模仿行動
Imitating action
1/21
好了，我的歌唱家與舞者們，讓我們繼續學習：究竟你們正隨著誰的旋律起舞？
So, my songsters and dancers, let’s carry on learning whose tune you are dancing to.
2/21
真實的不僅僅是那些可以觸摸的東西。
Not only that which can be touched is real.
3/21
現實就是一面反向鏡：這邊是反射，那邊則是影像。
Reality is a reverse mirror: here the reflection, there, the image.
4/21
物質現實位於鏡子的前側，而電影膠卷檔案則存在於反面。
Physical reality is on the frontal side, whereas the film roll archive is on the reverse side.
5/21
物理力量在物質現實中奏效，而元能量(Meta-power)則在鏡子內部發揮作用。
Physical force works in physical reality, meta-power works inside the mirror glass.
6/21
當你覺醒時，注意力會轉向鏡內世界中那個虛擬假人。
On awakening, attention shifts to its virtual mannequin in the world inside the mirror.
7/21
你可能對那種未曾察覺便墜入鏡子另一側世界的概念感到些許困惑，甚至極為混亂。別擔心，我那些顫抖的夥伴，每晚當你入睡時，你確實會墜入那鏡內世界。
You must be a little confused by the notion of falling into some world beyond the mirror glass without even noticing it? And perhaps not just a little confused but quite a lot. Don’t worry, my trembling ones, you actually fall into the mirror world every night when you go asleep.
8/21
當你在清醒狀態中覺醒，當你的注意力穩定在覺知中心時，你——或者更確切地說，你的自我——會以虛擬假人的形象顯現在現實另一側；而當你陷入夢境時，也會發生相似情況。不同的是，清醒時你同時擁有鏡子兩側的現實（物質與虛擬共存），而在夢中，物質世界保持不變，而你的注意力卻飛向其他領域。
When you awaken in waking life, when your attention stands at the awareness centre, you, or more specifically, your Self appears in the body of a virtual mannequin, on the other side of reality. In the moment that you become immersed in a dream, the same thing happens. The difference is that in waking, you have the reality on both sides of the mirror, the material and the virtual side. In a dream, reality and the mirror world are not concordant — the material world remains in place, whereas your attention flies far away into other worlds.
9/21
再者，夢中你會越陷越深於劇本之中；而當你在清醒中覺醒（我看見自己，我看見現實）時，你便能從劇本中解脫出來。
Plus the difference is that in a dream you sink ever more deeply into the script, whereas when you awaken in waking life (I see myself and I see reality) you free yourself from it.
10/21
你還記得嗎，當你缺乏自我覺察時，劇本會藉由意圖編織的尖端牽引著你？那麼，當你的鉤子可供使用，且你同時處於鏡內虛擬假人的狀態時，究竟是誰在牽動著這邊物質假人的運動？
Remember we talked about the fact that when you are not self-aware, the script pulls you along by the tip of your plait? So who or what pulls about your physical mannequin on this side when your hook is at your disposal and you are simultaneously in a virtual mannequin in the mirror world?
11/21
答案是，你自己在推動自己。正因你身處鏡內世界——在玻璃之外、與影像同側——你獲得了自由移動自我與即將顯現現實的能力。只有影像能推動反射，而非相反，你明白嗎？
You pull yourself about. You acquire the ability to move things freely, both yourself and impending reality precisely because you are in the mirror world, beyond the glass, on the same side as the image. Only the image can propel the reflection, and not the other way around, you see?
12/21
嚴格來說，物質假人與物質現實不僅僅是反射，而是影像的物質實現(Material realisation)。無論如何，你可以從鏡前的實現幀中掌控已發生的顯現現實；然而，即將出現的現實仍僅停留在影像層面。影像只能從其所屬的幀內被推動，這就需要你轉換進入鏡內世界。
Strictly speaking, the physical mannequin and material reality are not so much a reflection, as a materialisation of the image. One way or another, you can manage manifest reality (already occurred) from within the realisation frame, from in front of the mirror. However, the impending reality is still just an image. The image can only be propelled from within the frame of the image — from the other side, where the image is located. This requires shifting into the mirror world.
13/21
如今，整個情境應該對你十分明朗：在這個顯現幀內，我們必須予以管理；而在那邊，我們則可以進行指引。接著便引出元能量(Meta-power)的概念。我對你們這些心智薄弱者懷有哪怕一絲理解的希望。
Now the whole scenario should be clear to you. Here, in this manifest frame, we have to manage — there, we can direct. And now we come right to the notion of meta-power. I feed my hope of even the faintest glimmer of understanding from you, my feeble-minded ones.
14/21
好了，好了，別抱怨，別哭泣，我那些機靈的小夥伴。現實與鏡內世界的根本差異在於：這邊一切都是具體物質化的，而那邊則全屬虛擬。談到力量，你無法將其施加到無形的物體或空間上；因此，在這邊，起效的是物理力量，而在那邊，則是元能量(Meta-power)在發揮作用。從這側看，是行動；從鏡子另一面看，則是運動幻象。這究竟意味著什麼？
OK, OK, don’t complain, don’t cry, my little whip-smarts. What is the main difference between reality and the mirror world? Here, everything is material, there, it’s all virtual. As far as force is concerned, you won’t be able to apply it to an immaterial object or space, which is why here, what works is force, and there, what works is meta-power. From this side of the mirror: action, from the other side of the mirror glass: the motion illusion. So, what does this mean?
15/21
模仿行動的核心在於：你無權破壞既定的萬物秩序。這秩序要求你參與行動並服從劇本，沒有任何角色可隨意跳脫電影膠卷。劇本並不是某個個體主觀意志的產物，而是你必須隨之屈從的客觀現實。
The whole point of imitation is that you don’t have the right to disrupt the established order of things. The order of things is such that you have to participate in the action and obey the script. Not a single character is permitted to jump out of the filmstrip or do whatever they please in the film. The script is not the result of any individual’s subjective will. It is objective reality, which is something you’re stuck with.
16/21
客觀現實意味著你注定必須存在其中，如同電影膠卷中的角色。你或許不同意，可能抱怨，但這是無法改變的；你甚至可能試圖抗拒，但毫無結果。電影膠卷上所記錄的，必然會發生。行動無法避免，但你可以模仿，甚至欺騙現實。
Objective reality is such that you are doomed to exist within it, like characters in a filmstrip. You may not agree, you may complain, but there’s nothing you can do about it. You may even try to defy it, but nothing will come of it. Whatever is shot on the filmstrip is what will occur. It is impossible to avoid the action, but you can imitate it. You can deceive reality.
17/21
試想你已進入覺知點，發現自己置身於鏡子後的世界。周遭看似依舊如故，你並不覺得自己正在玻璃之外旁觀事件，但你確實已經在那裡。既然如此，你便擁有了構築現實與選擇電影膠卷的能力——不是改變當前所處的那卷，也不是拒絕參與行動，而是挑選另一卷，正是你所渴望的那卷。你懂嗎？
Imagine that you have entered the awareness point and found yourself on the other side of the mirror glass. Everything around you looks just the same as it did before. You don’t feel as if you are observing events from somewhere beyond the glass. And yet, there you are. But now that you are there, you acquire the ability to compose reality and choose the film roll; not change the one you are in, not refuse to participate in the action but choose a different one, the one you want. Do you understand?
18/21
如往常一樣，你仍將扮演劇本規定的角色，完成每日職責；但與其他角色不同的是，當你保持覺知時，你會獲得額外能力——更換當前電影膠卷。與此同時，你依然保持著一種似乎與你毫無關聯的旁觀視角。萬物秩序未受破壞；你既未被識破，也不被拘束，一切都依你所願展開。
As before, you will still continue to play the role prescribed for you in the script and to perform your daily functions, but, unlike the other characters, whilst you remain in a state of awareness, you will get something more — the ability to replace the current film roll. At the same time, you retain a certain perspective as if none of it were anything to do with you. The order of things has not been disrupted; you are neither spotted nor caught and everything has turned out the way you want.
19/21
這便是模仿遊戲。你彷彿活生生的電影角色般漫遊於影片中，一方面佯裝沉寂，另一方面依你心意更換膠卷，而劇本與其他角色卻毫不察覺。
This is the imitation game. You wander round a motion-picture like a live character, making yourself out to be inert and you change the reel as you see fit. And nobody suspects anything, neither the script, nor the other characters.
20/21
此外，你永遠無法擺脫那套劇本。你只是在構築現實的同時啟動了另一個全新的現實，而這新劇本仍不屬於你，你依然被其牽制，但它最終會引領你達成所渴望的結果。
Besides, you can never avoid the script. It is just that by setting reality you initiate a new one. The new script is not yours either, you are still within its power. But it will lead you to the desired result.
21/21
你應該隱藏起來，遠離其他角色嗎？無論你多想引人注目，我都不建議你公開炫耀你的能力。在中古世紀，因為這種舉動，人們會被活埋焚燒；而在今天，你可能會被悄然關進一個隱秘的避難所。你已略顯瘋狂，所以別當沉睡者，別露出你的存在，務必服從你的女祭司。我如此愛你們，甚至想把你們全數滅掉！
Should you hide from the other characters? However much you may like to stand out, I do not advise that you advertise your abilities. In the Middle Ages, people were burned at the stake for such things, and today, you could get tucked away in a quiet shelter somewhere. You are already a little loopy, so don’t be sleepers; don’t give your presence away; obey your priestess. I love you so much, I could kill you all!
模仿行動
Imitating action
1/21
那麼，我的歌者和舞者們，讓我們繼續學習你們在隨著誰的旋律起舞。
So, my songsters and dancers, let’s carry on learning whose tune you are dancing to.
2/21
不僅僅是可以觸摸的東西才是真實的。
Not only that which can be touched is real.
3/21
現實是一面反向的鏡子：這裡是反射，那裡是圖像。
Reality is a reverse mirror: here the reflection, there, the image.
4/21
物質現實在正面，而膠卷檔案在反面。
Physical reality is on the frontal side, whereas the film roll archive is on the reverse side.
5/21
物理力量在物質現實中起作用，而超能力在鏡面玻璃內發揮作用。
Physical force works in physical reality, meta-power works inside the mirror glass.
6/21
當醒來時，注意力轉移到鏡中世界的虛擬人偶上。
On awakening, attention shifts to its virtual mannequin in the world inside the mirror.
7/21
你可能對於掉入鏡面玻璃之外的某個世界感到有些困惑，甚至不僅僅是有些困惑，而是非常困惑。別擔心，我的顫抖者們，當你每晚入睡時，你實際上就掉入了鏡中世界。
You must be a little confused by the notion of falling into some world beyond the mirror glass without even noticing it? And perhaps not just a little confused but quite a lot. Don’t worry, my trembling ones, you actually fall into the mirror world every night when you go asleep.
8/21
當你在清醒生活中醒來時，當你的注意力站在意識中心，你，或更具體地說，你的自我出現在虛擬人偶的身體中，在現實的另一側。當你沉浸在夢中時，同樣的事情發生。不同之處在於，在清醒時，你在鏡子的兩側都有現實，物質和虛擬的一面。在夢中，現實和鏡中世界並不一致——物質世界保持不變，而你的注意力飛向其他世界。
When you awaken in waking life, when your attention stands at the awareness centre, you, or more specifically, your Self appears in the body of a virtual mannequin, on the other side of reality. In the moment that you become immersed in a dream, the same thing happens. The difference is that in waking, you have the reality on both sides of the mirror, the material and the virtual side. In a dream, reality and the mirror world are not concordant — the material world remains in place, whereas your attention flies far away into other worlds.
9/21
另外的不同在於，在夢中你越來越深地陷入劇本，而當你在清醒生活中醒來時（我看到自己，我看到現實），你從中解脫出來。
Plus the difference is that in a dream you sink ever more deeply into the script, whereas when you awaken in waking life (I see myself and I see reality) you free yourself from it.
10/21
記得我們談到過當你沒有自我意識時，劇本通過辮子的末端拉著你嗎？那麼當你的鉤子由你掌控，並且你同時在鏡中世界的虛擬人偶中時，誰或什麼在拉動你這一側的物質人偶呢？
Remember we talked about the fact that when you are not self-aware, the script pulls you along by the tip of your plait? So who or what pulls about your physical mannequin on this side when your hook is at your disposal and you are simultaneously in a virtual mannequin in the mirror world?
11/21
你自己拉動自己。你獲得了自由移動事物的能力，包括你自己和即將到來的現實，正因為你在鏡中世界，玻璃的另一側，與圖像在同一側。只有圖像可以推動反射，而不是反過來，你明白嗎？
You pull yourself about. You acquire the ability to move things freely, both yourself and impending reality precisely because you are in the mirror world, beyond the glass, on the same side as the image. Only the image can propel the reflection, and not the other way around, you see?
12/21
嚴格來說，物質人偶和物質現實不僅僅是反射，而是圖像的物質化。不管怎麼說，你可以從現實化幀內管理已經發生的現實，從鏡子前面。然而，即將到來的現實仍然只是一個圖像。圖像只能從圖像幀內推動——從另一側，圖像所在的位置。這需要轉移到鏡中世界。
Strictly speaking, the physical mannequin and material reality are not so much a reflection, as a materialisation of the image. One way or another, you can manage manifest reality (already occurred) from within the realisation frame, from in front of the mirror. However, the impending reality is still just an image. The image can only be propelled from within the frame of the image — from the other side, where the image is located. This requires shifting into the mirror world.
13/21
現在整個情景應該對你清晰了。在這個顯現的幀中，我們必須管理——在那裡，我們可以引導。現在我們來到超能力的概念。我希望從你們這些頭腦簡單的人中看到哪怕一絲理解的曙光。
Now the whole scenario should be clear to you. Here, in this manifest frame, we have to manage — there, we can direct. And now we come right to the notion of meta-power. I feed my hope of even the faintest glimmer of understanding from you, my feeble-minded ones.
14/21
好吧，好吧，別抱怨，別哭，我的小聰明鬼。現實和鏡中世界的主要區別是什麼？這裡一切都是物質的，那裡一切都是虛擬的。就力量而言，你無法將其應用於無形的物體或空間，這就是為什麼在這裡，起作用的是力量，而在那裡，起作用的是超能力。從鏡子的這一側：行動，從鏡面玻璃的另一側：運動幻覺。那麼，這意味著什麼？
OK, OK, don’t complain, don’t cry, my little whip-smarts. What is the main difference between reality and the mirror world? Here, everything is material, there, it’s all virtual. As far as force is concerned, you won’t be able to apply it to an immaterial object or space, which is why here, what works is force, and there, what works is meta-power. From this side of the mirror: action, from the other side of the mirror glass: the motion illusion. So, what does this mean?
15/21
模仿的重點在於你無權打破既定的秩序。事物的秩序是你必須參與行動並服從劇本。沒有一個角色被允許跳出膠卷或在電影中隨心所欲地行動。劇本不是任何個人主觀意志的結果。它是客觀現實，你被困在其中。
The whole point of imitation is that you don’t have the right to disrupt the established order of things. The order of things is such that you have to participate in the action and obey the script. Not a single character is permitted to jump out of the filmstrip or do whatever they please in the film. The script is not the result of any individual’s subjective will. It is objective reality, which is something you’re stuck with.
16/21
客觀現實是這樣的，你注定要在其中存在，就像膠卷中的角色一樣。你可能不同意，可能抱怨，但你無能為力。你甚至可能試圖反抗，但不會有任何結果。膠卷上拍攝的東西就是將要發生的事情。無法避免行動，但你可以模仿它。你可以欺騙現實。
Objective reality is such that you are doomed to exist within it, like characters in a filmstrip. You may not agree, you may complain, but there’s nothing you can do about it. You may even try to defy it, but nothing will come of it. Whatever is shot on the filmstrip is what will occur. It is impossible to avoid the action, but you can imitate it. You can deceive reality.
17/21
想像一下你進入了意識點，發現自己在鏡面玻璃的另一側。你周圍的一切看起來和以前一樣。你不覺得自己在從玻璃之外觀察事件。然而，你就在那裡。但現在你在那裡，你獲得了創造現實和選擇膠卷的能力；不是改變你所在的那個，不是拒絕參與行動，而是選擇一個不同的，你想要的那個。你明白嗎？
Imagine that you have entered the awareness point and found yourself on the other side of the mirror glass. Everything around you looks just the same as it did before. You don’t feel as if you are observing events from somewhere beyond the glass. And yet, there you are. But now that you are there, you acquire the ability to compose reality and choose the film roll; not change the one you are in, not refuse to participate in the action but choose a different one, the one you want. Do you understand?
18/21
和以前一樣，你仍然會繼續扮演劇本中為你安排的角色，履行你的日常職責，但與其他角色不同的是，當你保持在意識狀態時，你會得到更多——更換當前膠卷的能力。同時，你保持一定的視角，好像這一切都與你無關。事物的秩序沒有被打亂；你既沒有被發現也沒有被抓住，一切都如你所願。
As before, you will still continue to play the role prescribed for you in the script and to perform your daily functions, but, unlike the other characters, whilst you remain in a state of awareness, you will get something more — the ability to replace the current film roll. At the same time, you retain a certain perspective as if none of it were anything to do with you. The order of things has not been disrupted; you are neither spotted nor caught and everything has turned out the way you want.
19/21
這就是模仿遊戲。你在電影中像一個活生生的角色一樣遊蕩，假裝自己是靜止的，並根據需要更換膠卷。而沒有人懷疑任何事情，無論是劇本還是其他角色。
This is the imitation game. You wander round a motion-picture like a live character, making yourself out to be inert and you change the reel as you see fit. And nobody suspects anything, neither the script, nor the other characters.
20/21
此外，你永遠無法避免劇本。只是通過設定現實，你啟動了一個新的劇本。新的劇本也不是你的，你仍然在其力量之內。但它會引導你達到期望的結果。
Besides, you can never avoid the script. It is just that by setting reality you initiate a new one. The new script is not yours either, you are still within its power. But it will lead you to the desired result.
21/21
你應該隱藏在其他角色面前嗎？不管你多麼想要突出，我不建議你宣傳你的能力。在中世紀，人們因為這種事情被燒死在火刑柱上，而今天，你可能會被安置在某個安靜的庇護所。你已經有點瘋狂了，所以不要做夢遊者；不要暴露你的存在；服從你的女祭司。我如此愛你們，我可以殺了你們所有人！
Should you hide from the other characters? However much you may like to stand out, I do not advise that you advertise your abilities. In the Middle Ages, people were burned at the stake for such things, and today, you could get tucked away in a quiet shelter somewhere. You are already a little loopy, so don’t be sleepers; don’t give your presence away; obey your priestess. I love you so much, I could kill you all!