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２０２５．０６．２８　江ノ島ヨットハーバーの稼働状況（復）です。

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「痛みで動く人」 「喜びで動く人」 その違いは、単なる性格の違いではなく、魂の歴史から来ているのかもしれません。 人は、今世の出来事だけでなく、前世で積み重ねてきた経験や記憶をもとに動機づけられています。 だからこそ、一人ひとりの“行動の源泉”はまったく異なり、それは魂の深いところに刻まれた“理由”があるから。 この動画では、人がなぜ動くのか──その本質に、スピリチュアルな視点から静かに迫ります。 誰かを理解しようとするとき、見えている言動の奥にある“魂の旅”を感じてみてください。 🌀すべての行動には、魂だけが知る理由がある。

カセットレコーダーで録音したのでノイズあります。今回「Sazanami」というフリーソフトで、少しだけ低ノイズ化して再UPしました。 画像の出典： DX7ⅡFD 「カシオペアの本」立東社 Roland D-50 https://www.roland.com/jp/promos/d-50_30th_anniversary/ 参考資料: しのし@nyaonknoo₋Twitter https://x.com/nyaonknoo

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扭計色｛魔術方塊｝一分鐘：三面花樣3：大蟒蛇4：外框歸位，面邊成蛇 Rubik's Cube for a Minute: Trihedral Patterns 3: Anaconda 4: Frame homing, face and edge cubies form a snake 我們現在要完成「大蟒蛇」(Anaconda)這個樣。 第三大步，所有角塊［角粒］全部［咸不論］回家之後， 現在（第四大步、最後一大步）要把，框的這六顆［粒］邊塊［邊粒］， 轉［扭］（回［翻］）與面塊［面粒］（中心塊［中心粒］）同一面。 也就是，白色這面向上，然後把框向順時鐘方向轉［扭］ （見《框花樣1：中心點1：中心一點，對面一骨》）。 這樣就做成了。 那麼這個樣之所以叫做「大蟒蛇」呢，（是）因為所有的面塊［面粒］， 與與（註一）它同一面的邊塊［邊粒］，全部［咸不論］串在一齊， 是一條大蟒蛇［嚟嘅］。（拿成正面三面在下，背面三面在上）包括， 正面的紅色、白色、藍色，以及背面的橙色、黃色、綠色。 那麼你看不看得到這條大蟒蛇在哪裏呢？ 那麼也就是這樣了（放在座上，白色在下）。 註一：句法有兩個「與［同］」字相連，不可省一， 見《框花樣2：邊粒環調2：三民治樣，邊順框反》。 自評：漏講「第四大步、最後一大步」。「轉［扭］到」應為「轉［扭］回［翻］」。因為動作已可接受，就不想再錄了。

Serving looks and positive vibes only—effortlessly blending confidence, glow, and a little bit of charm that turns every moment into a vibe. When the energy is this good, everything else falls into place.

Knut Milas, a young man from the distant shores of New Zealand, arrived at the bustling studios of Radio PTR. He was a stranger in a new land, his voice an unfamiliar melody among the familiar hum. His task was simple: to share the music of his home. One day, as he prepared his show, he noticed Elara, the station's sound engineer, through the glass. She moved with a quiet grace, her focus absolute. To Knut, she was like a rare bird, beautiful and slightly untouchable. He found reasons to visit the control room, asking about levels and frequencies just to hear her explain things in her calm, clear voice. Elara, in turn, was intrigued by the gentle giant with the accent. She loved how his eyes lit up when he spoke of the fjords and forests of his homeland. He wasn't like the brash, fast-talking hosts; he was a steady, deep river. Their conversations were brief, stolen between songs and news bulletins. A shared laugh over static, a smile exchanged while cueing a track. It was a romance built not on grand gestures, but on the quiet understanding that happens in the space between words, in the shared love of making something beautiful for listeners they would never see. The moral? The most profound connections often begin not with a shout, but with a whisper, finding their rhythm in the shared silence of a common passion. Lyrics The streets glow cold and empty A whisper dances in the evening sea The shadows flee from my step But I'm not following any goal No step back The stars are silent But I hear her screaming A light in the distance It will set me free Through the night Through time I'm looking for the What remains One spark is enough A heart that screams Through the night I'm ready The city tells about old pain Graffiti dreams of a new heart tact beat breath I believe in tomorrow A new courage The stars are silent But I hear her screaming A light in the distance It will set me free Through the night Through time I'm looking for the What remains One spark is enough A heart that screams Through the night I'm ready Lyrics written Kai-Dominik Bertha (ELAG ERFURT) Copyright by Radio PTR Radio PTR Inc. Slowakei Most SNP, 851 01 Bratislava #song #party #disco #newzealand #musik #musikvideo #dance #dancevideo

This video introduces Equalibrium, an incentive-based system of cooperation built on the Universal Law of Civility, the principle that no one may take from another without consent. Instead of debt and artificial scarcity, Equalibrium uses a resource-backed measurement of value created when real surplus—food, energy, or goods—is shared through local Distribution Centers, ensuring abundance without exploitation. Even without currency, individual rights remain fully protected, creating a calm, recession-proof foundation where survival is cooperative rather than competitive. The video invites viewers to imagine how this abundance-based language of production and access could reshape fields like food, education, and healthcare, replacing scarcity-driven drama with harmony, resilience, and shared stewardship of the world around us. www.AllllA.com