心之帆
The Heart’s Sail
1/14
人們通常傾向於將自己以及其他物質現象視為純粹的物質對象，但所有物質對象都共有一個資訊與能量上的本質，這個本質超越了傳統認知。正是這個本質指導著在替代空間 (Alternatives space) 中物質實現 (Material realisation) 的行為。儘管我們習慣用抽象符號來描述，但那僅足以描繪其外部表現，而真正的本質無法用心智的語言明確描述，這也解釋了為何哲學和宗教運動總試圖去闡述那無法言明的巨大奧秘。
People generally tend to interpret themselves and other physical phenomena in the world as essentially material objects. Yet all material objects have one informational and energetic essence in common which defies conventional perception. It is this essence that directs the behaviour of material realization in the alternatives space. The language of abstract symbols we are used to referring to is only sufficient to describe the outer manifestations of this informational and energetic essence. The original essence itself cannot be unambiguously described using the language of the mind, hence the magnitude of philosophical and religious movements that have attempted to do so.
2/14
人類的感知之所以如此，是因為從幼時起我們就被教導要將注意力集中在各個獨立的事物上。「看看 Lyalya！這是你的手，這是你的腳，這是你的稀飯！還有那隻鳥！」我們的感知在整個生命中不斷受到塑造與條件約束，心智因而按照既定的模板不斷傳遞著世界的數據。
Human perception is like this because we have been taught since early childhood to concentrate our attention on separate elements. “Look at Lyalya! These are your hands and these are your feet. And this is your porridge! Look at the bird!” Our perception continues to be shaped and conditioned throughout our entire life and so the mind constantly channels data according to an established template of how the world is described.
3/14
例如，如果某人從未見過他人的能量場，心智便不願意讓眼睛捕捉到這種現象，因為那與既定的模板不符。在童年時期，沒有人曾讓我們注意到光環，因而它被排除在我們用來描述世界的模板之外。如今，我們從理論上知道光環存在，但我們用視覺捕捉它的能力卻十分有限。
For example, if someone has never seen another person’s energy field, the mind will be reluctant for the eyes to perceive it because it is not consistent with the established template. In childhood, no-one ever drew our attention to auras and so they were excluded from the template we use to describe the world. Now we understand theoretically that the aura exists but our ability to perceive it visually is poorly developed.
4/14
感知的機制依然是一個謎。我們目前的理解僅能明確討論其中某些方面。例如，螞蟻從未見過星辰，它們從未見過太陽、山脈乃至森林。螞蟻的視覺由出生起便被設計成只關注近距離的物體，因此螞蟻對世界的感知與我們大相徑庭。
The mechanism of perception still remains a puzzle. Our current understanding is such that only certain elements of it can be discussed with any clarity. Ants for example, have never seen the stars. They have never seen the sun, mountains, or even the forest. Their vision is designed so that from birth they only focus on objects that lie in close proximity. An ant’s perception of the world differs radically from our own.
5/14
當我們問「世界究竟長什麼樣？」時，我們希望藉此提出一個客觀問題，期待得到一個客觀回答；但這個問題本質上並非真正客觀。世界顯現的樣貌正如我們所看到的，因為「長得像」這個概念也是影響我們感知模板的一部分。例如，在一隻盲鼴鼠的感知模板中，根本沒有「長得像」這個概念。世界依照我們的感知模板向我們顯示，同時，世界實際上並不「長得像」任何東西。說世界始終如一或看起來像是由光亮能量積聚而成，都毫無意義，真正值得談論的是我們所能感知到的現實個別表現。
When we ask: “what does the world really look like?” we are attempting to pose an objective question in the hope of receiving an objective answer; but the question is not really objective. The world looks just as we see it, because the notion ‘looks like’ is also an element of the template that colours our perception. In the template of a blind mole for example, the notion ‘looks like’ simply does not exist. The world demonstrates itself to us in accordance with our template of perception and at the same time, the world does not actually ‘look like’ anything. The is no point in claiming that the world looks as it always has done, or looks like an accumulation of illuminated energy or anything else. There is only any point to speaking of the individual manifestations of reality that we are capable of perceiving.
6/14
意識是人類社會的產物，源自於我們周遭那些概念與定義；而靈魂（潛意識）則自出生起就屬於個體。隨著周圍世界被人類語言中的概念和定義所劃定，意識逐漸形成。世界的存在不僅僅因為人們以自己的概念來描述它。從這個角度來看，人類靈魂始終是不識字的，因為它無法理解由文字構成的人類語言；心只能理解我們稱之為感受的東西。思緒首先產生，其後才以文字表達。思考並不需要文字——想法才是最原始的，而想法正是潛意識能夠理解的語言。試圖用理智語言與潛意識溝通，是毫無意義的。
Consciousness is a product of human society and emerges from the concepts and definitions that surround us. Whereas the soul (subconscious) is part of man from birth, consciousness is acquired as the surrounding world becomes defined by ideas and definitions in terms of human language. The world does not only exist because people have described it using their own concepts. In this sense the human soul will always be illiterate for it does not understand the human language of words. The heart is only capable of understanding the things we call feelings. First a thought emerges and only afterwards is it formulated in words. You do not have to have words to think. Thoughts are primary, not words, and thoughts are the language the subconscious can understand. There is no point in trying to communicate with the subconscious in the language of the intellect.
7/14
現存的社會概念遠不足以表達整體人類經驗。如你所見，我無法完全描述外在意圖 (Outer intention) 的本質。幸運的是，人類透過藝術保留了一種普世表達方式。我們理解藝術作品並不需要文字，因為每個人都能感知心的語言；這是以愛與激情創造之物的語言。當一個人走向自己內心最深的夢想，選擇那扇最適合他靈魂（潛意識）的門時，他便有能力創造出一件傑作，這就是藝術的誕生。你可以從音樂學院畢業、創作出無人記得的無色音樂，也可以畫出技法完美卻不被認為是傑作的空白畫作，但只要你能說出作品「有那麼一點特別」，那它至少可以被視為藝術品。究竟那「特別」是什麼，評論家會細述，但有一點是肯定的：這份特別無需言語，人人皆能理解。
The existing set of concepts society uses is far from sufficient to express the entirety of human experience. As you can see, I was not able to fully describe the nature of outer intention. Fortunately, humanity has preserved one means of universal expression through art. We do not need words in order to understand works of art. Everyone can understand the language of the heart. This is the language of things created with love and passion. When a person walks towards their innermost dream through the right door, i.e. does the thing that suits their soul best, they become capable of creating a masterpiece. This is how art is born. You can graduate from a conservatory and compose colourless music that no- one remembers and you can paint empty paintings that are technically immaculate but no-one would proclaim them a master piece. Yet, if you can say of a created work that ‘it has something’ then it can at least be considered a work of art. What specifically that something is, the critics will explain, but one thing is certain, that something can be understood by all without words.
8/14
蒙娜麗莎的微笑以一種無需言語、人人皆能理解的方式向我們表達著訊息。文字難以表達出我們本能理解的感受。究竟被理解的是什麼並不重要，因為每個人都有自己獨特的直覺與感受方式。你當然可以說蒙娜麗莎的微笑充滿神秘，或者具有難以捉摸的特質，但文字始終不足以形容那令畫作成為不朽傑作的獨特魅力。
The Mona Lisa’s smile speaks in a language everyone can understand. There are no words. Words fall short of expressing the things we understand instinctively. What exactly is being comprehended is not important as everyone has their own unique way of divining and feeling. You could of course explain that the Mona Lisa’s smile is mysterious or that it has an elusive quality etc, but words are still powerless to explain that special something that makes the painting nothing less than a master piece.
9/14
引起如此廣泛關注的不僅僅是蒙娜麗莎微笑中那難以捉摸的特質。你是否注意到蒙娜麗莎的微笑與佛陀的微笑十分相似？人們常說佛陀在生前就達到了覺悟，換句話說，佛陀就像那水滴一樣，曾經體驗過與整片海洋的合一感。在所有佛像中，佛陀的微笑既無熱情浮誇，又流露出無比寧靜與幸福，彷彿是一種對「永恆沉思」的表達。當你第一次見到佛陀那微笑，便會感受到一種奇特的混合情緒——既困惑又好奇，因為它讓你聯想到一顆遙遠且被遺忘的水滴，那與海洋合一的感覺。
It is not just the elusive quality of the Mona Lisa smile that evokes such avid interest. Have you ever noticed that the Mona Lisa’s smile is similar to the Buddha’s smile? People say that the Buddha achieved enlightenment during his own lifetime. In other words, people say that the Buddha, like the droplet of water, experienced a sense of oneness with the entire ocean. In all the pictures of the Buddha his smile is totally dispassionate and at the same time it expresses serenity and bliss. It is a smile that can be characterised as an expression of the ‘contemplation of eternity’. When you see the Buddha’s smile for the first time it evokes a strange mixture of bewilderment and curiosity because it reminds you of a drop of something distant and forgotten – the feeling of oneness with the ocean.
10/14
任何能喚起這種遙遠合一感的事物，總能觸動內心深處的共鳴。隨著人類語言的出現，靈魂的語言漸漸式微；人們過於專注於心智的語言，久而久之，心智在我們的體驗中佔了主導地位。甚至解釋這一過程的故事也總是在理性概念的框架下講述。譬如巴別塔的傳說中，眾神因人類未能建造出直達天際的高塔而大怒，於是令人類語言變得混亂，彼此無法溝通，這也扭曲了原本的過程。
Any reminder of this distant oneness touches a chord in the heart. When human language emerged the language of the soul gradually began to atrophy. People focused too exclusively on the language of the mind and so with time it began to take primary position in our experience. Even the story that explains how this occurred is told in the context of an intellectual concept. A distortion of the process is described in the legend of the Tower of Babel in accordance with which the gods became angry with man for failing to construct a building that reached the height of the heavens and so they confounded the languages of man so that the people would no longer be able to understand one another.
11/14
從根本上說，大多數神話與傳說都表達了一種真理，只不過這真理是通過心智建構來詮釋的。也許那座高塔正是人們學會以心智語言有意識表達自己意志所獲得力量的隱喻。如我們之前所說，心能感受到外在意圖 (Outer intention) 的之風，但它無法張起帆去駕馭風力；而心智的意志 (Intention) 卻能張起帆。意志是一種有意識覺察的屬性。
In essence the majority of myths and legends express a truth which has been interpreted via mental constructs. Perhaps the high tower serves as a metaphor for the power the people received when they learned to express their will consciously in the language of the mind. As we have said already, the heart can feel the wind of outer intention but it is not capable of putting up a sail to harness the wind’s force. The will of the mind however, can put up a sail. Will is an attribute of conscious awareness.
12/14
內心在外在意圖 (Outer intention) 之風中自發飄揚、毫無控制，而有意的覺察則讓個人意志能夠刻意表達。最初，在心與心智的語言尚未分裂之前，心與心智之間的和諧連結是輕易達成的；但後來，心智過於專注於以自身的標準構築世界觀，導致對外在意圖 (Outer intention) 的認識遠遠落後。
The subconscious flight of the heart on the winds of outer intention is spontaneous and uncontrolled whereas conscious awareness allows personal will to be expressed deliberately. Initially, before the languages of the heart and mind became so divorced from one another, harmonious connection between heart and mind was easily achieved. Later, the mind focused so intently on constructing a worldview based on its own references that its knowledge of outer intention was left far behind.
13/14
憑藉巨大的智力投入，心智在物質實現 (Material realisation) 的數位世界中取得了非凡的成功，但也因此與一切與未實現替代空間 (Alternatives space) 相關的事物失去了聯繫。正是因為心智徹底脫離了對外在意圖 (Outer intention) 的理解，才使得 Transurfing 模型中許多觀念顯得難以置信。雖然心智可以找回那失去的知識，但前提是必須與內心建立起連結。
Due to colossal intellectual effort the mind has achieved outstanding success in the texnotronical world of material realisation but has lost connection with everything that is in any way related to the unrealised alternatives space. It is because the mind has radically distanced itself from an understanding of outer intention that so many ideas within the Transurfing model seem implausible. The mind can retrieve the knowledge that has been lost but in order to so there must be a connection between heart and mind.
14/14
困難在於，與心智不同，心並不進行思考——它只憑直覺知道。當心智將接收到的信息經由既定模板進行分析時，心則直接從信息場獲取知識，無需經過分析，並同樣地與外在意圖 (Outer intention) 溝通。為了使這種溝通更加聚焦，必須讓心智的意志與心的追求達成一致。心與心智的合一 (Unity of heart and mind) 是關鍵；一旦你實現了這種連結，你心中的帆便會充滿外在意圖 (Outer intention) 之風，直接將你帶向目標。
The difficulty is that the heart, unlike the mind does not think; it knows. While the mind considers the information it receives passing it through the analytical filter of the template worldview, the heart receives knowledge from the information field directly, without subjecting it to analysis, and communicates with outer intention in the same manner. In order to make this communication more focused there has to be agreement between the will of the mind and the strivings of the heart. Union between heart and mind is essential. If you can achieve this connection your heart’s sail will fill up with the wind of outer intention and carry you directly to your goal.
心之帆
The Heart’s Sail
1/14
人們通常傾向於將自己和世界上的其他物理現象解釋為本質上是物質對象。然而，所有物質對象都有一個共同的信息和能量本質，這違背了傳統的感知。正是這種本質指導著"可能性空間"(alternatives space)中物質實現的行為。我們習慣於參考的抽象符號語言只能用來描述這種信息和能量本質的外在表現。原始本質本身無法用心靈的語言明確描述，因此許多哲學和宗教運動試圖這樣做。
People generally tend to interpret themselves and other physical phenomena in the world as essentially material objects. Yet all material objects have one informational and energetic essence in common which defies conventional perception. It is this essence that directs the behaviour of material realization in the alternatives space. The language of abstract symbols we are used to referring to is only sufficient to describe the outer manifestations of this informational and energetic essence. The original essence itself cannot be unambiguously described using the language of the mind, hence the magnitude of philosophical and religious movements that have attempted to do so.
2/14
人類的感知就是這樣，因為我們從小就被教導要將注意力集中在單獨的元素上。“看看Lyalya！這是你的手，這是你的腳。這是你的粥！看看那隻鳥！”我們的感知在整個生命中不斷被塑造和條件化，因此心靈不斷根據世界的既定模板來傳遞數據。
Human perception is like this because we have been taught since early childhood to concentrate our attention on separate elements. “Look at Lyalya! These are your hands and these are your feet. And this is your porridge! Look at the bird!” Our perception continues to be shaped and conditioned throughout our entire life and so the mind constantly channels data according to an established template of how the world is described.
3/14
例如，如果有人從未見過他人的能量場，心靈將不願意讓眼睛感知到它，因為它與既定模板不一致。在童年時期，沒有人曾經讓我們注意到光環，因此它們被排除在我們用來描述世界的模板之外。現在我們在理論上理解光環的存在，但我們在視覺上感知它的能力發展得很差。
For example, if someone has never seen another person’s energy field, the mind will be reluctant for the eyes to perceive it because it is not consistent with the established template. In childhood, no-one ever drew our attention to auras and so they were excluded from the template we use to describe the world. Now we understand theoretically that the aura exists but our ability to perceive it visually is poorly developed.
4/14
感知的機制仍然是一個謎。我們目前的理解是，只有某些元素可以清晰地討論。例如，螞蟻從未見過星星。他們從未見過太陽、山脈，甚至森林。他們的視覺設計使得從出生起他們只專注於近距離的物體。螞蟻對世界的感知與我們的截然不同。
The mechanism of perception still remains a puzzle. Our current understanding is such that only certain elements of it can be discussed with any clarity. Ants for example, have never seen the stars. They have never seen the sun, mountains, or even the forest. Their vision is designed so that from birth they only focus on objects that lie in close proximity. An ant’s perception of the world differs radically from our own.
5/14
當我們問：“世界到底是什麼樣子？”我們試圖提出一個客觀問題，希望得到一個客觀答案；但這個問題並不真正客觀。世界看起來正如我們所見，因為“看起來”這個概念也是我們感知模板的一個元素。例如，在盲鼴鼠的模板中，“看起來”這個概念根本不存在。世界根據我們的感知模板向我們展示自己，同時，世界實際上並不“看起來”像什麼。聲稱世界看起來像它一直以來的樣子，或看起來像一堆發光的能量或其他任何東西是沒有意義的。只有談論我們能夠感知的現實的個體表現才有意義。
When we ask: “what does the world really look like?” we are attempting to pose an objective question in the hope of receiving an objective answer; but the question is not really objective. The world looks just as we see it, because the notion ‘looks like’ is also an element of the template that colours our perception. In the template of a blind mole for example, the notion ‘looks like’ simply does not exist. The world demonstrates itself to us in accordance with our template of perception and at the same time, the world does not actually ‘look like’ anything. The is no point in claiming that the world looks as it always has done, or looks like an accumulation of illuminated energy or anything else. There is only any point to speaking of the individual manifestations of reality that we are capable of perceiving.
6/14
意識是人類社會的產物，源於圍繞我們的概念和定義。而靈魂（潛意識）是人從出生起的一部分，隨著周圍世界被人類語言的思想和定義所界定，意識被獲得。世界不僅僅是因為人們用自己的概念描述了它。在這個意義上，人類的靈魂將永遠是文盲，因為它不理解人類的語言。心只能理解我們稱之為感覺的事物。首先出現的是思想，然後才用語言表達。你不必用語言來思考。思想是主要的，而不是語言，思想是潛意識能夠理解的語言。試圖用智力的語言與潛意識交流是沒有意義的。
Consciousness is a product of human society and emerges from the concepts and definitions that surround us. Whereas the soul (subconscious) is part of man from birth, consciousness is acquired as the surrounding world becomes defined by ideas and definitions in terms of human language. The world does not only exist because people have described it using their own concepts. In this sense the human soul will always be illiterate for it does not understand the human language of words. The heart is only capable of understanding the things we call feelings. First a thought emerges and only afterwards is it formulated in words. You do not have to have words to think. Thoughts are primary, not words, and thoughts are the language the subconscious can understand. There is no point in trying to communicate with the subconscious in the language of the intellect.
7/14
社會使用的現有概念集遠不足以表達人類經驗的全部。如你所見，我無法完全描述外在意圖(outer intention)的本質。幸運的是，人類通過藝術保留了一種普遍表達的方式。我們不需要語言來理解藝術作品。每個人都能理解心的語言。這是用愛和激情創造的事物的語言。當一個人通過正確的門走向他們內心深處的夢想，即做最適合他們靈魂的事情時，他們就能創造出一件傑作。這就是藝術的誕生。你可以從音樂學院畢業，創作出無人記住的無色音樂，你可以畫出技術上完美但無人稱其為傑作的空洞畫作。然而，如果你能說一件作品“有什麼東西”，那麼它至少可以被認為是一件藝術品。具體是什麼，評論家會解釋，但可以肯定的是，那些東西可以不需要語言就被所有人理解。
The existing set of concepts society uses is far from sufficient to express the entirety of human experience. As you can see, I was not able to fully describe the nature of outer intention. Fortunately, humanity has preserved one means of universal expression through art. We do not need words in order to understand works of art. Everyone can understand the language of the heart. This is the language of things created with love and passion. When a person walks towards their innermost dream through the right door, i.e. does the thing that suits their soul best, they become capable of creating a masterpiece. This is how art is born. You can graduate from a conservatory and compose colourless music that no- one remembers and you can paint empty paintings that are technically immaculate but no-one would proclaim them a master piece. Yet, if you can say of a created work that ‘it has something’ then it can at least be considered a work of art. What specifically that something is, the critics will explain, but one thing is certain, that something can be understood by all without words.
8/14
蒙娜麗莎的微笑用每個人都能理解的語言說話。沒有語言。語言無法充分表達我們本能理解的事物。具體理解的是什麼並不重要，因為每個人都有自己獨特的解讀和感受方式。當然，你可以解釋蒙娜麗莎的微笑是神秘的，或者它具有難以捉摸的特質等，但語言仍然無法解釋那種使畫作成為傑作的特殊東西。
The Mona Lisa’s smile speaks in a language everyone can understand. There are no words. Words fall short of expressing the things we understand instinctively. What exactly is being comprehended is not important as everyone has their own unique way of divining and feeling. You could of course explain that the Mona Lisa’s smile is mysterious or that it has an elusive quality etc, but words are still powerless to explain that special something that makes the painting nothing less than a master piece.
9/14
不僅僅是蒙娜麗莎微笑的難以捉摸的特質引起了如此熱切的興趣。你是否注意到蒙娜麗莎的微笑與佛陀的微笑相似？人們說佛陀在他的一生中實現了啟蒙。換句話說，人們說佛陀像水滴一樣，體驗到了與整個海洋合一的感覺。在所有佛陀的畫像中，他的微笑是完全冷靜的，同時表達了寧靜和幸福。這是一種可以被描述為“永恆沉思”的微笑。當你第一次看到佛陀的微笑時，它會引起一種奇怪的困惑和好奇的混合，因為它讓你想起了一滴遙遠而被遺忘的東西——與海洋合一的感覺。
It is not just the elusive quality of the Mona Lisa smile that evokes such avid interest. Have you ever noticed that the Mona Lisa’s smile is similar to the Buddha’s smile? People say that the Buddha achieved enlightenment during his own lifetime. In other words, people say that the Buddha, like the droplet of water, experienced a sense of oneness with the entire ocean. In all the pictures of the Buddha his smile is totally dispassionate and at the same time it expresses serenity and bliss. It is a smile that can be characterised as an expression of the ‘contemplation of eternity’. When you see the Buddha’s smile for the first time it evokes a strange mixture of bewilderment and curiosity because it reminds you of a drop of something distant and forgotten – the feeling of oneness with the ocean.
10/14
任何對這種遙遠合一的提醒都會觸動心靈的弦。當人類語言出現時，靈魂的語言逐漸開始萎縮。人們過於專注於心靈的語言，因此隨著時間的推移，它開始在我們的經驗中佔據主要地位。即使是解釋這一過程如何發生的故事也是在智力概念的背景下講述的。巴別塔的傳說中描述的過程扭曲，根據該傳說，神因人類未能建造達到天堂高度的建築而憤怒，因此混淆了人類的語言，使人們不再能夠互相理解。
Any reminder of this distant oneness touches a chord in the heart. When human language emerged the language of the soul gradually began to atrophy. People focused too exclusively on the language of the mind and so with time it began to take primary position in our experience. Even the story that explains how this occurred is told in the context of an intellectual concept. A distortion of the process is described in the legend of the Tower of Babel in accordance with which the gods became angry with man for failing to construct a building that reached the height of the heavens and so they confounded the languages of man so that the people would no longer be able to understand one another.
11/14
本質上，大多數神話和傳說表達了一種通過心靈結構解釋的真相。也許高塔象徵著人們在學會用心靈的語言有意識地表達意志時所獲得的力量。如我們已經說過的，心可以感受到外在意圖(outer intention)之風，但無法豎起帆來利用風的力量。然而，心靈的意志可以豎起帆。意志是有意識的屬性。
In essence the majority of myths and legends express a truth which has been interpreted via mental constructs. Perhaps the high tower serves as a metaphor for the power the people received when they learned to express their will consciously in the language of the mind. As we have said already, the heart can feel the wind of outer intention but it is not capable of putting up a sail to harness the wind’s force. The will of the mind however, can put up a sail. Will is an attribute of conscious awareness.
12/14
心在外在意圖(outer intention)之風中的潛意識飛行是自發且不受控制的，而有意識的意識允許個人意志被有意識地表達。最初，在心靈和心的語言尚未如此分離之前，心靈和心之間的和諧聯繫很容易實現。後來，心靈如此專注於基於自身參考構建世界觀，以至於它對外在意圖(outer intention)的認識被遠遠拋在後面。
The subconscious flight of the heart on the winds of outer intention is spontaneous and uncontrolled whereas conscious awareness allows personal will to be expressed deliberately. Initially, before the languages of the heart and mind became so divorced from one another, harmonious connection between heart and mind was easily achieved. Later, the mind focused so intently on constructing a worldview based on its own references that its knowledge of outer intention was left far behind.
13/14
由於巨大的智力努力，心靈在物質實現的技術世界中取得了傑出的成功，但失去了與任何與未實現的"可能性空間"(alternatives space)相關的事物的聯繫。正是因為心靈徹底遠離了對外在意圖(outer intention)的理解，Transurfing模型中的許多想法才顯得不可信。心靈可以找回失去的知識，但為此必須在心靈和心之間建立聯繫。
Due to colossal intellectual effort the mind has achieved outstanding success in the texnotronical world of material realisation but has lost connection with everything that is in any way related to the unrealised alternatives space. It is because the mind has radically distanced itself from an understanding of outer intention that so many ideas within the Transurfing model seem implausible. The mind can retrieve the knowledge that has been lost but in order to so there must be a connection between heart and mind.
14/14
困難在於心不像心靈那樣思考；它知道。當心靈考慮接收到的信息時，通過模板世界觀的分析過濾器，心直接從信息場接收知識，沒有經過分析，並以同樣的方式與外在意圖(outer intention)交流。為了使這種交流更加集中，必須在心靈的意志和心的追求之間達成一致。心靈和心的聯合是必不可少的。如果你能實現這種聯繫，你的心之帆將充滿外在意圖(outer intention)之風，直接將你帶到你的目標。
The difficulty is that the heart, unlike the mind does not think; it knows. While the mind considers the information it receives passing it through the analytical filter of the template worldview, the heart receives knowledge from the information field directly, without subjecting it to analysis, and communicates with outer intention in the same manner. In order to make this communication more focused there has to be agreement between the will of the mind and the strivings of the heart. Union between heart and mind is essential. If you can achieve this connection your heart’s sail will fill up with the wind of outer intention and carry you directly to your goal.
心的風帆
The Heart’s Sail
1/14
人們通常傾向於將自己和其他物理現象解釋為本質上的物質對象。然而，所有物質對象有一個共同的信息和能量本質，這違背了傳統的感知。正是這種本質指導了另闢蹊徑之空間中物質實現 (Material Realisation) 的行為。我們習慣使用的抽象符號語言僅足以描述這種信息和能量本質的外部表現。原始本質本身無法使用頭腦的語言明確描述，因此有許多試圖這樣做的哲學和宗教運動。
People generally tend to interpret themselves and other physical phenomena in the world as essentially material objects. Yet all material objects have one informational and energetic essence in common which defies conventional perception. It is this essence that directs the behaviour of material realization in the alternatives space. The language of abstract symbols we are used to referring to is only sufficient to describe the outer manifestations of this informational and energetic essence. The original essence itself cannot be unambiguously described using the language of the mind, hence the magnitude of philosophical and religious movements that have attempted to do so.
2/14
人類的感知是這樣的，因為我們從小被教導將注意力集中在單獨的元素上。“看Lyalya！這是你的手，這是你的腳。這是你的粥！看那隻鳥！”我們的感知在整個人生中持續被塑造和制約，因此頭腦不斷根據世界描述的既定模板引導數據。
Human perception is like this because we have been taught since early childhood to concentrate our attention on separate elements. “Look at Lyalya! These are your hands and these are your feet. And this is your porridge! Look at the bird!” Our perception continues to be shaped and conditioned throughout our entire life and so the mind constantly channels data according to an established template of how the world is described.
3/14
例如，如果有人從未見過另一個人的能量場，頭腦會不願讓眼睛感知它，因為這與既定模板不一致。在童年，沒有人曾吸引我們注意靈氣，因此它被排除在我們用來描述世界的模板之外。現在我們理論上理解靈氣存在，但我們的視覺感知能力發展得很差。
For example, if someone has never seen another person’s energy field, the mind will be reluctant for the eyes to perceive it because it is not consistent with the established template. In childhood, no-one ever drew our attention to auras and so they were excluded from the template we use to describe the world. Now we understand theoretically that the aura exists but our ability to perceive it visually is poorly developed.
4/14
感知的機制仍然是一個謎。我們目前的理解是，只能清楚討論其中的某些元素。例如，螞蟻從未見過星星。它們從未見過太陽、山脈，甚至森林。它們的視覺設計使它們從出生起只專注於近距離的物體。螞蟻對世界的感知與我們截然不同。
The mechanism of perception still remains a puzzle. Our current understanding is such that only certain elements of it can be discussed with any clarity. Ants for example, have never seen the stars. They have never seen the sun, mountains, or even the forest. Their vision is designed so that from birth they only focus on objects that lie in close proximity. An ant’s perception of the world differs radically from our own.
5/14
當我們問：“世界到底是什麼樣子？”我們試圖提出一個客觀問題，希望得到客觀答案；但這個問題其實並不客觀。世界看起來就像我們看到的，因為“看起來像”的概念也是我們感知模板的一部分。例如，對盲鼴來說，“看起來像”的概念根本不存在。世界根據我們的感知模板向我們展示，同時，世界其實不“看起來像”任何東西。聲稱世界看起來一如既往，或者看起來像發光的能量聚集或其他東西沒有意義。只有談論我們能感知的現實單獨表現形式才有意義。
When we ask: “what does the world really look like?” we are attempting to pose an objective question in the hope of receiving an objective answer; but the question is not really objective. The world looks just as we see it, because the notion ‘looks like’ is also an element of the template that colours our perception. In the template of a blind mole for example, the notion ‘looks like’ simply does not exist. The world demonstrates itself to us in accordance with our template of perception and at the same time, the world does not actually ‘look like’ anything. The is no point in claiming that the world looks as it always has done, or looks like an accumulation of illuminated energy or anything else. There is only any point to speaking of the individual manifestations of reality that we are capable of perceiving.
6/14
意識是人類社會的產物，源自我們周圍的概念和定義。而靈魂（潛意識）從出生時就是人的一部分，意識是通過人類語言中的想法和定義來描述周圍世界而獲得的。世界不僅因為人類用自己的概念描述了它而存在。在這個意義上，人類靈魂永遠是文盲，因為它不理解人類的語言詞語。心只能理解我們稱為感覺的東西。首先出現思想，然後才用詞語表達。思考不需要詞語。思想是主要的，不是詞語，思想是潛意識能理解的語言。試圖用智力的語言與潛意識交流沒有意義。
Consciousness is a product of human society and emerges from the concepts and definitions that surround us. Whereas the soul (subconscious) is part of man from birth, consciousness is acquired as the surrounding world becomes defined by ideas and definitions in terms of human language. The world does not only exist because people have described it using their own concepts. In this sense the human soul will always be illiterate for it does not understand the human language of words. The heart is only capable of understanding the things we call feelings. First a thought emerges and only afterwards is it formulated in words. You do not have to have words to think. Thoughts are primary, not words, and thoughts are the language the subconscious can understand. There is no point in trying to communicate with the subconscious in the language of the intellect.
7/14
社會使用的現有概念集遠不足以表達人類的全部體驗。如你所見，我無法完全描述外在意圖的本質。幸運的是，人類保留了一種通過藝術的普遍表達方式。我們不需要詞語來理解藝術作品。每個人都能理解心的語言。這是用愛和激情創造的東西的語言。當一個人通過正確的門走向他們最內心的夢想，即做最適合他們靈魂的事情，他們就能創造傑作。這就是藝術的誕生。你可以從音樂學院畢業，創作無人記得的無色音樂，你可以畫出技術上無瑕但無人稱其為傑作的空洞畫作。然而，如果你可以說一件作品“有某種東西”，那麼它至少可以被認為是藝術品。具體是什麼，評論家會解釋，但有一件事是確定的，那個東西無需詞語就能被所有人理解。
The existing set of concepts society uses is far from sufficient to express the entirety of human experience. As you can see, I was not able to fully describe the nature of outer intention. Fortunately, humanity has preserved one means of universal expression through art. We do not need words in order to understand works of art. Everyone can understand the language of the heart. This is the language of things created with love and passion. When a person walks towards their innermost dream through the right door, i.e. does the thing that suits their soul best, they become capable of creating a masterpiece. This is how art is born. You can graduate from a conservatory and compose colourless music that no- one remembers and you can paint empty paintings that are technically immaculate but no-one would proclaim them a master piece. Yet, if you can say of a created work that ‘it has something’ then it can at least be considered a work of art. What specifically that something is, the critics will explain, but one thing is certain, that something can be understood by all without words.
8/14
蒙娜麗莎的微笑用每個人都能理解的語言說話。沒有詞語。詞語不足以表達我們本能理解的東西。具體理解什麼並不重要，因為每個人都有自己獨特的感受和理解方式。你當然可以解釋蒙娜麗莎的微笑是神秘的或具有難以捉摸的品質等，但詞語仍然無力解釋使這幅畫成為傑作的那個特殊東西。
The Mona Lisa’s smile speaks in a language everyone can understand. There are no words. Words fall short of expressing the things we understand instinctively. What exactly is being comprehended is not important as everyone has their own unique way of divining and feeling. You could of course explain that the Mona Lisa’s smile is mysterious or that it has an elusive quality etc, but words are still powerless to explain that special something that makes the painting nothing less than a master piece.
9/14
不僅是蒙娜麗莎微笑的難以捉摸品質引起如此熱烈的興趣。你有沒有注意到蒙娜麗莎的微笑與佛陀的微笑相似？人們說佛陀在一生中達到了開悟。換句話說，人們說佛陀，像水滴一樣，體驗了與整個海洋的合一感。在所有佛陀的圖像中，他的微笑完全冷靜，同時表達寧靜和幸福。這是一個可以被描述為“凝視永恆”的微笑。當你第一次看到佛陀的微笑時，它會喚起一種困惑與好奇的奇怪混合，因為它讓你想起某種遙遠而被遺忘的東西——與海洋合一的感覺。
It is not just the elusive quality of the Mona Lisa smile that evokes such avid interest. Have you ever noticed that the Mona Lisa’s smile is similar to the Buddha’s smile? People say that the Buddha achieved enlightenment during his own lifetime. In other words, people say that the Buddha, like the droplet of water, experienced a sense of oneness with the entire ocean. In all the pictures of the Buddha his smile is totally dispassionate and at the same time it expresses serenity and bliss. It is a smile that can be characterised as an expression of the ‘contemplation of eternity’. When you see the Buddha’s smile for the first time it evokes a strange mixture of bewilderment and curiosity because it reminds you of a drop of something distant and forgotten – the feeling of oneness with the ocean.
10/14
任何這種遙遠合一的提醒都會觸動心弦。當人類語言出現時，靈魂的語言逐漸萎縮。人們過於專注於頭腦的語言，隨著時間推移，它開始在我們的體驗中佔據主要位置。甚至解釋這如何發生的故事也是在智力概念的背景下講述的。巴別塔的傳說描述了這個過程的扭曲，據說神對人類未能建造通天的建築而憤怒，因此混淆了人類的語言，使人們不再能相互理解。
Any reminder of this distant oneness touches a chord in the heart. When human language emerged the language of the soul gradually began to atrophy. People focused too exclusively on the language of the mind and so with time it began to take primary position in our experience. Even the story that explains how this occurred is told in the context of an intellectual concept. A distortion of the process is described in the legend of the Tower of Babel in accordance with which the gods became angry with man for failing to construct a building that reached the height of the heavens and so they confounded the languages of man so that the people would no longer be able to understand one another.
11/14
本質上，大多數神話和傳說通過心理構造表達真相。或許高塔是人們學會用頭腦語言有意識表達意志時獲得的力量的隱喻。如我們已經說過，心能感覺外在意圖之風，但無法揚起風帆以利用風的力量。然而，頭腦的意志可以揚起風帆。意志是意識覺知的屬性。
In essence the majority of myths and legends express a truth which has been interpreted via mental constructs. Perhaps the high tower serves as a metaphor for the power the people received when they learned to express their will consciously in the language of the mind. As we have said already, the heart can feel the wind of outer intention but it is not capable of putting up a sail to harness the wind’s force. The will of the mind however, can put up a sail. Will is an attribute of conscious awareness.
12/14
心在外在意圖之風上的潛意識飛行是自發且不受控制的，而意識覺知允許個人意志被有意表達。最初，在心與頭腦的語言如此分離之前，心與頭腦的和諧聯繫很容易實現。後來，頭腦如此專注於根據自己的參考構建世界觀，其對外在意圖的知識遠遠落後。
The subconscious flight of the heart on the winds of outer intention is spontaneous and uncontrolled whereas conscious awareness allows personal will to be expressed deliberately. Initially, before the languages of the heart and mind became so divorced from one another, harmonious connection between heart and mind was easily achieved. Later, the mind focused so intently on constructing a worldview based on its own references that its knowledge of outer intention was left far behind.
13/14
由於巨大的智力努力，頭腦在物質實現的技術世界中取得了顯著成功，但失去了與未實現另闢蹊徑之空間相關的一切聯繫。正是因為頭腦從根本上遠離了對外在意圖的理解，Transurfing模型中的許多想法才顯得不可信。頭腦可以找回失去的知識，但為此必須有心與頭腦的聯繫。
Due to colossal intellectual effort the mind has achieved outstanding success in the texnotronical world of material realisation but has lost connection with everything that is in any way related to the unrealised alternatives space. It is because the mind has radically distanced itself from an understanding of outer intention that so many ideas within the Transurfing model seem implausible. The mind can retrieve the knowledge that has been lost but in order to so there must be a connection between heart and mind.
14/14
困難在於心不像頭腦那樣思考；它知道。當頭腦考慮它接收的信息，通過模板世界觀的分析濾器時，心直接從信息場 (Information Field) 接收知識，不進行分析，並以同樣方式與外在意圖交流。為了使這種交流更專注，頭腦的意志與心的追求必須達成一致。心與頭腦的統一是必不可少的。如果你能實現這種聯繫，你的心之帆將充滿外在意圖之風，直接帶你到你的目標。
The difficulty is that the heart, unlike the mind does not think; it knows. While the mind considers the information it receives passing it through the analytical filter of the template worldview, the heart receives knowledge from the information field directly, without subjecting it to analysis, and communicates with outer intention in the same manner. In order to make this communication more focused there has to be agreement between the will of the mind and the strivings of the heart. Union between heart and mind is essential. If you can achieve this connection your heart’s sail will fill up with the wind of outer intention and carry you directly to your goal.
心的帆
The Heart’s Sail
1/14
人們通常傾向於將自己和世界上其他物理現象解釋為本質上是物質對象。然而，所有物質對象都有一種信息和能量的本質，這種本質挑戰了傳統的感知。正是這種本質指導著在替代空間中的物質實現行為。我們習慣於參考的抽象符號語言僅足以描述這種信息和能量本質的外部表現。原始本質本身無法用心智的語言明確描述，因此出現了許多試圖這樣做的哲學和宗教運動。
People generally tend to interpret themselves and other physical phenomena in the world as essentially material objects. Yet all material objects have one informational and energetic essence in common which defies conventional perception. It is this essence that directs the behaviour of material realization in the alternatives space. The language of abstract symbols we are used to referring to is only sufficient to describe the outer manifestations of this informational and energetic essence. The original essence itself cannot be unambiguously described using the language of the mind, hence the magnitude of philosophical and religious movements that have attempted to do so.
2/14
人類的感知是這樣的，因為我們從小就被教導要將注意力集中在單獨的元素上。“看看莉莉亞！這是你的手，這是你的腳。這是你的粥！看看那隻鳥！”我們的感知在整個生命中不斷被塑造和條件化，因此心智不斷根據對世界的描述的既定模板來引導數據。
Human perception is like this because we have been taught since early childhood to concentrate our attention on separate elements. “Look at Lyalya! These are your hands and these are your feet. And this is your porridge! Look at the bird!” Our perception continues to be shaped and conditioned throughout our entire life and so the mind constantly channels data according to an established template of how the world is described.
3/14
例如，如果某人從未見過其他人的能量場，心智將不願意讓眼睛去感知它，因為這與既定模板不一致。在童年時期，沒有人引起我們對光環的注意，因此它們被排除在我們用來描述世界的模板之外。現在我們理論上理解光環的存在，但我們的視覺感知能力卻發展得很差。
For example, if someone has never seen another person’s energy field, the mind will be reluctant for the eyes to perceive it because it is not consistent with the established template. In childhood, no-one ever drew our attention to auras and so they were excluded from the template we use to describe the world. Now we understand theoretically that the aura exists but our ability to perceive it visually is poorly developed.
4/14
感知的機制仍然是一個謎。我們目前的理解是，只有某些元素可以清晰地討論。例如，螞蟻從未見過星星。它們從未見過太陽、山脈，甚至森林。它們的視覺設計使得從出生起它們只專注於近距離的物體。螞蟻對世界的感知與我們的感知截然不同。
The mechanism of perception still remains a puzzle. Our current understanding is such that only certain elements of it can be discussed with any clarity. Ants for example, have never seen the stars. They have never seen the sun, mountains, or even the forest. Their vision is designed so that from birth they only focus on objects that lie in close proximity. An ant’s perception of the world differs radically from our own.
5/14
當我們問：“世界實際上是什麼樣子？”時，我們試圖提出一個客觀問題，希望能得到一個客觀的答案；但這個問題實際上並不客觀。世界看起來就像我們所看到的，因為“看起來”這一概念也是影響我們感知的模板的一個元素。例如，在盲鼴的模板中，“看起來”這一概念根本不存在。世界根據我們的感知模板向我們展示自己，同時，世界實際上並不“看起來”像任何東西。聲稱世界看起來與以往一樣，或看起來像一堆發光的能量或其他任何東西都是沒有意義的。只有談論我們能夠感知的現實的個別表現才有意義。
When we ask: “what does the world really look like?” we are attempting to pose an objective question in the hope of receiving an objective answer; but the question is not really objective. The world looks just as we see it, because the notion ‘looks like’ is also an element of the template that colours our perception. In the template of a blind mole for example, the notion ‘looks like’ simply does not exist. The world demonstrates itself to us in accordance with our template of perception and at the same time, the world does not actually ‘look like’ anything. The is no point in claiming that the world looks as it always has done, or looks like an accumulation of illuminated energy or anything else. There is only any point to speaking of the individual manifestations of reality that we are capable of perceiving.
6/14
意識是人類社會的產物，源於圍繞我們的概念和定義。雖然靈魂（潛意識）是人類從出生起就擁有的部分，但意識是隨著周圍世界被人類語言的思想和定義所界定而獲得的。世界不僅因為人們用自己的概念描述它而存在。在這個意義上，人類的靈魂將永遠是文盲，因為它不理解人類的語言。心靈只能理解我們所稱之為感覺的事物。首先出現一個思想，然後才用語言表達出來。你不必有語言來思考。思想是首要的，而不是語言，思想是潛意識可以理解的語言。試圖用智力的語言與潛意識交流是沒有意義的。
Consciousness is a product of human society and emerges from the concepts and definitions that surround us. Whereas the soul (subconscious) is part of man from birth, consciousness is acquired as the surrounding world becomes defined by ideas and definitions in terms of human language. The world does not only exist because people have described it using their own concepts. In this sense the human soul will always be illiterate for it does not understand the human language of words. The heart is only capable of understanding the things we call feelings. First a thought emerges and only afterwards is it formulated in words. You do not have to have words to think. Thoughts are primary, not words, and thoughts are the language the subconscious can understand. There is no point in trying to communicate with the subconscious in the language of the intellect.
7/14
現有的社會概念集遠不足以表達整個人類經驗。正如你所看到的，我無法完全描述外部意圖的本質。幸運的是，人類保留了一種通過藝術進行普遍表達的手段。我們不需要語言來理解藝術作品。每個人都能理解心靈的語言。這是用愛和激情創造的事物的語言。當一個人通過正確的門走向他們內心最深處的夢想，即做適合他們靈魂的事情時，他們就能夠創造出一部傑作。這就是藝術的誕生。你可以從音樂學院畢業，創作出無色的音樂，沒有人會記得，你也可以畫出技術上完美但沒有人會稱之為傑作的空白畫作。然而，如果你能說一件創作的作品“有某種東西”，那麼它至少可以被視為一件藝術作品。那具體是什麼，評論家會解釋，但有一點是肯定的，這種東西可以被所有人理解，而不需要語言。
The existing set of concepts society uses is far from sufficient to express the entirety of human experience. As you can see, I was not able to fully describe the nature of outer intention. Fortunately, humanity has preserved one means of universal expression through art. We do not need words in order to understand works of art. Everyone can understand the language of the heart. This is the language of things created with love and passion. When a person walks towards their innermost dream through the right door, i.e. does the thing that suits their soul best, they become capable of creating a masterpiece. This is how art is born. You can graduate from a conservatory and compose colourless music that no- one remembers and you can paint empty paintings that are technically immaculate but no-one would proclaim them a master piece. Yet, if you can say of a created work that ‘it has something’ then it can at least be considered a work of art. What specifically that something is, the critics will explain, but one thing is certain, that something can be understood by all without words.
8/14
《蒙娜麗莎》的微笑用每個人都能理解的語言在說話。沒有語言。語言無法表達我們本能理解的事物。究竟理解了什麼並不重要，因為每個人都有自己獨特的方式來洞察和感受。你當然可以解釋《蒙娜麗莎》的微笑是神秘的，或者它具有難以捉摸的特質等等，但語言仍然無法解釋那種使這幅畫不亞於傑作的特殊東西。
The Mona Lisa’s smile speaks in a language everyone can understand. There are no words. Words fall short of expressing the things we understand instinctively. What exactly is being comprehended is not important as everyone has their own unique way of divining and feeling. You could of course explain that the Mona Lisa’s smile is mysterious or that it has an elusive quality etc, but words are still powerless to explain that special something that makes the painting nothing less than a master piece.
9/14
《蒙娜麗莎》的微笑不僅因其難以捉摸的特質而引起如此熱烈的興趣。你有沒有注意到《蒙娜麗莎》的微笑與佛陀的微笑相似？人們說佛陀在自己的生命中達到了啟蒙。換句話說，人們說佛陀像水滴一樣，體驗了與整個海洋的合一感。在所有佛陀的畫像中，他的微笑完全是冷靜的，同時表達著寧靜和幸福。這是一種可以被描述為“對永恆的沉思”的微笑。當你第一次看到佛陀的微笑時，它會引發一種奇怪的困惑和好奇，因為它讓你想起一滴遙遠而被遺忘的東西——與海洋的合一感。
It is not just the elusive quality of the Mona Lisa smile that evokes such avid interest. Have you ever noticed that the Mona Lisa’s smile is similar to the Buddha’s smile? People say that the Buddha achieved enlightenment during his own lifetime. In other words, people say that the Buddha, like the droplet of water, experienced a sense of oneness with the entire ocean. In all the pictures of the Buddha his smile is totally dispassionate and at the same time it expresses serenity and bliss. It is a smile that can be characterised as an expression of the ‘contemplation of eternity’. When you see the Buddha’s smile for the first time it evokes a strange mixture of bewilderment and curiosity because it reminds you of a drop of something distant and forgotten – the feeling of oneness with the ocean.
10/14
任何對這種遙遠合一的提醒都觸動了心靈的弦。當人類語言出現時，靈魂的語言逐漸開始萎縮。人們過於專注於心智的語言，因此隨著時間的推移，它在我們的經驗中開始佔據主要地位。即使解釋這一過程的故事也是在智力概念的背景下講述的。根據巴別塔的傳說，這一過程的扭曲被描述為，神因人類未能建造一座達到天際的建築而對人類感到憤怒，因此他們混淆了人類的語言，使人們無法再理解彼此。
Any reminder of this distant oneness touches a chord in the heart. When human language emerged the language of the soul gradually began to atrophy. People focused too exclusively on the language of the mind and so with time it began to take primary position in our experience. Even the story that explains how this occurred is told in the context of an intellectual concept. A distortion of the process is described in the legend of the Tower of Babel in accordance with which the gods became angry with man for failing to construct a building that reached the height of the heavens and so they confounded the languages of man so that the people would no longer be able to understand one another.
11/14
本質上，大多數神話和傳說表達了一種通過心智構造解釋的真理。也許高塔作為人們學會用心智的語言有意識地表達自己的意志時所獲得的力量的隱喻。正如我們已經說過的，心靈可以感受到外部意圖的風，但無法張起帆來駕馭風的力量。然而，心智的意志可以張起帆。意志是意識的屬性。
In essence the majority of myths and legends express a truth which has been interpreted via mental constructs. Perhaps the high tower serves as a metaphor for the power the people received when they learned to express their will consciously in the language of the mind. As we have said already, the heart can feel the wind of outer intention but it is not capable of putting up a sail to harness the wind’s force. The will of the mind however, can put up a sail. Will is an attribute of conscious awareness.
12/14
心靈在外部意圖的風中自發而無法控制的飛翔，而意識則允許個人意志被有意地表達。最初，在心靈與心的語言尚未如此脫節之前，心靈與心之間的和諧聯繫是容易實現的。後來，心智如此專注於基於自身參考構建世界觀，以至於對外部意圖的認識被遠遠拋在了身後。
The subconscious flight of the heart on the winds of outer intention is spontaneous and uncontrolled whereas conscious awareness allows personal will to be expressed deliberately. Initially, before the languages of the heart and mind became so divorced from one another, harmonious connection between heart and mind was easily achieved. Later, the mind focused so intently on constructing a worldview based on its own references that its knowledge of outer intention was left far behind.
13/14
由於巨大的智力努力，心智在物質實現的技術世界中取得了卓越的成功，但與任何與未實現的替代空間有關的事物失去了聯繫。正因為心智與外部意圖的理解徹底疏遠，許多Transurfing模型中的想法似乎不切實際。心智可以恢復失去的知識，但為此必須在心靈與心智之間建立聯繫。
Due to colossal intellectual effort the mind has achieved outstanding success in the texnotronical world of material realisation but has lost connection with everything that is in any way related to the unrealised alternatives space. It is because the mind has radically distanced itself from an understanding of outer intention that so many ideas within the Transurfing model seem implausible. The mind can retrieve the knowledge that has been lost but in order to so there must be a connection between heart and mind.
14/14
困難在於，心靈與心智不同，不會思考；它知道。當心智考慮所接收的信息，並將其通過模板世界觀的分析過濾時，心靈直接從信息場接收知識，而不進行分析，並以同樣的方式與外部意圖交流。為了使這種交流更加集中，心智的意志與心靈的追求之間必須達成一致。心靈與心智之間的聯合是必不可少的。如果你能實現這種聯繫，你的心的帆將充滿外部意圖的風，並直接將你帶到你的目標。
The difficulty is that the heart, unlike the mind does not think; it knows. While the mind considers the information it receives passing it through the analytical filter of the template worldview, the heart receives knowledge from the information field directly, without subjecting it to analysis, and communicates with outer intention in the same manner. In order to make this communication more focused there has to be agreement between the will of the mind and the strivings of the heart. Union between heart and mind is essential. If you can achieve this connection your heart’s sail will fill up with the wind of outer intention and carry you directly to your goal.