former band-mate of Niina... is a bit overexaggerating. The SES released but one EP which technically would have expanded over 2 EP records if it were to be made into records.<br />
<br />
She learned computer science, more precisely combined sensory neural network robot controls. But it doesn't matter no more because she's a full time musician now. It's not too surprising that musicians can still go full-time even with a major world war ending recently. They earn more than computer scientists.<br />
<br />
'''Sagawa Jun?'''<br />
<br />
The less charismatic but probably most charismatic one in the trio of SES. Enigmatic in a gender sense, but is stonewall biologically female and mentally lesbo (confirmed). <br />
<br />
Unsurprisingly (to some), she is not and never had affiliated with Emy or Niina in a romantic or sexual sense. Even though she's still with Emy doing band things now, 10 years after the dissolution of SES. <br />
<br />
== Meta section: what is this about? ==<br />
Environmental ideas, musical ideas, philosophical ideas, I don't know.<br />
<br />
One thing I'm pretty sure is that some solid things must be done. Ideas don't exist on their own.<br />
<br />
Maybe your traditional short story collection. That won't be bad and is very extendable.<br />
<br />
== Abstract / Intro ==<br />
6 years after the Second Third World War that ended up in essentially nothing significant, life goes on for Niina Koivisto.<br />
<br />
She travels the largely unscathed lands of Hokkaido, which due to the recession of Japan when it was still a single state, is now a very green island. Literally green. Well at least in summer.<br />
<br />
A downside of having very, very sparse population is that you can't expect any decent enough infrastructure. But Niina is ethnically, at least partially, Finnish, so that is not a very serious problem.<br />
<br />
'''An important setting is about 'roaders'.''' Like nothing else. The roads <br />
<br />
== Contents (?) ==<br />
[[SES: Kushiro]]<br />
<br />
[[SES: Taiki]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Shirokaba_Express_Service&diff=1037Shirokaba Express Service2025-07-03T15:58:47Z<p>Mikkeli: </p>
<hr />
<div>[[Category:SES]]<br />
This is the new project name for the light...maybe novel...maybe story, project. Once upon a time it was called the Novoyuuparosk Radio or something like that. But we have minor to major changes and tweaks all along the way. So here it is now. I wonder if this will further change in the future. <br />
<br />
== Quick notes ==<br />
Move to [[SES: Settings]] when this becomes too long.<br />
<br />
'''Shirokaba Express Service?'''<br />
<br />
Name of the band formed by Emy (Whyte), Niina (Koivisto), and Jun (Sagawa). They were far from legendary but some people do know at least the name. A lesser amount of people also listened to their releases.<br />
<br />
The name is now kind of 'gifted' to Niina and is used as a mock pseudonym. When she does things good or bad.<br />
<br />
Whyte and Sagawa adopted a new name of []. <br />
<br />
'''Niina Koivisto?'''<br />
<br />
Forester by trade and traveler by nature, or vice versa. The rare breed that can both drive and fix a manual car and a forklift.<br />
<br />
Enjoyer of roads. Broadcaster of the mystical Novoyuuparosk Radio.<br />
<br />
Also a part-time 'roader', one who maintains the roads after the government kicked the buckets.<br />
<br />
'''Emy Whyte-Iwami?'''<br />
<br />
Former band-mate of Niina... is a bit overexaggerating. The SES released but one EP which technically would have expanded over 2 EP records if it were to be made into records.<br />
<br />
She learned computer science, more precisely combined sensory neural network robot controls. But it doesn't matter no more because she's a full time musician now. It's not too surprising that musicians can still go full-time even with a major world war ending recently. They earn more than computer scientists.<br />
<br />
'''Sagawa Jun?'''<br />
<br />
The less charismatic but probably most charismatic one in the trio of SES. Enigmatic in a gender sense, but is stonewall biologically female and mentally lesbo (confirmed). <br />
<br />
Unsurprisingly (to some), she is not and never had affiliated with Emy or Niina in a romantic or sexual sense. Even though she's still with Emy doing band things now, 10 years after the dissolution of SES. <br />
<br />
== Meta section: what is this about? ==<br />
Environmental ideas, musical ideas, philosophical ideas, I don't know.<br />
<br />
One thing I'm pretty sure is that some solid things must be done. Ideas don't exist on their own.<br />
<br />
Maybe your traditional short story collection. That won't be bad and is very extendable.<br />
<br />
== Abstract / Intro ==<br />
6 years after the Second Third World War that ended up in essentially nothing significant, life goes on for Niina Koivisto.<br />
<br />
She travels the largely unscathed lands of Hokkaido, which due to the recession of Japan when it was still a single state, is now a very green island. Literally green. Well at least in summer.<br />
<br />
A downside of having very, very sparse population is that you can't expect any decent enough infrastructure. But Niina is ethnically, at least partially, Finnish, so that is not a very serious problem.<br />
<br />
'''An important setting is about 'roaders'.''' Like nothing else. The roads <br />
<br />
== Contents (?) ==<br />
[[SES: Kushiro]]<br />
<br />
[[SES: Taiki]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Horokanai&diff=1036SES: Horokanai2025-07-03T15:47:41Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
End of October, from Enbetsu to Horokanai.<br />
<br />
== Story ==<br />
I always hated tunnels. Especially the tunnels of Hokkaido highways. Gone with the bureaucracy that only collects tolls for 90% of the time but still take their precious 10% to pay people who maintain the tunnels and the roads, are the well maintained tunnels and the roads. These tunnels used to have lighting that emulate a smoother transition from light to darkness when you enter the tunnel, or vice versa. Now that the highways are only maintained by half volunteers</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Niina_Koivisto&diff=1035Niina Koivisto2025-07-03T12:50:19Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
{{KoivistoCharacter<br />
| name = Niina Koivisto<br />
| birth_place = [[wikpedia:Helsinki, Finland|Helsinki]], Finland<br />
| occupation = {{flatlist|<br />
* Songwriter<br />
* [[wikipedia:Forester|Forester]]<br />
}}<br />
| birth_date = {{birth date and age|mf=yes|1996|07|19}}<br />
| instrument = {{flatlist|<br />
* Vocals<br />
* Cajon<br />
* Drum machine<br />
}}<br />
| genre = {{flatlist|<br />
* [[wikipedia:Post-punk|Post-punk]]<br />
* [[wikipedia:Post-rock|Post-rock]]<br />
* [[wikipedia:Humppa|Humppa]]<br />
}}<br />
}}<br />
<br />
Niina Koivisto is a Finnish forester who was also a member of the post-punk band [[Shirokaba Express Service]].<br />
<br />
=Early Life=<br />
<br />
Niina Koivisto was born in Helsinki, Finland in 1996. She spent her childhood in Finland before moving to Nottingham, England in 2013 following a work transfer of her father, Jukka Koivisto.<br />
<br />
In 2014, Koivisto enrolled at Hokkaido University. Majoring in [[wikipedia:Forestry|forestry]], sheand graduated in 2018. During her university years, she co-founded the post-punk band [[Shirokaba Express Service]] alongside [[Emi Whyte-Iwami]]. Koivisto is currently employed as a forestry engineer in Hokkaido. <br />
<br />
=Musical Activities=<br />
==Shirokaba Express Service==<br />
<br />
==Nyland Communal Motor Repairs==<br />
After leaving Shirokaba Express Service, Koivisto continued to publish songs under the name Nyland Communal Motor Repairs (NCMR). Compared to the post-punk textures heard in Shirokaba Express Service, the NCMR songs often employ more traditional and folk instruments as well as incorporate folk elements such as Humppa and Polka. <br />
<br />
=Personal Life=</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Horokanai&diff=1034SES: Horokanai2025-07-03T12:49:39Z<p>Mikkeli: Created page with "category:SES == Note == End of October, from Enbetsu to Horokanai. == Story == I always hated tunnels. Especially the tunnels of Hokkaido highways."</p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
End of October, from Enbetsu to Horokanai.<br />
<br />
== Story ==<br />
I always hated tunnels. Especially the tunnels of Hokkaido highways.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Wakkanai&diff=1033SES: Wakkanai2025-07-03T12:47:58Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
Around the end of September, along the Saropet line.<br />
<br />
== Story ==<br />
It's around 16:00, the skies are becoming slightly darker. I'm not exactly sure if it is really darker because the cloud or the fog fuzzies the remaining sunlight, but judging from the time, it probably is getting darker.<br />
<br />
I open the door and land my feet on the ground for a first time in several hours. It's not always good how human civilisation has retreated from corners like this into the more hopeful settlements, but it's good to be able to park wherever and whenever I want to.<br />
<br />
There is no wind, almost. Which is curious. I think nine times out of eight these coasts are terrifyingly windy, and it has something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the land so the air stays mostly stationary. <br />
<br />
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up any more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It's about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It's a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist. The rest is a more virtual, sensational atmospheric kind of mist, I think.<br />
<br />
Making stops like this will inevitably extend my trip. I have know that though numerous past experiences and now I account for these stops so I won't extend my trips beyond control. And I'm well under control now.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=GQuuuuuuX%E8%A7%82%E5%90%8E%E6%84%9F&diff=1032GQuuuuuuX观后感2025-06-25T13:14:07Z<p>Mikkeli: Created page with "讨论度无疑挺高的，还好我基本没看别人讨论。"</p>
<hr />
<div>讨论度无疑挺高的，还好我基本没看别人讨论。</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Wakkanai&diff=1031SES: Wakkanai2025-06-10T12:30:33Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
Around the end of September, along the Saropet line.<br />
<br />
== Story ==<br />
It's around 16:00, the skies are becoming slightly darker. I'm not exactly sure if it is really darker because the cloud or the fog fuzzies the remaining sunlight, but judging from the time, it probably is getting darker.<br />
<br />
I open the door and land my feet on the ground for a first time in several hours. It's not always good how human civilisation has retreated from corners like this into the more hopeful settlements, but it's good to be able to park wherever and whenever I want to.<br />
<br />
There is no wind, almost. Which is curious. I think nine times out of eight these coasts are terrifyingly windy, and it has something to do with the air pressure difference and stuff. Maybe sometimes you just get the perfect balance between the sea and the land so the air stays mostly stationary. <br />
<br />
The reeds along the coastline wave even to this slightest movement of air. I think they have been blown around for so long that their default state is not straight up any more. The reeds point towards various directions at various angles, or I should say, azimuths. The sun emits its electrons from behind the clouds and maybe also fog from an even lower place. It's about to go under the horizon. But before that eventually happens, the light does not change drastically. Especially when the light is being dispersed, diffracted, diffused by all the clouds and the fog. It's a very smooth and subtle light, with an almost mist-like texture. Well, part of the atmosphere is probably really mist.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Wakkanai&diff=1030SES: Wakkanai2025-06-09T04:23:59Z<p>Mikkeli: </p>
<hr />
<div>[[category:SES]]<br />
<br />
== Note ==<br />
Around the end of September, along the Saropet line.<br />
<br />
== Story ==<br />
It's around 16:00, the skies are becoming slightly darker. I'm not exactly sure if it is really darker because the cloud or the fog fuzzies the remaining sunlight, but judging from the time, it probably is getting darker.<br />
<br />
I open the door and land my feet on the ground for a first time in several hours. It's not always good how human civilisation has retreated from corners like this into the more hopeful settlements, but it's good to be able to park wherever and whenever I want to.<br />
<br />
There is no wind, almost. Which is curious.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Wakkanai&diff=1029SES: Wakkanai2025-06-09T04:19:55Z<p>Mikkeli: Created page with "category:SES"</p>
<hr />
<div>[[category:SES]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Taiki&diff=1028SES: Taiki2025-06-02T14:24:05Z<p>Mikkeli: </p>
<hr />
<div>[[Category:SES]]<br />
So I have arrived. Taiki. Years ago they were really launching rockets around here, and the rumours are they are about to return to doing exactly that.<br />
<br />
For me, the rocket science is more than rumours. An acquaintance actually sent me an mail inviting me to join their rocketry effort. Of course we both know that I'm not a rocket scientist. He asked if I could come and advise on using different lumber in their new satellites. I read about wooden sats. I never thought that they would be a realistic option unless you have no better materials. And it seems like they didn't have better materials. At least for the amount they were planning.<br />
<br />
'I can go but I'm less convinced than you are and I would like advanced payments. At least for the trip.' And he, well, on behalf of their group, said OK. So I took the trip.<br />
<br />
The town of Taiki probably was never in prosperity. But nowhere that is still populated here would be worse than Yuubari. Still, I drove</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=SES:_Taiki&diff=1027SES: Taiki2025-06-02T14:10:50Z<p>Mikkeli: Created page with "Category:SES"</p>
<hr />
<div>[[Category:SES]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Shirokaba_Express_Service&diff=1026Shirokaba Express Service2025-06-02T14:10:30Z<p>Mikkeli: </p>
<hr />
<div>[[Category:SES]]<br />
This is the new project name for the light...maybe novel...maybe story, project. Once upon a time it was called the Novoyuuparosk Radio or something like that. But we have minor to major changes and tweaks all along the way. So here it is now. I wonder if this will further change in the future. <br />
<br />
== Quick notes ==<br />
Move to [[SES: Settings]] when this becomes too long.<br />
<br />
'''Shirokaba Express Service?'''<br />
<br />
Name of the band formed by Emy (Whyte), Niina (Koivisto), and Jun (Sagawa). They were far from legendary but some people do know at least the name. A lesser amount of people also listened to their releases.<br />
<br />
The name is now kind of 'gifted' to Niina and is used as a mock pseudonym. When she does things good or bad.<br />
<br />
Whyte and Sagawa adopted a new name of []. <br />
<br />
'''Niina Koivisto?'''<br />
<br />
Forester by trade and traveler by nature, or vice versa. The rare breed that can both drive and fix a manual car and a forklift.<br />
<br />
Enjoyer of roads. Broadcaster of the mystical Novoyuuparosk Radio.<br />
<br />
'''Emy Whyte-Iwami?'''<br />
<br />
Former band-mate of Niina... is a bit overexaggerating. The SES released but one EP which technically would have expanded over 2 EP records if it were to be made into records.<br />
<br />
She learned computer science, more precisely combined sensory neural network robot controls. But it doesn't matter no more because she's a full time musician now. It's not too surprising that musicians can still go full-time even with a major world war ending recently. They earn more than computer scientists.<br />
<br />
'''Sagawa Jun?'''<br />
<br />
The less charismatic but probably most charismatic one in the trio of SES. Enigmatic in a gender sense, but is stonewall biologically female and mentally lesbo (confirmed). <br />
<br />
Unsurprisingly (to some), she is not and never had affiliated with Emy or Niina in a romantic or sexual sense. Even though she's still with Emy doing band things now, 10 years after the dissolution of SES. <br />
<br />
== Meta section: what is this about? ==<br />
Environmental ideas, musical ideas, philosophical ideas, I don't know.<br />
<br />
One thing I'm pretty sure is that some solid things must be done. Ideas don't exist on their own.<br />
<br />
Maybe your traditional short story collection. That won't be bad and is very extendable.<br />
<br />
== Abstract / Intro ==<br />
6 years after the Second Third World War that ended up in essentially nothing significant, life goes on for Niina Koivisto.<br />
<br />
She travels the largely unscathed lands of Hokkaido, which due to the recession of Japan when it was still a single state, is now a very green island. Literally green. Well at least in summer.<br />
<br />
A downside of having very, very sparse population is that you can't expect any decent enough infrastructure. But Niina is ethnically, at least partially, Finnish, so that is not a very serious problem.<br />
<br />
== Contents (?) ==<br />
[[SES: Kushiro]]<br />
<br />
[[SES: Taiki]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Shirokaba_Express_Service&diff=1025Shirokaba Express Service2025-06-02T14:09:42Z<p>Mikkeli: </p>
<hr />
<div>[[Category:SES]]<br />
This is the new project name for the light...maybe novel...maybe story, project. Once upon a time it was called the Novoyuuparosk Radio or something like that. But we have minor to major changes and tweaks all along the way. So here it is now. I wonder if this will further change in the future. <br />
<br />
== Quick notes ==<br />
Move to [[SES: Settings]] when this becomes too long.<br />
<br />
'''Shirokaba Express Service?'''<br />
<br />
Name of the band formed by Emy (Whyte), Niina (Koivisto), and Jun (Sagawa). They were far from legendary but some people do know at least the name. A lesser amount of people also listened to their releases.<br />
<br />
The name is now kind of 'gifted' to Niina and is used as a mock pseudonym. When she does things good or bad.<br />
<br />
Whyte and Sagawa adopted a new name of []. <br />
<br />
'''Niina Koivisto?'''<br />
<br />
Forester by trade and traveler by nature, or vice versa. The rare breed that can both drive and fix a manual car and a forklift.<br />
<br />
Enjoyer of roads. Broadcaster of the mystical Novoyuuparosk Radio.<br />
<br />
'''Emy Whyte-Iwami?'''<br />
<br />
Former band-mate of Niina... is a bit overexaggerating. The SES released but one EP which technically would have expanded over 2 EP records if it were to be made into records.<br />
<br />
She learned computer science, more precisely combined sensory neural network robot controls. But it doesn't matter no more because she's a full time musician now. It's not too surprising that musicians can still go full-time even with a major world war ending recently. They earn more than computer scientists.<br />
<br />
'''Sagawa Jun?'''<br />
<br />
The less charismatic but probably most charismatic one in the trio of SES. Enigmatic in a gender sense, but is stonewall biologically female and mentally lesbo (confirmed). <br />
<br />
Unsurprisingly (to some), she is not and never had affiliated with Emy or Niina in a romantic or sexual sense. Even though she's still with Emy doing band things now, 10 years after the dissolution of SES. <br />
<br />
== Meta section: what is this about? ==<br />
Environmental ideas, musical ideas, philosophical ideas, I don't know.<br />
<br />
One thing I'm pretty sure is that some solid things must be done. Ideas don't exist on their own.<br />
<br />
Maybe your traditional short story collection. That won't be bad and is very extendable.<br />
<br />
== Abstract / Intro ==<br />
6 years after the Second Third World War that ended up in essentially nothing significant, life goes on for Niina Koivisto.<br />
<br />
She travels the largely unscathed lands of Hokkaido, which due to the recession of Japan when it was still a single state, is now a very green island. Literally green. Well at least in summer.<br />
<br />
A downside of having very, very sparse population is that you can't expect any decent enough infrastructure. But Niina is ethnically, at least partially, Finnish, so that is not a very serious problem.<br />
<br />
== Contents (?) ==<br />
[[SES: Kushiro]]</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Looking_into_You_and_me_(ry_and_a_brand_new_translation&diff=1024Looking into You and me (ry and a brand new translation2025-06-02T09:09:34Z<p>Mikkeli: /* Going a bit meta yet again */</p>
<hr />
<div><br />
<br />
[[Category:kairo]]<br />
I made more than one effort to translate 君と私と穏やかな旅, into sing-able lyrics or not. No harm giving it yet another go.<br />
<br />
Translating could be about finding corresponding words and phrases and putting them together, but not necessarily in here. As You (ry is a song I like so much I want to give it my own explanation this time. I see it as kind of an obligation as a singing (sort of) kairo fan.<br />
<br />
This version is created with the help of ChatGPT-4o. Guy is better at any language than I am but probably not at thinking. I do the thinking myself.<br />
<br />
== Original Lyrics ==<br />
いつか見た夢の話<br />
<br />
遠い遠い国のこと<br />
<br />
仕舞い忘れた<br />
<br />
私たちの旅<br />
<br />
<br />
<br />
忘れ物 置いてきた<br />
<br />
網棚の上にあった<br />
<br />
<br />
<br />
まだ時間が<br />
<br />
かかるみたい<br />
<br />
寝てていいよ<br />
<br />
ほら肩にもたれて<br />
<br />
<br />
<br />
深い深い眠りに落ちると<br />
<br />
聞こえるの<br />
<br />
ほら懐かしい声<br />
<br />
君の声<br />
<br />
<br />
<br />
二人ならどこまででも<br />
<br />
行けると信じていると<br />
<br />
笑う君を<br />
<br />
ああ愛しいと思う<br />
<br />
<br />
<br />
流れてく景色<br />
<br />
揺れる列車とこの思いが<br />
<br />
紡ぐ旅に<br />
<br />
今は身を任せよ<br />
<br />
<br />
<br />
二人で歩けないなら<br />
<br />
そこに意味はないんだと<br />
<br />
泣いた君を<br />
<br />
ああ美しいと思う<br />
<br />
<br />
<br />
境界を越えて届け<br />
<br />
あの日の記憶の欠片<br />
<br />
いつか思い出すよ<br />
<br />
この旅路を<br />
<br />
== Elaboration before the truncation ==<br />
Rinki [https://rinkisorami.wordpress.com/2018/02/13/%e6%ad%8c%e8%a9%9e%e8%a7%a3%e9%87%88%ef%bc%9a%e5%9b%9e%e8%b7%af-kairo-the-world-is-too-smallwide-we-are-to-live-comfortably-25-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b/ <nowiki>[1]</nowiki>] has done his part unsurprisingly. Also Shion [https://foregroundnoises.wordpress.com/2015/08/16/%e5%9b%9e%e8%b7%af-kairo-556t-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b%e3%81%aa%e6%97%85/ <nowiki>[2]</nowiki>] has done this translation into English though a) he didn't give much explanation as it was only a translation, b) it wasn't really sing-able, c) one important line is not right according to the booklet (列車とこの思いが紡ぐ旅に今は身を任せよ). But there's the tradeoff. My version here will definitely veer more away from the original, so it's not a bad idea to cross-reference.<br />
<br />
As we all know, the song probably is about Renko and Merry and is a Renmerry song by design. The good thing about the song however is that it doesn't have to be Renmerry all that much. It could be a very general yuri song but it roots in a specific pair of characters. Also the Renko and Merry here are heavily kairo influenced (refer to Rinki's ''the world'' analyses for more on this if you, the dear reader, would love to). I think that's one aspect I like very much. <br />
<br />
'''Therefore, I will take the liberty to read and interpret this song as a narrative of its own, independent from underlying concept story for ''the world is too small (wide) we are to live comfortably''''' (which Rinki did a very good and respectable job on). Kind of for the sake of it, but honestly speaking I can't be arsed to cite a whole album or two now. I want to focus more on the kairo vibes. The atmosphere. Or how I interpret that thingy. <br />
<br />
=== Going a bit meta... ===<br />
We should not forget that this song actually outdates a large portion of Kairo, being first released in the VA album ''幻想邂逅憧憬夜行'' by 天狗の舞 in 2010-11-28. The song itself is most probably written before that unless kegani possessed time travelling technologies. Which he probably didn't have. <br />
<br />
One could think that the ''the world'' album is an extension centered around this specific song. At least that is my selfish view on this subject. Nevertheless, 君と私と穏やかな旅 is an important pivot or pillar or pin or whatever about ''the world''. The least I would think it as is simply a ''product'', or a mere ''part'' of ''the world is small (wide) we are to live comfortably''. It's definitely beyond that.<br />
<br />
This leads me to consider the song itself more from a untangled aspect - untangled from the album, from Renmerry, even from Touhou. But I don't untangle it from kairo, or it'll be pointless. On the contrary it's also such a kairo song. Let me quote something:<blockquote>はじめに、物語があった。次に、音が生まれた。<br />
<br />
そこに色が咲いて、やがて、全てが景色になった。<br />
<br />
さあ、一緒に旅をしましょう。<br />
<br />
世界はいつだって優しくて残酷で、それでいて美しいのです。<br />
<br />
''- https://www.audioleaf.com/kairo/''</blockquote>You have the story, the sound (voice), the sceneries, the journey, the cruel yet tender and thus beautiful world. What's more kairo than that?<br />
<br />
Steering back one bit, surely the ''the world'' interpretation can fit the song. It's certainly a very good answer in a myriad of such answers. What I am trying to do here, this time, is to give a different yet equally good answer or two.<br />
=== Who's there? ===<br />
We have here a very simple you-me structure. I don't see a third entity existing or necessary, and that will be one of the premises of my analysis. Otherwise it'll get troublesome. <br />
<br />
I consider the psychedelia in this song rooting in the intentional vagueness of the narrative perspective, and the temporal order of each part (or even each event). There's only you or I, sure, but you here might be I (me) over there, and vice versa.<br />
<br />
For reference, Rinki's opinion which is mostly based on the integrity of ''the world'', is that this song is about an amnesiac Renko partly remembering Merry and the journeys. I think that is a rather solid interpretation based on the album storyline. But the song has more potential than that.<br />
<br />
=== The ambiguity of perspectives and timeframes ===<br />
<br />
<br />
== The new translation ==<br />
You know there was a dream I had long ago<br />
<br />
Of a somewhere that's been far away<br />
<br />
And a journey for the two of us<br />
<br />
An end I have yet to let you see<br />
<br />
<br />
=== A bit of an explanation ===<br />
<br />
==== verse 1 ====<br />
I see three entities listed here. The dream (of somewhere far away), the journey, and the end. They are kind of just plainly displayed there without very strong suggestions or implications of correlations.<br />
<br />
I am conviced that 仕舞い忘れた has a more active tone i.e. more like 'I forgot to put an end to it' rather than 'I forgot the end of it'. And that's what I went for in my translation. However, Japanese loves dropping subjects so it's not explicitated who is going to but haven't put this end. I personally chose to base the whole song in a single perspective (and it's Renko), and I decided that it's 'I' who will perform this ritual conclusion.<br />
<br />
== Going a bit meta yet again ==<br />
The kairo entry in the... one of the toranoana compilation albums, ''remember'', can be considered a message inside the Touhou context as well as independent from that. Simply said, that one has a similar spirit to ''pulse'', 'I am gone but you would remember me'.<br />
<br />
I like to repeat the line(s) 'いつか思い出すよ この旅路を' every time I post a rearrangment of this song. I think it as a message not only from Renko to Merry (or the other way round), but also from the band to us kairo fans (or the other way round). <br />
<br />
Considering this one being a relatively early work, I really want to salute kegani for his dedication to something like fate or determinism. Or simply well-preparedness. Kairo is a journey and there are people to remember it. Maybe they forget about it and put it away up on the luggage racks but eventually the memories of this journey will return.<br />
<br />
As one could usually expect from the Northwich committee of monomodal refractions, there is no hope and the situation is quite desperate. But hope is never lost because it wasn't there in the first place. There's just that something to be done and yet undone. And I will keep trying to get it done.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Looking_into_You_and_me_(ry_and_a_brand_new_translation&diff=1023Looking into You and me (ry and a brand new translation2025-06-01T06:10:26Z<p>Mikkeli: </p>
<hr />
<div><br />
<br />
[[Category:kairo]]<br />
I made more than one effort to translate 君と私と穏やかな旅, into sing-able lyrics or not. No harm giving it yet another go.<br />
<br />
Translating could be about finding corresponding words and phrases and putting them together, but not necessarily in here. As You (ry is a song I like so much I want to give it my own explanation this time. I see it as kind of an obligation as a singing (sort of) kairo fan.<br />
<br />
This version is created with the help of ChatGPT-4o. Guy is better at any language than I am but probably not at thinking. I do the thinking myself.<br />
<br />
== Original Lyrics ==<br />
いつか見た夢の話<br />
<br />
遠い遠い国のこと<br />
<br />
仕舞い忘れた<br />
<br />
私たちの旅<br />
<br />
<br />
<br />
忘れ物 置いてきた<br />
<br />
網棚の上にあった<br />
<br />
<br />
<br />
まだ時間が<br />
<br />
かかるみたい<br />
<br />
寝てていいよ<br />
<br />
ほら肩にもたれて<br />
<br />
<br />
<br />
深い深い眠りに落ちると<br />
<br />
聞こえるの<br />
<br />
ほら懐かしい声<br />
<br />
君の声<br />
<br />
<br />
<br />
二人ならどこまででも<br />
<br />
行けると信じていると<br />
<br />
笑う君を<br />
<br />
ああ愛しいと思う<br />
<br />
<br />
<br />
流れてく景色<br />
<br />
揺れる列車とこの思いが<br />
<br />
紡ぐ旅に<br />
<br />
今は身を任せよ<br />
<br />
<br />
<br />
二人で歩けないなら<br />
<br />
そこに意味はないんだと<br />
<br />
泣いた君を<br />
<br />
ああ美しいと思う<br />
<br />
<br />
<br />
境界を越えて届け<br />
<br />
あの日の記憶の欠片<br />
<br />
いつか思い出すよ<br />
<br />
この旅路を<br />
<br />
== Elaboration before the truncation ==<br />
Rinki [https://rinkisorami.wordpress.com/2018/02/13/%e6%ad%8c%e8%a9%9e%e8%a7%a3%e9%87%88%ef%bc%9a%e5%9b%9e%e8%b7%af-kairo-the-world-is-too-smallwide-we-are-to-live-comfortably-25-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b/ <nowiki>[1]</nowiki>] has done his part unsurprisingly. Also Shion [https://foregroundnoises.wordpress.com/2015/08/16/%e5%9b%9e%e8%b7%af-kairo-556t-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b%e3%81%aa%e6%97%85/ <nowiki>[2]</nowiki>] has done this translation into English though a) he didn't give much explanation as it was only a translation, b) it wasn't really sing-able, c) one important line is not right according to the booklet (列車とこの思いが紡ぐ旅に今は身を任せよ). But there's the tradeoff. My version here will definitely veer more away from the original, so it's not a bad idea to cross-reference.<br />
<br />
As we all know, the song probably is about Renko and Merry and is a Renmerry song by design. The good thing about the song however is that it doesn't have to be Renmerry all that much. It could be a very general yuri song but it roots in a specific pair of characters. Also the Renko and Merry here are heavily kairo influenced (refer to Rinki's ''the world'' analyses for more on this if you, the dear reader, would love to). I think that's one aspect I like very much. <br />
<br />
'''Therefore, I will take the liberty to read and interpret this song as a narrative of its own, independent from underlying concept story for ''the world is too small (wide) we are to live comfortably''''' (which Rinki did a very good and respectable job on). Kind of for the sake of it, but honestly speaking I can't be arsed to cite a whole album or two now. I want to focus more on the kairo vibes. The atmosphere. Or how I interpret that thingy. <br />
<br />
=== Going a bit meta... ===<br />
We should not forget that this song actually outdates a large portion of Kairo, being first released in the VA album ''幻想邂逅憧憬夜行'' by 天狗の舞 in 2010-11-28. The song itself is most probably written before that unless kegani possessed time travelling technologies. Which he probably didn't have. <br />
<br />
One could think that the ''the world'' album is an extension centered around this specific song. At least that is my selfish view on this subject. Nevertheless, 君と私と穏やかな旅 is an important pivot or pillar or pin or whatever about ''the world''. The least I would think it as is simply a ''product'', or a mere ''part'' of ''the world is small (wide) we are to live comfortably''. It's definitely beyond that.<br />
<br />
This leads me to consider the song itself more from a untangled aspect - untangled from the album, from Renmerry, even from Touhou. But I don't untangle it from kairo, or it'll be pointless. On the contrary it's also such a kairo song. Let me quote something:<blockquote>はじめに、物語があった。次に、音が生まれた。<br />
<br />
そこに色が咲いて、やがて、全てが景色になった。<br />
<br />
さあ、一緒に旅をしましょう。<br />
<br />
世界はいつだって優しくて残酷で、それでいて美しいのです。<br />
<br />
''- https://www.audioleaf.com/kairo/''</blockquote>You have the story, the sound (voice), the sceneries, the journey, the cruel yet tender and thus beautiful world. What's more kairo than that?<br />
<br />
Steering back one bit, surely the ''the world'' interpretation can fit the song. It's certainly a very good answer in a myriad of such answers. What I am trying to do here, this time, is to give a different yet equally good answer or two.<br />
=== Who's there? ===<br />
We have here a very simple you-me structure. I don't see a third entity existing or necessary, and that will be one of the premises of my analysis. Otherwise it'll get troublesome. <br />
<br />
I consider the psychedelia in this song rooting in the intentional vagueness of the narrative perspective, and the temporal order of each part (or even each event). There's only you or I, sure, but you here might be I (me) over there, and vice versa.<br />
<br />
For reference, Rinki's opinion which is mostly based on the integrity of ''the world'', is that this song is about an amnesiac Renko partly remembering Merry and the journeys. I think that is a rather solid interpretation based on the album storyline. But the song has more potential than that.<br />
<br />
=== The ambiguity of perspectives and timeframes ===<br />
<br />
<br />
== The new translation ==<br />
You know there was a dream I had long ago<br />
<br />
Of a somewhere that's been far away<br />
<br />
And a journey for the two of us<br />
<br />
An end I have yet to let you see<br />
<br />
<br />
=== A bit of an explanation ===<br />
<br />
==== verse 1 ====<br />
I see three entities listed here. The dream (of somewhere far away), the journey, and the end. They are kind of just plainly displayed there without very strong suggestions or implications of correlations.<br />
<br />
I am conviced that 仕舞い忘れた has a more active tone i.e. more like 'I forgot to put an end to it' rather than 'I forgot the end of it'. And that's what I went for in my translation. However, Japanese loves dropping subjects so it's not explicitated who is going to but haven't put this end. I personally chose to base the whole song in a single perspective (and it's Renko), and I decided that it's 'I' who will perform this ritual conclusion.<br />
<br />
== Going a bit meta yet again ==<br />
The kairo entry in the... one of the toranoana compilation albums, ''remember'', can be considered a message inside the Touhou context as well as independent from that. Simply said, that one has a similar spirit to ''pulse'', 'I am gone but you would remember me'.<br />
<br />
I like to repeat the line(s) 'いつか思い出すよ この旅路を' every time I post a rearrangment of this song. I think it as a message not only from Renko to Merry (or the other way round), but also from the band to us kairo fans (or the other way round). <br />
<br />
Considering this one being a relatively early work, I really want to salute kegani for his dedication to something like fate or determinism. Or simply well-preparedness. Kairo is a journey and there are people to remember it. Maybe they forget about it and put it away up on the luggage racks but eventually the memories of this journey will return.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Looking_into_You_and_me_(ry_and_a_brand_new_translation&diff=1022Looking into You and me (ry and a brand new translation2025-06-01T06:03:19Z<p>Mikkeli: </p>
<hr />
<div><br />
<br />
[[Category:kairo]]<br />
I made more than one effort to translate 君と私と穏やかな旅, into sing-able lyrics or not. No harm giving it yet another go.<br />
<br />
Translating could be about finding corresponding words and phrases and putting them together, but not necessarily in here. As You (ry is a song I like so much I want to give it my own explanation this time. I see it as kind of an obligation as a singing (sort of) kairo fan.<br />
<br />
This version is created with the help of ChatGPT-4o. Guy is better at any language than I am but probably not at thinking. I do the thinking myself.<br />
<br />
== Original Lyrics ==<br />
いつか見た夢の話<br />
<br />
遠い遠い国のこと<br />
<br />
仕舞い忘れた<br />
<br />
私たちの旅<br />
<br />
<br />
<br />
忘れ物 置いてきた<br />
<br />
網棚の上にあった<br />
<br />
<br />
<br />
まだ時間が<br />
<br />
かかるみたい<br />
<br />
寝てていいよ<br />
<br />
ほら肩にもたれて<br />
<br />
<br />
<br />
深い深い眠りに落ちると<br />
<br />
聞こえるの<br />
<br />
ほら懐かしい声<br />
<br />
君の声<br />
<br />
<br />
<br />
二人ならどこまででも<br />
<br />
行けると信じていると<br />
<br />
笑う君を<br />
<br />
ああ愛しいと思う<br />
<br />
<br />
<br />
流れてく景色<br />
<br />
揺れる列車とこの思いが<br />
<br />
紡ぐ旅に<br />
<br />
今は身を任せよ<br />
<br />
<br />
<br />
二人で歩けないなら<br />
<br />
そこに意味はないんだと<br />
<br />
泣いた君を<br />
<br />
ああ美しいと思う<br />
<br />
<br />
<br />
境界を越えて届け<br />
<br />
あの日の記憶の欠片<br />
<br />
いつか思い出すよ<br />
<br />
この旅路を<br />
<br />
== Elaboration before the truncation ==<br />
Rinki [https://rinkisorami.wordpress.com/2018/02/13/%e6%ad%8c%e8%a9%9e%e8%a7%a3%e9%87%88%ef%bc%9a%e5%9b%9e%e8%b7%af-kairo-the-world-is-too-smallwide-we-are-to-live-comfortably-25-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b/ <nowiki>[1]</nowiki>] has done his part unsurprisingly. Also Shion [https://foregroundnoises.wordpress.com/2015/08/16/%e5%9b%9e%e8%b7%af-kairo-556t-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b%e3%81%aa%e6%97%85/ <nowiki>[2]</nowiki>] has done this translation into English though a) he didn't give much explanation as it was only a translation, b) it wasn't really sing-able, c) one important line is not right according to the booklet (列車とこの思いが紡ぐ旅に今は身を任せよ). But there's the tradeoff. My version here will definitely veer more away from the original, so it's not a bad idea to cross-reference.<br />
<br />
As we all know, the song probably is about Renko and Merry and is a Renmerry song by design. The good thing about the song however is that it doesn't have to be Renmerry all that much. It could be a very general yuri song but it roots in a specific pair of characters. Also the Renko and Merry here are heavily kairo influenced (refer to Rinki's ''the world'' analyses for more on this if you, the dear reader, would love to). I think that's one aspect I like very much. <br />
<br />
'''Therefore, I will take the liberty to read and interpret this song as a narrative of its own, independent from underlying concept story for ''the world is too small (wide) we are to live comfortably''''' (which Rinki did a very good and respectable job on). Kind of for the sake of it, but honestly speaking I can't be arsed to cite a whole album or two now. I want to focus more on the kairo vibes. The atmosphere. Or how I interpret that thingy. <br />
<br />
=== Going a bit meta... ===<br />
We should not forget that this song actually outdates a large portion of Kairo, being first released in the VA album ''幻想邂逅憧憬夜行'' by 天狗の舞 in 2010-11-28. The song itself is most probably written before that unless kegani possessed time travelling technologies. Which he probably didn't have. <br />
<br />
One could think that the ''the world'' album is an extension centered around this specific song. At least that is my selfish view on this subject. Nevertheless, 君と私と穏やかな旅 is an important pivot or pillar or pin or whatever about ''the world''. The least I would think it as is simply a ''product'', or a mere ''part'' of ''the world is small (wide) we are to live comfortably''. It's definitely beyond that.<br />
<br />
This leads me to consider the song itself more from a untangled aspect - untangled from the album, from Renmerry, even from Touhou. But I don't untangle it from kairo, or it'll be pointless. On the contrary it's also such a kairo song. Let me quote something:<blockquote>はじめに、物語があった。次に、音が生まれた。<br />
<br />
そこに色が咲いて、やがて、全てが景色になった。<br />
<br />
さあ、一緒に旅をしましょう。<br />
<br />
世界はいつだって優しくて残酷で、それでいて美しいのです。<br />
<br />
''- https://www.audioleaf.com/kairo/''</blockquote>You have the story, the sound (voice), the sceneries, the journey, the cruel yet tender and thus beautiful world. What's more kairo than that?<br />
<br />
Steering back one bit, surely the ''the world'' interpretation can fit the song. It's certainly a very good answer in a myriad of such answers. What I am trying to do here, this time, is to give a different yet equally good answer or two.<br />
=== Who's there? ===<br />
We have here a very simple you-me structure. I don't see a third entity existing or necessary, and that will be one of the premises of my analysis. Otherwise it'll get troublesome. <br />
<br />
I consider the psychedelia in this song rooting in the intentional vagueness of the narrative perspective, and the temporal order of each part (or even each event). There's only you or I, sure, but you here might be I (me) over there, and vice versa.<br />
<br />
For reference, Rinki's opinion which is mostly based on the integrity of ''the world'', is that this song is about an amnesiac Renko partly remembering Merry and the journeys. I think that is a rather solid interpretation based on the album storyline. But the song has more potential than that.<br />
<br />
=== The ambiguity of perspectives and timeframes ===<br />
<br />
<br />
== The new translation ==<br />
You know there was a dream I had long ago<br />
<br />
Of a somewhere that's been far away<br />
<br />
And a journey for the two of us<br />
<br />
An end I have yet to let you see<br />
<br />
== Going a bit meta yet again ==<br />
The kairo entry in the... one of the toranoana compilation albums, ''remember'', can be considered a message inside the Touhou context as well as independent from that. Simply said, that one has a similar spirit to ''pulse'', 'I am gone but you would remember me'.<br />
<br />
I like to repeat the line(s) 'いつか思い出すよ この旅路を' every time I post a rearrangment of this song. I think it as a message not only from Renko to Merry (or the other way round), but also from the band to us kairo fans (or the other way round). <br />
<br />
Considering this one being a relatively early work, I really want to salute kegani for his dedication to something like fate or determinism. Or simply well-preparedness. Kairo is a journey and there are people to remember it. Maybe they forget about it and put it away up on the luggage racks but eventually the memories of this journey will return.</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Looking_into_You_and_me_(ry_and_a_brand_new_translation&diff=1021Looking into You and me (ry and a brand new translation2025-05-30T07:22:29Z<p>Mikkeli: /* The new translation */</p>
<hr />
<div><br />
<br />
[[Category:kairo]]<br />
I made more than one effort to translate 君と私と穏やかな旅, into sing-able lyrics or not. No harm giving it yet another go.<br />
<br />
Translating could be about finding corresponding words and phrases and putting them together, but not necessarily in here. As You (ry is a song I like so much I want to give it my own explanation this time. I see it as kind of an obligation as a singing (sort of) kairo fan.<br />
<br />
This version is created with the help of ChatGPT-4o. Guy is better at any language than I am but probably not at thinking. I do the thinking myself.<br />
<br />
== Original Lyrics ==<br />
いつか見た夢の話<br />
<br />
遠い遠い国のこと<br />
<br />
仕舞い忘れた<br />
<br />
私たちの旅<br />
<br />
<br />
<br />
忘れ物 置いてきた<br />
<br />
網棚の上にあった<br />
<br />
<br />
<br />
まだ時間が<br />
<br />
かかるみたい<br />
<br />
寝てていいよ<br />
<br />
ほら肩にもたれて<br />
<br />
<br />
<br />
深い深い眠りに落ちると<br />
<br />
聞こえるの<br />
<br />
ほら懐かしい声<br />
<br />
君の声<br />
<br />
<br />
<br />
二人ならどこまででも<br />
<br />
行けると信じていると<br />
<br />
笑う君を<br />
<br />
ああ愛しいと思う<br />
<br />
<br />
<br />
流れてく景色<br />
<br />
揺れる列車とこの思いが<br />
<br />
紡ぐ旅に<br />
<br />
今は身を任せよ<br />
<br />
<br />
<br />
二人で歩けないなら<br />
<br />
そこに意味はないんだと<br />
<br />
泣いた君を<br />
<br />
ああ美しいと思う<br />
<br />
<br />
<br />
境界を越えて届け<br />
<br />
あの日の記憶の欠片<br />
<br />
いつか思い出すよ<br />
<br />
この旅路を<br />
<br />
== Elaboration before the truncation ==<br />
Rinki [https://rinkisorami.wordpress.com/2018/02/13/%e6%ad%8c%e8%a9%9e%e8%a7%a3%e9%87%88%ef%bc%9a%e5%9b%9e%e8%b7%af-kairo-the-world-is-too-smallwide-we-are-to-live-comfortably-25-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b/ <nowiki>[1]</nowiki>] has done his part unsurprisingly. Also Shion [https://foregroundnoises.wordpress.com/2015/08/16/%e5%9b%9e%e8%b7%af-kairo-556t-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b%e3%81%aa%e6%97%85/ <nowiki>[2]</nowiki>] has done this translation into English though a) he didn't give much explanation as it was only a translation, b) it wasn't really sing-able, c) one important line is not right according to the booklet (列車とこの思いが紡ぐ旅に今は身を任せよ). But there's the tradeoff. My version here will definitely veer more away from the original, so it's not a bad idea to cross-reference.<br />
<br />
As we all know, the song probably is about Renko and Merry and is a Renmerry song by design. The good thing about the song however is that it doesn't have to be Renmerry all that much. It could be a very general yuri song but it roots in a specific pair of characters. Also the Renko and Merry here are heavily kairo influenced (refer to Rinki's ''the world'' analyses for more on this if you, the dear reader, would love to). I think that's one aspect I like very much. <br />
<br />
'''Therefore, I will take the liberty to read and interpret this song as a narrative of its own, independent from underlying concept story for ''the world is too small (wide) we are to live comfortably''''' (which Rinki did a very good and respectable job on). Kind of for the sake of it, but honestly speaking I can't be arsed to cite a whole album or two now. I want to focus more on the kairo vibes. The atmosphere. Or how I interpret that thingy. <br />
<br />
=== Going a bit meta... ===<br />
We should not forget that this song actually outdates a large portion of Kairo, being first released in the VA album ''幻想邂逅憧憬夜行'' by 天狗の舞 in 2010-11-28. The song itself is most probably written before that unless kegani possessed time travelling technologies. Which he probably didn't have. <br />
<br />
One could think that the ''the world'' album is an extension centered around this specific song. At least that is my selfish view on this subject. Nevertheless, 君と私と穏やかな旅 is an important pivot or pillar or pin or whatever about ''the world''. The least I would think it as is simply a ''product'', or a mere ''part'' of ''the world is small (wide) we are to live comfortably''. It's definitely beyond that.<br />
<br />
This leads me to consider the song itself more from a untangled aspect - untangled from the album, from Renmerry, even from Touhou. But I don't untangle it from kairo, or it'll be pointless. On the contrary it's also such a kairo song. Let me quote something:<blockquote>はじめに、物語があった。次に、音が生まれた。<br />
<br />
そこに色が咲いて、やがて、全てが景色になった。<br />
<br />
さあ、一緒に旅をしましょう。<br />
<br />
世界はいつだって優しくて残酷で、それでいて美しいのです。<br />
<br />
''- https://www.audioleaf.com/kairo/''</blockquote>You have the story, the sound (voice), the sceneries, the journey, the cruel yet tender and thus beautiful world. What's more kairo than that?<br />
<br />
Steering back one bit, surely the ''the world'' interpretation can fit the song. It's certainly a very good answer in a myriad of such answers. What I am trying to do here, this time, is to give a different yet equally good answer or two.<br />
=== Who's there? ===<br />
We have here a very simple you-me structure. I don't see a third entity existing or necessary, and that will be one of the premises of my analysis. Otherwise it'll get troublesome. <br />
<br />
I consider the psychedelia in this song rooting in the intentional vagueness of the narrative perspective, and the temporal order of each part (or even each event). There's only you or I, sure, but you here might be I (me) over there, and vice versa.<br />
<br />
For reference, Rinki's opinion which is mostly based on the integrity of ''the world'', is that this song is about an amnesiac Renko partly remembering Merry and the journeys. I think that is a rather solid interpretation based on the album storyline. But the song has more potential than that.<br />
<br />
=== The ambiguity of perspectives and timeframes ===<br />
<br />
<br />
== The new translation ==<br />
You know there was a dream I had long ago<br />
<br />
Of a somewhere that's been far away<br />
<br />
And a journey for the two of us<br />
<br />
An end I have yet to let you see</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Looking_into_You_and_me_(ry_and_a_brand_new_translation&diff=1020Looking into You and me (ry and a brand new translation2025-05-29T22:06:38Z<p>Mikkeli: /* Elaboration before the truncation */</p>
<hr />
<div><br />
<br />
[[Category:kairo]]<br />
I made more than one effort to translate 君と私と穏やかな旅, into sing-able lyrics or not. No harm giving it yet another go.<br />
<br />
Translating could be about finding corresponding words and phrases and putting them together, but not necessarily in here. As You (ry is a song I like so much I want to give it my own explanation this time. I see it as kind of an obligation as a singing (sort of) kairo fan.<br />
<br />
This version is created with the help of ChatGPT-4o. Guy is better at any language than I am but probably not at thinking. I do the thinking myself.<br />
<br />
== Original Lyrics ==<br />
いつか見た夢の話<br />
<br />
遠い遠い国のこと<br />
<br />
仕舞い忘れた<br />
<br />
私たちの旅<br />
<br />
<br />
<br />
忘れ物 置いてきた<br />
<br />
網棚の上にあった<br />
<br />
<br />
<br />
まだ時間が<br />
<br />
かかるみたい<br />
<br />
寝てていいよ<br />
<br />
ほら肩にもたれて<br />
<br />
<br />
<br />
深い深い眠りに落ちると<br />
<br />
聞こえるの<br />
<br />
ほら懐かしい声<br />
<br />
君の声<br />
<br />
<br />
<br />
二人ならどこまででも<br />
<br />
行けると信じていると<br />
<br />
笑う君を<br />
<br />
ああ愛しいと思う<br />
<br />
<br />
<br />
流れてく景色<br />
<br />
揺れる列車とこの思いが<br />
<br />
紡ぐ旅に<br />
<br />
今は身を任せよ<br />
<br />
<br />
<br />
二人で歩けないなら<br />
<br />
そこに意味はないんだと<br />
<br />
泣いた君を<br />
<br />
ああ美しいと思う<br />
<br />
<br />
<br />
境界を越えて届け<br />
<br />
あの日の記憶の欠片<br />
<br />
いつか思い出すよ<br />
<br />
この旅路を<br />
<br />
== Elaboration before the truncation ==<br />
Rinki [https://rinkisorami.wordpress.com/2018/02/13/%e6%ad%8c%e8%a9%9e%e8%a7%a3%e9%87%88%ef%bc%9a%e5%9b%9e%e8%b7%af-kairo-the-world-is-too-smallwide-we-are-to-live-comfortably-25-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b/ <nowiki>[1]</nowiki>] has done his part unsurprisingly. Also Shion [https://foregroundnoises.wordpress.com/2015/08/16/%e5%9b%9e%e8%b7%af-kairo-556t-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b%e3%81%aa%e6%97%85/ <nowiki>[2]</nowiki>] has done this translation into English though a) he didn't give much explanation as it was only a translation, b) it wasn't really sing-able, c) one important line is not right according to the booklet (列車とこの思いが紡ぐ旅に今は身を任せよ). But there's the tradeoff. My version here will definitely veer more away from the original, so it's not a bad idea to cross-reference.<br />
<br />
As we all know, the song probably is about Renko and Merry and is a Renmerry song by design. The good thing about the song however is that it doesn't have to be Renmerry all that much. It could be a very general yuri song but it roots in a specific pair of characters. Also the Renko and Merry here are heavily kairo influenced (refer to Rinki's ''the world'' analyses for more on this if you, the dear reader, would love to). I think that's one aspect I like very much. <br />
<br />
'''Therefore, I will take the liberty to read and interpret this song as a narrative of its own, independent from underlying concept story for ''the world is too small (wide) we are to live comfortably''''' (which Rinki did a very good and respectable job on). Kind of for the sake of it, but honestly speaking I can't be arsed to cite a whole album or two now. I want to focus more on the kairo vibes. The atmosphere. Or how I interpret that thingy. <br />
<br />
=== Going a bit meta... ===<br />
We should not forget that this song actually outdates a large portion of Kairo, being first released in the VA album ''幻想邂逅憧憬夜行'' by 天狗の舞 in 2010-11-28. The song itself is most probably written before that unless kegani possessed time travelling technologies. Which he probably didn't have. <br />
<br />
One could think that the ''the world'' album is an extension centered around this specific song. At least that is my selfish view on this subject. Nevertheless, 君と私と穏やかな旅 is an important pivot or pillar or pin or whatever about ''the world''. The least I would think it as is simply a ''product'', or a mere ''part'' of ''the world is small (wide) we are to live comfortably''. It's definitely beyond that.<br />
<br />
This leads me to consider the song itself more from a untangled aspect - untangled from the album, from Renmerry, even from Touhou. But I don't untangle it from kairo, or it'll be pointless. On the contrary it's also such a kairo song. Let me quote something:<blockquote>はじめに、物語があった。次に、音が生まれた。<br />
<br />
そこに色が咲いて、やがて、全てが景色になった。<br />
<br />
さあ、一緒に旅をしましょう。<br />
<br />
世界はいつだって優しくて残酷で、それでいて美しいのです。<br />
<br />
''- https://www.audioleaf.com/kairo/''</blockquote>You have the story, the sound (voice), the sceneries, the journey, the cruel yet tender and thus beautiful world. What's more kairo than that?<br />
<br />
Steering back one bit, surely the ''the world'' interpretation can fit the song. It's certainly a very good answer in a myriad of such answers. What I am trying to do here, this time, is to give a different yet equally good answer or two.<br />
=== Who's there? ===<br />
We have here a very simple you-me structure. I don't see a third entity existing or necessary, and that will be one of the premises of my analysis. Otherwise it'll get troublesome. <br />
<br />
I consider the psychedelia in this song rooting in the intentional vagueness of the narrative perspective, and the temporal order of each part (or even each event). There's only you or I, sure, but you here might be I (me) over there, and vice versa.<br />
<br />
For reference, Rinki's opinion which is mostly based on the integrity of ''the world'', is that this song is about an amnesiac Renko partly remembering Merry and the journeys. I think that is a rather solid interpretation based on the album storyline. But the song has more potential than that.<br />
<br />
=== The ambiguity of perspectives and timeframes ===<br />
<br />
<br />
== The new translation ==<br />
You know there was a dream I had long ago<br />
<br />
Of a somewhere that's been far away<br />
<br />
And a journey for the two of us<br />
<br />
Whose end you or I have yet to see</div>Mikkelihttp://wiki.novoyuuparosk.org/index.php?title=Looking_into_You_and_me_(ry_and_a_brand_new_translation&diff=1019Looking into You and me (ry and a brand new translation2025-05-29T22:05:56Z<p>Mikkeli: </p>
<hr />
<div><br />
<br />
[[Category:kairo]]<br />
I made more than one effort to translate 君と私と穏やかな旅, into sing-able lyrics or not. No harm giving it yet another go.<br />
<br />
Translating could be about finding corresponding words and phrases and putting them together, but not necessarily in here. As You (ry is a song I like so much I want to give it my own explanation this time. I see it as kind of an obligation as a singing (sort of) kairo fan.<br />
<br />
This version is created with the help of ChatGPT-4o. Guy is better at any language than I am but probably not at thinking. I do the thinking myself.<br />
<br />
== Original Lyrics ==<br />
いつか見た夢の話<br />
<br />
遠い遠い国のこと<br />
<br />
仕舞い忘れた<br />
<br />
私たちの旅<br />
<br />
<br />
<br />
忘れ物 置いてきた<br />
<br />
網棚の上にあった<br />
<br />
<br />
<br />
まだ時間が<br />
<br />
かかるみたい<br />
<br />
寝てていいよ<br />
<br />
ほら肩にもたれて<br />
<br />
<br />
<br />
深い深い眠りに落ちると<br />
<br />
聞こえるの<br />
<br />
ほら懐かしい声<br />
<br />
君の声<br />
<br />
<br />
<br />
二人ならどこまででも<br />
<br />
行けると信じていると<br />
<br />
笑う君を<br />
<br />
ああ愛しいと思う<br />
<br />
<br />
<br />
流れてく景色<br />
<br />
揺れる列車とこの思いが<br />
<br />
紡ぐ旅に<br />
<br />
今は身を任せよ<br />
<br />
<br />
<br />
二人で歩けないなら<br />
<br />
そこに意味はないんだと<br />
<br />
泣いた君を<br />
<br />
ああ美しいと思う<br />
<br />
<br />
<br />
境界を越えて届け<br />
<br />
あの日の記憶の欠片<br />
<br />
いつか思い出すよ<br />
<br />
この旅路を<br />
<br />
== Elaboration before the truncation ==<br />
Rinki [https://rinkisorami.wordpress.com/2018/02/13/%e6%ad%8c%e8%a9%9e%e8%a7%a3%e9%87%88%ef%bc%9a%e5%9b%9e%e8%b7%af-kairo-the-world-is-too-smallwide-we-are-to-live-comfortably-25-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b/ <nowiki>[1]</nowiki>] has done his part unsurprisingly. Also Shion [https://foregroundnoises.wordpress.com/2015/08/16/%e5%9b%9e%e8%b7%af-kairo-556t-%e5%90%9b%e3%81%a8%e7%a7%81%e3%81%a8%e7%a9%8f%e3%82%84%e3%81%8b%e3%81%aa%e6%97%85/ <nowiki>[2]</nowiki>] has done this translation into English though a) he didn't give much explanation as it was only a translation, b) it wasn't really sing-able, c) one important line is not right according to the booklet (列車とこの思いが紡ぐ旅に今は身を任せよ). But there's the tradeoff. My version here will definitely veer more away from the original, so it's not a bad idea to cross-reference.<br />
<br />
As we all know, the song probably is about Renko and Merry and is a Renmerry song by design. The good thing about the song however is that it doesn't have to be Renmerry all that much. It could be a very general yuri song but it roots in a specific pair of characters. Also the Renko and Merry here are heavily kairo influenced (refer to Rinki's ''the world'' analyses for more on this if you, the dear reader, would love to). I think that's one aspect I like very much. <br />
<br />
'''Therefore, I will take the liberty to read and interpret this song on its own, independent from underlying concept story for ''the world is too small (wide) we are to live comfortably''''' (which Rinki did a very good and respectable job on). Kind of for the sake of it, but honestly speaking I can't be arsed to cite a whole album or two now. I want to focus more on the kairo vibes. The atmosphere. Or how I interpret that thingy. <br />
<br />
=== Going a bit meta... ===<br />
We should not forget that this song actually outdates a large portion of Kairo, being first released in the VA album ''幻想邂逅憧憬夜行'' by 天狗の舞 in 2010-11-28. The song itself is most probably written before that unless kegani possessed time travelling technologies. Which he probably didn't have. <br />
<br />
One could think that the ''the world'' album is an extension centered around this specific song. At least that is my selfish view on this subject. Nevertheless, 君と私と穏やかな旅 is an important pivot or pillar or pin or whatever about ''the world''. The least I would think it as is simply a ''product'', or a mere ''part'' of ''the world is small (wide) we are to live comfortably''. It's definitely beyond that.<br />
<br />
This leads me to consider the song itself more from a untangled aspect - untangled from the album, from Renmerry, even from Touhou. But I don't untangle it from kairo, or it'll be pointless. On the contrary it's also such a kairo song. Let me quote something:<blockquote>はじめに、物語があった。次に、音が生まれた。<br />
<br />
そこに色が咲いて、やがて、全てが景色になった。<br />
<br />
さあ、一緒に旅をしましょう。<br />
<br />
世界はいつだって優しくて残酷で、それでいて美しいのです。<br />
<br />
''- https://www.audioleaf.com/kairo/''</blockquote>You have the story, the sound (voice), the sceneries, the journey, the cruel yet tender and thus beautiful world. What's more kairo than that?<br />
<br />
Steering back one bit, surely the ''the world'' interpretation can fit the song. It's certainly a very good answer in a myriad of such answers. What I am trying to do here, this time, is to give a different yet equally good answer or two.<br />
=== Who's there? ===<br />
We have here a very simple you-me structure. I don't see a third entity existing or necessary, and that will be one of the premises of my analysis. Otherwise it'll get troublesome. <br />
<br />
I consider the psychedelia in this song rooting in the intentional vagueness of the narrative perspective, and the temporal order of each part (or even each event). There's only you or I, sure, but you here might be I (me) over there, and vice versa.<br />
<br />
For reference, Rinki's opinion which is mostly based on the integrity of ''the world'', is that this song is about an amnesiac Renko partly remembering Merry and the journeys. I think that is a rather solid interpretation based on the album storyline. But the song has more potential than that.<br />
<br />
=== The ambiguity of perspectives and timeframes ===<br />
<br />
<br />
== The new translation ==<br />
You know there was a dream I had long ago<br />
<br />
Of a somewhere that's been far away<br />
<br />
And a journey for the two of us<br />
<br />
Whose end you or I have yet to see</div>Mikkeli