關於 海洋 之 息 the breath of sea ，我們在網路上蒐集到這些相關的討論、資訊與評價

▪️音樂裡的靈觀▪️首篇：

我之於海。
My Relationship with the Ocean

我。常常喜歡一個人來看海
因為，海，她夠大～
足以包容世界一些的不完美
因為，海，她是大地宇宙萬物的開始
所以，氣息最早運行是在那片海面上
人類，才有了sasela’an呼吸與生命～

I often enjoy seeing the ocean by myself because she is vast enough to embrace the imperfections of the world; because she is the beginning of everything, of the earth, and the universe. Thus, I believe that the breath was first moving on the surface of the ocean, and then there are sasela’an ( or breath) and life within humans.

早期，就是有些在生存上的不舒服
關於呼吸之間的不順暢
所以，常常回家後在台11線上來回、來回
跟海撒嬌完了後，就好了。
There were some life’s struggles and discomforts in my earlier years – my breath was not smooth and steady. Thus, I often went home and traveled back and forth on Hualien-Taitung Coastal Highway. I felt much better after being affectionate to the ocean.


一個人，可以找到她
關於屬於她的神奇力量～
就像
太陽、風、星星、雨水ㄧ樣
彼此懂得在宇宙間依存的關係，關乎靈魂的那種愛與自由～
Being by myself, I can find her and the magical powers that belong to her, just like the sun, wind, stars, and rain. They understand the interdependent relationship with each other regarding one’s love and freedom of soul.

我很多的歌，創作源自於她。海～
從關乎失去的、被剝奪的、被傷害的一直到討論神話裡的、最後到跨越太平洋的，海給我了身為島嶼後裔來自一個Pangcah族人身為女性的能量～
I have written many songs and compositions that are inspired by her, the ocean. My songs include those about being lost, being plundered, being hurt. They also discuss our mythology and narrate my ocean-crossing journeys. The ocean has given me the power of being a Pangcah woman and being a descendant of the island.


因為發了新專輯，因為sasela’an氣息為名，再次不斷驅使著我去思考我這樣的一個島嶼歌者，要如何好好詮釋這些海洋、島嶼、氣息的思想～
最近上很多廣播通告時，我常常口裡講著氣息、風啊、雨啊、日月星辰啊、精靈、靈魂啊⋯這種⋯🙄
直到有些主持人會透露疑惑不解的表情後，🤔才驚覺自己早已在脫離了台北那斗大的錄音間，飛翔在大海與山林間🌲😇🌊

Once again, I am motivated to contemplate ways of interpreting the thoughts of the ocean, islands, and breath because of the newly released album, entitled Salela’an (Breath). Lately, many hosts of radio shows have scheduled interviews to discuss my music. During these interviews, I always include topics such as breath, wind, rain, the sun, the moon, deities, spirits, etc…until some of them looked puzzled. I suddenly realized that I have already detached myself from the large studios located in Taipei and am flying in between the ocean and forests.


Riyal，阿美族人稱為海～
阿美族人自古就跟海洋深刻的依存與依戀關係
我們神話祖先漂流在船上而被保護著的就是海，族人被供給魚類飽足食物的也是那大海；於是我們有了misacepo海祭
Fata’an馬太鞍我的部落的老人家留著一個美麗的傳說，我們的島嶼（台灣）是因為海洋希望讓我們看見太陽，所以給了人類一個用山堆砌的島嶼，所以海洋、山、島嶼、太陽構成了我們的宇宙觀與信仰～
是人類在世界裡，最被憐愛的一種存在，於是謙卑地活著，是成為人重要的依據～

The Amis people call the ocean riyal. Since ancient times, we have maintained a deep connection with the ocean. Amis mythology describes our ancestors as drifters who were protected by the sea. Our people were also provided fish and fed by the sea; hence there is misacepo (sea festival) in our tradition.
There is a beautiful legend passed down by the elders in my tribe Fata’an: “the ocean gave us an island built by a series of mountains in hopes that we can see the sun.” Thus, our worldview and beliefs consist of the ocean, mountain, island, and the sun. Our very existence in this world shows that we are loved tenderly, and thus knowing that we should live humbly is an essential foundation of being human.


Sasela’an氣息，在阿美族語裡被解釋「呼吸」「氣息」也是「生命」與「休息」之意。
多年前，我想像著千年前的祖先乘著無動力獨木舟勇敢地開始航向未知的世界，於是如今廣大的海洋島嶼分佈著跟我們共同語言與文化的島嶼民族家人們（被稱為南島民族）。
當我開始跨島嶼開始橫渡追尋島嶼故事時，至今仍然不能明確當初的決定，可能這就是島嶼民族的民族性吧，我想～那種未知但卻要航出去的勇氣。
The term, salela’an, can be understood as “breathing” or “breath,” but it also means “life” and “rest.” Many years ago, I imagined the ancestors rode on the canoe (with no auxiliary motor) and bravely voyaged into the unknown world. Therefore, the island families (now being called the Austronesians) who share the same linguistic and cultural patterns traveled and spread throughout the ocean. When I began my island-crossing journey to look for island stories, I didn’t know why I made such a decision (and I still don’t know until this day). I think this is one of the cultural characteristics of the island peoples. I believe this is the kind of bravery in which one voyages forward, despite not knowing what lies ahead.

一路上，我的歌，邊追尋邊紀錄，成為我自己的音樂航海的故事。
索羅門群島、復活節島、巴布亞新幾內亞、毛利、馬達加斯加、東加王國、夏威夷、馬來西亞、菲律賓、印尼，紀錄了我們祖先智慧與胸襟～
My songs documented and sought along the way, becoming my own story as musical navigation. These islands (Solomon Islands, Rapa Nui, Papua New Guinea, Aotearoa, Madagascar, Tonga, Hawaiʻi, Malaysia, the Philippines, and Indonesia) recorded the wisdom and mind of our ancestors.

歌，
是我們的路，不只是航行的故事，包括通向宇宙星辰與土囊到地底的秘密～
Songs are our pathways; rather than stories of navigation. They include the secrets that direct to the universe, stars, earth, and underground.

而海～
一切萬物都包覆在她的美麗的圍裙裡啊～
And as for the ocean, every wonder of the world is covered within her beautiful apron.
甚願海；能嗅出我的體味
在她的圍裙裡得到餵養
願歌，
能夠成為海洋、島嶼、山、太陽、星辰的祝福

I wish the ocean would be able to sense my odor and I would be fed within her apron.
I wish songs would become the blessings of the ocean, islands, mountains, sun and stars.

文/Ado 譯/Tiway

#Ado阿洛saselaan專輯

Frozen 2 精彩！

Frozen 第一集說的是認識自己、接受自己和別人不一樣，勇於承認自己是誰，展現自己、活出自己。然後現實生活中就是聽著無數的女孩穿著Elsa的藍衣服拼命高歌「let it go ～」。

Frozen 第二集說的是兩個女孩走一趟療癒自己的家族歷程。這是一部有質感的心理劇。療癒自己、進而認識父母、認識家族。

很精彩。（我很驚訝自己說出這句話。我其實是抱著沒有太大的期待去看戲的。）

內容：
1。有关认识家庭的历史 - into the unknown
2。寻根的孩子試著长大 - show yourself
3。承接家庭要修的功课 - do the next right thing

劇透，請慎入。讓我慢慢說。你要是想要看戲的，就請你優雅轉身離開。

1。有关认识家庭的历史 - into the unknown

認識自己就像認識一個點。
認識關係就像把兩個點連成一條線。
認識脈絡就像把所有的點連起來，變成很多面、再變成立體，成為脈絡。

兩點成一線、三線成一面、三面成一立體，立體與立體之間的組合稱為脈絡。

part one 說的是認識自己。
part two 說的是認識家族的脈絡。

Into the unknown。是的，遠方有一把女聲在哼唱，因為這個unknown（未知），促使 Elsa 跟隨這把女聲去尋找源頭。

現實生活中，這把女聲隱喻的是痛苦的吶喊。不會有很多人要去尋找源頭，如果沒有痛苦的話。就是因為痛苦，所以我們才去探索過去及回顧過去。

要是想要探索，就必須要知道將會掀開很多未知。

Into the unknown 是療癒的第一步啊。

2。寻根的孩子試著长大 - show yourself

這是一趟尋根的旅程。

Elsa and Anna 走進了森林，認識了過去陪伴祖父打仗的將軍及兵士、也認識了長年累月住在森林的「原住民」。

一路隨著女聲往前走，Elsa and Anna 先在森林中把Kristoff and Sven丟失。最後，剩下 Elsa 自己一人往前走，Anna and Olaf 「被迫」再走另外一段路。

Elsa 獨自探險的道路很精彩。首先遇到黑夜的海洋（dark sea）、攻擊她的水馬（water horse），到最後被 Elsa 馴服，成為了她的助力。

這個隱喻真好。

探索成長路上，有些工具看似會傷害你，然而要是你持續學習而懂得駕馭它，它變成你很powerful的工具。

你也可以從另一個角度來看，水馬不是工具、它其實是Elsa的圖騰。這個水馬可以在水上奔騰、也可以在陸地飛躍。Elsa 有了水馬，簡直就是如虎添翼，變得更 powerful。對自己未知的探索更加速的成長。

所以在你探索未知這條路里，你必須要知道什麼是你的助力工具、什麼是你的圖騰。你的 power supply 在哪裡，是什麼。你才有更多前所未有的力量前進。

當 Elsa 抵達 ahtohallan，她聽到的女聲愈來愈大聲。ahtohallan 是古老的冰河，它記載著所有的記憶。那是 Elsa 最想要抵達的地方，她求知慾強，她要知道答案。

所以 show yourself 這部曲開始奏起。療癒自己的道路，越見精彩。

我身旁有不少人把這把女聲解讀為是 Elsa 自己的聲音。我把它解讀為是媽媽的歌聲。也是生命源頭把它自己轉成Elsa媽媽的聲音，來指引 Elsa 前進。

透過冰（水），她看見自己長大、媽媽的長大、爸爸的長大。所有的點滴成為脈絡。

記得嗎？
點、線、面，成為立體、再稱為脈絡。

Elsa 看見自己在這整個家族脈絡的底下如何存在著。

在療癒工作裡，我們稱其現象為洞察（insight）、領悟（enlightenment）、awareness（意識）等等等。

這是幾乎每一位追尋療癒的人們最渴望達到的現象，有一種ah ha 的感覺。Show your real self！

題外話：水知道一切，是符合邏輯及科學的。 water has memories。river has full of memories。（另外一首歌的歌詞，All is found）。其實現今的科學家已經用了很多方式去證明水的確藏著記憶及水知道答案這件事。

Show yourself，也用得很好。它不是用find yourself。find 尋找是因為你迷失。show 秀出你自己是因為你擁有它。你不是因為迷失才成長，你是因為知道擁有很多的潛能，才展現自己。

而 Elsa 在這裡的服裝及髮型也隨之變化了。然而她繼續隨著冰河往更深的地方探索：直到她發現家族裡的一件壞事，她就被冰凍了。

我們時常說你不要繼續去挖你的生命痛苦，因為帶來的傷害是會很大的。

Elsa 挖到的是家族對環境、對其另一個族群的傷害，她看見的那一刻，結果她「卡住」了。

這個很符合我們成長道路裡頭的風景，當你有那麼一天看見一個生命很深的苦難，你沒有辦法改變它，無力感及無助感特別的纏繞著你。

這種狀況特別難受。走到這麼深，卻更傷痕累累。這個時候，真的不適宜自己再繼續前進。

這個時候是需要家人的力量：Anna 的存在就是Elsa 療癒自己抵達終點最後一步的力量。

3。承接家庭要修的功课 - do the next right thing

Anna 沒有super power。Anna 是一個再也普通不過的女孩。她很脆弱，然而她很堅韌。站在苦難跟前，她了解自己的無能、卻不屈服於眼前的一切打擊。

她哼唱了一首 next right thing。

這首歌其實是很有禪意的。就是活在當下。就是看著眼前這一步。

這首其實也很有療癒性的。很多性上癮、吸毒者的療癒方向，就是focus在現在。就只有眼前這一步。不用想未來、也不用回顧過去。

雖然你不知道遙遠的終點在哪裡，不過你知道你需要照顧的就是眼前這一步：do the next right thing。

I won't look too far ahead
It's too much for me to take
But break it down to this next breath
This next step
This next choice is one that I can make

Then I'll make the choice
To hear that voice
And do the next right thing

是的，甚麼是 next right thing？（下一個正確的事。）

Anna 去毀掉那個水壩。她知道那是她家族做錯的事。這是她要做的事。

説到這裡，要說一下洋人的歷史了。

殖民、統治、資本主義的經濟戰爭、侵略原住民土地等等等，這些都是屬於白人過去的生命故事。我覺得這一part 有隱喻到白人對弱勢群組的歷史懺悔及關係修復。（還是我想太多了。）

對大自然的破壞是不對的。
對弱勢族群的侵略也是不對的。

這個 message 從 Frozen 2 帶出來，
讓我深深覺得這份給年輕人的教育，Disney 特別用心。

yup, do the next right thing, certainly.

每一个年轻人都背负着自己族群的责任及使命。不是每个人都是可以独立自主的。要是家族有前人做错事，那就把事情再次给它做好。这是Frozen 2 想要传达的讯息之一。

也就是说：凡事不好的，就不要再一代传一代了。就让不好的，停止在我们这一代了。

毕竟，我们值得被爱、他人也值得被爱。我们无须夺取别人的权益来加强自己的幸福。

身为人，你我他都值得美好的生命。

最後的结局，当然是美好的。那就不多着墨了。Disney 戏，还是有一个 formula。

终于说完了。再说一次，这部Frozen 2，精彩！

以量
11/12/2019

你们要是能阅读到这里，真心佩服及谢谢。呵呵。

注明：每一篇文章都是写作人的创作。欢迎你在这里 share出去。请你不要删掉写作人的名字，而骗人说这是你写的。拒绝文字剽窃，从我们开始做起。

感謝參加的來賓，大家的參與讓“風夜狂想曲”此展覽上完美的經驗！謝謝！展覽將持續到11/25 ~歡迎大家蒞臨參觀！／Thanks everyone who came to the opening! You made it such a wonderful experience! I have absolutely no words to express what an awesome night it was! The exhibition runs through November 25th! ／Gracias a todos los que pasaron por la apertura de la exhibición! Realmente hicieron de ella algo hermosísimo! No tengo palabras para describir lo fantástico que fue! La exhibición queda inaugurada hasta el día 25 de noviembre!

風夜狂想曲 Rhapsody on a Windy Night
Marina Burana solo exhibition 明蓮花個展
2018.11.03 － 2018.11.25
Opening 開幕茶會：11.03 (六) 17:00
Venue 展覽地點：新樂園藝術空間 SLY art space
Address 地址：台北市中山區中山北路二段11巷15-2號
No. 15-2, Lane 11, Section 2, Zhong Shan N. Rd., Zhongshan District, Taipei, Taiwan.

Music 樂手: Musa の大里 Trio / Ing Lan Chang (flute 長笛）
Photography 攝影師: 黃昱寧 Carol
Video 視頻: Martin Kuo
Catering 餐飲業: La Caja de Música 樂盒子
Souvenirs 紀念品: 饞工坊 Antojos De Estrella & Marina Burana 明蓮花
詩讀 Poem read by: Amber Ma

－－－－－

風夜狂想曲-介紹

「風夜狂想曲」是T.S. Eliot的詩。這首詩是本系列畫作背後的靈感來源，所以我選它作為這次展覽的名稱。
這首詩講述某人夜裡在街上徘徊、迷失在自己的思緒，他看著自己周遭的世界，而他也是這個世界的一部份。詩中描述了記憶等短暫的東西、存在的肉體性(也就是物質世界)之間的拉扯。這首詩感覺像是擺盪在記憶之流和家庭生活之間的一支舞(或是如我剛才所說的，是一種拉扯)，它時不時會打斷陳述者的遊蕩，因而創造出一些揮之不去的物質與非物質意象。

十二點鐘。
沿著掌握在月光合成中的
街道的各處地方
在悄悄施展著月亮的魔術
消融著的回憶的立足點
以及所有它的清楚關係
它的各種分歧與準確性,
我經過的每盞街燈
像一面決定命運的鼓在敲響,
而通過那些黑洞洞的空間
午夜在搖撼記憶中過去的一切
像一個瘋子搖撼一株死了的天竺葵。

我徘徊在這首詩裡時，感受到一股衝動；我想重新定義某些意象，把它轉化成我自己的回憶和事實。我私密的存在論。

記憶無情地拋出的
是一堆扭曲了的東西;
海灘上一根扭曲的樹枝
已沖得光而且滑
好像世界暴露了
它骷髏的秘密
僵直而白。

我在讀這首詩的時候，腦中馬上浮現了海的意象。我和海洋一直有很深的緣份。我人生大部份的時間都在凝望廣大的海洋或悠游其中。我們游泳時一進到水裡，彷若就和外界、和水面上的一切隔絕開來了。忽然間，各種聲響都變得模糊、扭曲，我們的視線也不若在陸地上時那麼清楚。身體感覺變輕了，一切感覺都像在夢境裡。現實以新的樣貌呈現，我們隱約感到回到水面呼吸的需求；這些都和回憶相似。當我們進到裡(遊走在我們自己的回憶裡)，水面(物質世界)看起來就像存在於另一個平面，那是我們很快就會回去的地方，但我們其實可以在水下再待久一點，探索無邊的未知，還有那可能會讓我們窒息或帶給我們喜悅的神秘宇宙。
我發現了回憶和水下世界之間的關聯，並起把它們轉化成我的畫作，它們的共通點就是流動變化的色彩和各種交錯的形狀，就像無情地拋出一堆扭曲東西的記憶。
我很早就決定不要把重點放在詩中呈現的回憶和物質世界之間的拉扯，還有兩者的似非而是的並存關係。我想探索回憶所帶來的複雜意象，還有它們的流動和軔性。
上述兩個主題(回憶和物質世界)間的拉扯在詩的結尾找到答案。詩中的主角感到沮喪挫敗，他的存在是無可避免的現實，他只存在於無限循環的過往畫面和快速萎縮的肉體之中。

燈說,
“四點鐘,
這裡是門上的門牌。
回憶!
你掌握鑰匙,
那盞小小的燈在樓梯上留下一個環形。
登樓。

床是鋪好的;牙刷掛在牆上,
把鞋脫在門口,睡吧,做好一輩子的準備。 ”
利刃的最後轉動。

但這首詩同時也展現了物質世界和精神世界有多麼交錯不清。一方面有牙刷、鞋子，「為生活準備」等屬於有限世界的東西，但另一方面又有睡眠、黑暗、無意識等閉上眼睛進入最高深莫測的心靈狀態這樣的東西。在在都留給讀者一股無力感，讓他們看到到頭來物質世界還是戰勝了心識偶爾會踏上的道路；一條不切實際、沒有結果的路。
這種複雜的關係成為我畫作中拉扯/舞蹈的根基。但當我投入創作過程時，這股拉扯變得不再那麼重要，我轉而探索另一層拉扯關係：用顏色親密的舞動代表回憶。
我認為這次的展覽是在歌頌個人心靈的神遊。

Rhapsody on a Windy Night－Introduction

“Rhapsody on a Windy Night” is the title of a poem by T.S. Eliot. I chose this title as the name of my exhibition because I was inspired by this piece to paint this series of paintings.
The poem talks about a person wandering through the night, lost in thought, a mere witness and also part of the world around him. It describes a struggle between the most transient of things, memory, and the physicality of existence, the material world. It feels like a dance (or, as I said, a struggle) between the flow of memory and the domesticity of life, which interrupts the wanderings of the narrator, creating, thus, a convergence of material and immaterial images that somehow haunts him.

Twelve o'clock.
Along the reaches of the street
Held in a lunar synthesis,
Whispering lunar incantations
Dissolve the floors of memory
And all its clear relations,
Its divisions and precisions,
Every street lamp that I pass
Beats like a fatalistic drum,
And through the spaces of the dark
Midnight shakes the memory
As a madman shakes a dead geranium. (...)

As I wandered through the poem, I felt the urge of redefining certain imagery, to translate it into my own personal world of memory and facts. My intimate ontology.

(…) The memory throws up high and dry
A crowd of twisted things;
A twisted branch upon the beach
Eaten smooth, and polished
As if the world gave up
The secret of its skeleton,
Stiff and white. (...)

One element that immediately came up in my mind as I read the poem was the sea. I have always been deeply connected to the sea. I spent most of my life looking at the immensity of the ocean or swimming in its waters. When we swim, once we are underwater, it's as if we were no longer connected to the outside world, with what happens on the surface. Suddenly, the sounds are muffled, distorted. What we see is not as clear as what we see on land. Our bodies feel lighter and everything somehow seems like a dream. Reality takes on new dimensions and then there's the looming need to go back to the surface to breath. Kind of like memory. Once we are underwater (“wanderers in our personal memories”) the surface (“the material world”) seems something that's in another plane of existence. Something to what we will go back sometime soon, but that can actually wait a little longer as we explore the vastness of the unknown, of that enigmatic cosmos that has the potential of killing us and also giving us joy.
The connection I find between memory and being underwater translated into these paintings, whose common thread is the flow of changing color, the intermingling of shapes and forms, just like memory, which throws up high and dry a crowd of twisted things.
Early on, I decided not to focus on the struggle between memory and the material world, their impossible cohabitation, as it is presented in the poem, and, instead, try to explore the complicated flow of images that memory brings, their movement and their resilience.

The struggle between the two topics mentioned above (memory and the material world) finds its resolution in a sort of frustration or defeat experienced by the wanderer at the very end of the poem, the unavoidable reality of his existence, that of being a blur in an endless cycle of dead images and a rapidly waning materiality:

(…) The lamp said,
"Four o'clock,
Here is the number on the door.
Memory!
You have the key,
The little lamp spreads a ring on the stair,
Mount.
The bed is open; the tooth-brush hangs on the wall,
Put your shoes at the door, sleep, prepare for life."

The last twist of the knife.

But at the same time it shows how inextricable the material and the immaterial worlds are: on the one hand, the tooth-brush, the shoes, “preparing for life”, that is, things of this finite world; and on the other, closing the eyes, entering into the most unfathomable state of mind: sleep, darkness, unconsciousness. It leaves the reader with a sense of hopelessness, somehow. It shows how the material world, at the end of the day, wins over the unsubstantial, over the fruitless paths the mind takes sometimes.
This inextricable relation was the one that prepared the ground for the struggle/dance that appeared in my paintings. But as I got lost in the process, this struggle became tangential and gave way to the exploration of another struggle: the intimate dance of color as a representation of memory.
I would say this exhibition is a celebration of the personal wanderings of the mind.

史上最震撼的流行演奏盛會
完全顛覆你對鋼琴的所有想像
多人感動落淚，千人漏夜排隊
魔幻鋼琴王子V.K克
台北《愛‧無限》流行鋼琴演奏會
網路版完整原音原影重現
即將推出，敬請期待

V.K克 國際官方網站 http://www.VK-style.com/
V.K克 Facebook http://www.facebook.com/VKstyle

《V.K克》，台灣新生代跨界演奏音樂最傑出的鋼琴演奏藝人，2009年製作發行首張­鋼琴全創作演奏專輯─《鏡

夜》，旋即拿下台灣KKBOX心靈演奏類排行榜冠軍，擊敗已久據排行榜寶座許久的外國­藝人《凱文‧柯恩》。

2010年,V.K更推出他的最新全創作專輯《愛‧無限》，不但再度攻陷台灣KKBO­X心靈演奏類排行榜冠軍,更在短短一周

內，在博客來演奏銷售排行榜上攻進前三名，引爆風潮。其音樂最大的特色是結合各項華人­音樂的元素，融合多種樂

器，曲風多變，時而清新自然，時而開闊千里；縷縷扣人心弦卻又能讓人感到加倍幸福溫馨­。一直對台灣有著相當大

的關懷以及情感的《V.K克》,利用音樂及網路的力量,在國際間發光發熱,為台灣的藝­術音樂文化，增添一筆筆佳話。

此次在歌迷千呼萬喚之下，終於舉辦個人首場大規模演奏會《愛‧無限》。有別於一般的鋼­琴演奏會，V.K強烈展現

其與眾不同的特質，從選曲到大編制的弦樂樂團，都有著極具巧思的安排，除了將演出膾炙­人口的多首成名曲《鏡

夜》、《純白》、《海洋之息》、《地球之淚》、《愛‧無限》、《琴之翼》、《茉莉‧想­念》，為了不辜負引頸期盼

已久的歌迷們的期望，也為了完美呈現樂曲中的中國風味道，特別邀請火紅的女子演奏團體­《無雙樂團》擔任特別嘉賓，

同台競技，也聘請大型管弦樂團《長榮交響樂團》為其配樂演出。

當然同時也將在演奏會上表演下一張專輯的新曲，帶給大家無限驚喜。不論你是《V.K克­》的粉絲，或是演奏音樂的愛好

者，你絕對不能錯過，史上最炫麗，最動人的跨界鋼琴演奏會:『V.K克《愛∞無限》台­北演奏會』。

V.K, a creative artist with rich talents and outspoken characters, started playing the piano at the age of 4 and composing music at the age of 13, which foretold his destiny to take a profession in the field of music.

With surprising absolute pitch and strong musical sensibilities, this well-known internet music producer sincerely expresses the sounds of daily lives through piano and music.

After experiencing several pop music album productions, V.K decides to communicate to the world with his own music. This heart-releasing biographical album brings us not only the unforgettable piano melodies, but also invited well-known performing group 《Venus string trio》 collaborating to bring a more perfect sound with strings and drums.

Chinese style garnished with Japanese rock,《Crimson Sakura》was produced with the highest specification and will bring a shock wave into the Chinese music industry which has been lacking new blood.

Originally produced for MOS burger's TV commercials,《Matcha latte》, 《Pure White》, and 《The Breath of Sea》 are the masterpieces of V.K's style of New Age and has overtaken Kevin Kern's top position and become number one in "KKBOX", the biggest digital music chart in the Chinese region. 《Pure White》imitated Japanese gifted folk singer Hajime Chitose's particular singing style through keyboard and established V.K's unique style of performing.

《Melody of Elves》describes a group of isolated elves who enchantingly symphonize their songs of life. Inspired by the famous Japanese anime film 《Nausicaä of The Valley Of The Wind》, the《Melody of Elves》reveals V.K's master in music for animated films.

《The Season of Vanilla Bubbles》is a hit incidental music in community website "wretch" and has soon hit the top for users utility rate. It describes the pure and melancholy love stories in the snowy white Christmas season.

With splendid piano techniques, dazzling rhythmic drumbeats, title track《Reflection》is the newest style of performing as if singing antiphonally in R&B style. The drumbeats, piano and strings collaborate, yet compete with one another to create the sparks that light up the climax to bring you into V.K's piano world.

With the release of《Reflection》, V.K expresses his music philosophy with gifted talents and music senses which extend to create amazing musical elements that are both ravishing and alluring. In the winter of 2009, we look forward and hope that the most wonderful touching moments will come down like snowflakes around you and I.