安住當下

Being Present

嘿，嘿，快來！走過來，我那狡猾的模仿者和巧妙的冒充者、隱秘的狂熱者和隱藏的超級怪咖們！你們玩這場模仿遊戲盡興了嗎？那就讓我們重溫一下迄今為止所學的一切。

Hey, hey, and away! Come to me, my cunning imitators and artful pretenders, secret maniacs and hidden super-freaks! Did you enjoy the imitation game? Let’s repeat what we’ve covered so far.

在這裡，也就是在物質實現(Material realisation)的幀中，物質現實是可以被接觸的。

Physical reality is accessible here, in the materialisation frame.

而對未來的入口僅在另一側開啟，也就是在影像幀中。

Access to the future is open only from the other side, in the image frame.

你注定要存在於現實之中，就像電影膠卷裡的角色一樣。

You are doomed to exist in reality, like characters in a film roll.

你無法繞過那套劇本，但你可以覺醒並啟動另一期劇本。

You cannot circumvent the script, but you can wake up and start another one.

你更換電影膠卷的同時，依然在演著一個角色，並巧妙隱藏起自己的存在。

You change the filmstrip but continue playing a role, whilst hiding your presence.

在影片中展現存在感——這究竟意味著什麼？大致上，它指的是你作為有意識存在的那種狀態——你的自我，作為一個活著、能幹且理性的個體，在那不變的影片中顯露出來。即使影片轉速再快，其中的一切也都是既定的，所有角色的行為均早被預設。

Presence in a motion picture. What does that mean? Mostly, it refers to the presence of your conscious awareness of being — your Self, your presence as a living, competent and rational individual in an immutable motion picture. Although the film is spinning fast, it is already as predestined, as the behaviour of all its characters is predetermined.

你在其中的存在感，使你在未覺醒的人群中顯得與眾不同。你清楚意識到自己的獨特身份，也明白發生了什麼；儘管你在影片中的行為同樣被劇情預設定，但你的存在讓你有機會更換電影膠卷，從一個版本切換至另一個。

Your presence there highlights you as awakened among the unawakened. You are consciously aware of your individuality and are aware of what is happening. Your behaviour inside the film is also predetermined by the scenario. However, your presence gives you the opportunity to change the film roll and switch from one to another.

要獲得存在感，你必須喚醒自己，振作起來，並確定自己的位置：是在影像幀中，還是在物質實現(Material realisation)的幀中。換句話說，你的注意力集中在哪裡？是在那個核心覺知點上，還是在螢幕上的某處？本質上，你是個雙重存在，能同時處於鏡子的這側與那側。

To achieve presence, you have to come alive, give yourself a shake and determine your location: the image frame or the materialisation frame. In other words, where is your attention focused: at the central awareness point or on one of the screens. In essence, you are dual beings that can be both on this side of the mirror and the other.

當你在那裡時，你也就存在於這裡——這是一個矛盾。反之，若你缺席，便代表你處於一種無能且沒有覺知的狀態，完全任由劇本擺佈。

You are present here when you are there. It’s a paradox. Failing that, you are absent, that is, you are in an incompetent state of non-awareness and entirely at the mercy of the script.

記住我曾說過：當你在清醒生活中覺醒時，你的注意力會穿越鏡界並落到你的虛擬假人身上；而當你躺下入眠、進入夢境時，情形也是如此，只不過質感有所不同。在夢中，你只能推動虛擬現實，無法影響物質現實。更精確地說，你或能影響物質現實，但難度極高——這可不是蝸牛能解決的問題。

Remember I said: when you are awakened in waking life, your attention crosses the mirror boundary and ends up in your virtual mannequin. When you fall asleep in bed and see a dream, the same thing happens, only the quality of it is different. In your sleep, you can only propel virtual reality. You can’t influence physical reality. It would be more accurate to say that you can, but it is very difficult — not a matter for snails.

在清醒且充滿存在感的狀態下，你便獲得了構築即將顯現現實的能力，讓它最終物質實現(Material realisation)。（你看，我一直重申這一點，正是希望你明白：你完全可以，也必須去構築自己的現實。）然而，有一點你必須自己領會：當你構築現實時，你其實是在決定那最終目標——那即將出現的幀，而不是一連串隨機事件的連鎖。

In a state of waking presence, you acquire the ability to compose impending reality, which will become physically manifest. (You see, I keep repeating the thought, so that you understand well that you can and should be composing your own reality.) However, there is one thing which you must understand for yourselves. When you compose reality, you are determining the end goal — the impending frame, not a chain of events.

構築現實並非在於掌控劇本，而在於選擇電影膠卷。劇本超越了你的掌控範圍，你無法確切得知劇本應呈現何種模樣來把你引向目標，而這正不是你所必須了解的。你只需像電影投影機般運作，一旦你的投影機照亮了目標幀，事件的發展便自會如預期般展開。

Composing reality is about choosing the film roll, not about controlling the script. The script is beyond your power. You are not given to know what exactly the script should look like in order to bring you to your goal. And you don’t need to know. You are working as a film projector. Once the goal frame is illuminated in your projector, the course of events will automatically turn out as they should.

當你選擇電影膠卷時，你便啟動了一個全新的劇本。這劇本不屬於你，而屬於那已被記錄下的事件，而且你並不知情。唯有目標幀屬於你，電影膠卷會依據指定的幀自主選擇，你無需精確理解其運作方式。只需不斷照亮你所追求的幀，你就會從一卷切換到另一卷，直到最終抵達你的目的地。

In choosing the film roll, you set a new script in motion. The script does not belong to you but to the events that have been recorded on it, moreover, without your knowledge. Only the goal frame is yours. The film roll chooses itself in accordance with the specified frame. You don’t have to understand exactly how this happens. Illuminate your frame again and again, and you will shift from one roll to another until you eventually arrive at your destination.

在 Eternity 檔案中，電影膠卷是平行排列的，那些彼此最接近的膠卷劇本只在些微處略有不同。構築現實的過程中，你會逐步從一卷過渡到另一卷。起初你出現在某一卷中，結果雖接近預定目標，卻還未完全達到；隨後，情形越來越接近理想狀態。

In the Eternity archive, film rolls are arranged in parallel. The scripts of the film rolls placed most closely differ only in minor nuances. In composing reality, you gradually shift from one to another. First you appear on a film roll, where the result is close to the set goal but not quite there yet. Then it gets closer and closer.

這一切都發生於肉眼難以察覺之時，且實現速度會依照目標的複雜度不同而有所變化。簡單的目標幾乎能立刻實現；而那些需要你「走得更遠」的艱難目標，則必須耗費更多時間與耐心。

All this takes place invisibly to the eye and at different realisation speeds, depending on the complexity of the desired goal. Simple goals are reached almost immediately, whereas more challenging ones that require you to ‘go far’, require time and patience.

你的任務在於將注意力專注於即將到來的幀——而劇本並非你應關心的問題。若你試圖設定或抵抗劇本，你就會陷入其圈套。當你試圖強行影響事件進程時，你便死抓著當前幀的現實，這是徒勞無益的；你抓得越緊，反而會被那條連結你的尾巴——也就是那意圖編織——束縛得更緊。

Your task is to focus your attention on the impending frame. The script is not a matter for your concern. If you try and set the script or resist it, you will get caught up in its trap. When trying to influence the course of events, you take the reality of the current frame in a death grip, which is pointless. The harder you hold on, the more tightly you will be gripped by the tail, by the plait that is.

同樣地，試圖影響他人也是徒勞無功的。操縱他人是一件卑微且無人讚頌的事，可能最終打亂你的節奏，甚至產生與你期望相反的效果。每個角色都按照自己的劇本行事，若你試圖干涉他們，必然再次陷入困境。別這麼做；他們自然會靠近你，滿足你所有的要求。

Similarly, it is pointless trying to influence other people. Trying to manipulate others is a base, thankless task. It can end up knocking you sideways or even creating the opposite effect to the one you wanted. Characters act according to their own script. Trying to influence them, you fall into a trap again. Don’t do it. They will come running to you themselves and do everything that you want them to. More on that later.

我再重申一次，你需影響的是最終結果——那即將顯現的幀，而非事件或他人，儘管你可能還是出於習慣去嘗試影響它們。你總是不斷堅持要一切按照你的計劃走，但這種固執，我將逐步使你擺脫。

I repeat, that you need to influence the end result — the impending frame, not events or other people although you will still try to do so, mainly out of habit. You always persist in having everything go according to your plan, but I will win this habit off you as well.

你們真是又迂腐又傲慢！我真想把你們通通剖析一番，把你們釘在水彩紙上，或是放進盛滿甲醛的瓶子中，讓所有生物都以你們為例。我勸你們務必要端正行為，記住：我是 Tufti，你們的女祭司。讚美我、崇拜我，千萬不要激怒我！

How stuffy and pushy you are! I would gladly dissect you all. I would staple you to watercolour paper like harmful insects, or roll you in a jar with formalin and make an example of you to all other creatures. I advise you to behave decently. Don’t forget: I am Tufti, your priestess. Praise me, worship me, do not dare to anger me!

存在感

Being Present

嘿，嘿，出發！來到我這裡，我狡猾的模仿者和巧妙的偽裝者，秘密狂熱者和隱藏的超級怪人！你喜歡模仿遊戲嗎？讓我們重溫一下我們迄今為止所學的內容。

Hey, hey, and away! Come to me, my cunning imitators and artful pretenders, secret maniacs and hidden super-freaks! Did you enjoy the imitation game? Let’s repeat what we’ve covered so far.

物質現實在這裡，在物質化幀中是可接觸的。

Physical reality is accessible here, in the materialisation frame.

通往未來的通道僅在另一側的圖像幀中開放。

Access to the future is open only from the other side, in the image frame.

你注定要在現實中存在，就像膠卷中的角色一樣。

You are doomed to exist in reality, like characters in a film roll.

你無法繞過劇本，但你可以醒來並開始另一個劇本。

You cannot circumvent the script, but you can wake up and start another one.

你更換膠卷但繼續扮演角色，同時隱藏你的存在。

You change the filmstrip but continue playing a role, whilst hiding your presence.

在電影中的存在感。這意味著什麼？主要是指你對自身存在的意識——你的自我，你作為一個活生生的、有能力和理性個體在不變的電影中的存在。雖然電影轉得很快，但它已經是預定的，因為所有角色的行為都是預先確定的。

Presence in a motion picture. What does that mean? Mostly, it refers to the presence of your conscious awareness of being — your Self, your presence as a living, competent and rational individual in an immutable motion picture. Although the film is spinning fast, it is already as predestined, as the behaviour of all its characters is predetermined.

你的存在使你在未醒者中顯得醒悟。你有意識地意識到自己的個體性，並意識到正在發生的事情。你在電影中的行為也由劇本預先確定。然而，你的存在給了你更換膠卷和從一個轉換到另一個的機會。

Your presence there highlights you as awakened among the unawakened. You are consciously aware of your individuality and are aware of what is happening. Your behaviour inside the film is also predetermined by the scenario. However, your presence gives you the opportunity to change the film roll and switch from one to another.

要達到存在感，你必須活過來，振作自己並確定你的位置：圖像幀還是物質化幀。換句話說，你的注意力集中在哪裡：在中央意識點還是在某個屏幕上。從本質上講，你是雙重存在的生物，可以同時在鏡子的這一側和另一側。

To achieve presence, you have to come alive, give yourself a shake and determine your location: the image frame or the materialisation frame. In other words, where is your attention focused: at the central awareness point or on one of the screens. In essence, you are dual beings that can be both on this side of the mirror and the other.

當你在那裡時，你就在這裡。這是一個悖論。如果不是這樣，你就缺席，也就是說，你處於無意識的無能狀態，完全受劇本的擺佈。

You are present here when you are there. It’s a paradox. Failing that, you are absent, that is, you are in an incompetent state of non-awareness and entirely at the mercy of the script.

記得我說過：當你在清醒生活中醒來時，你的注意力穿過鏡子的邊界，進入你的虛擬人偶。當你躺在床上入睡並做夢時，同樣的事情發生，只是質量不同。在睡眠中，你只能推動虛擬現實。你無法影響物質現實。更準確地說，你可以，但這非常困難——不是蝸牛能做到的。

Remember I said: when you are awakened in waking life, your attention crosses the mirror boundary and ends up in your virtual mannequin. When you fall asleep in bed and see a dream, the same thing happens, only the quality of it is different. In your sleep, you can only propel virtual reality. You can’t influence physical reality. It would be more accurate to say that you can, but it is very difficult — not a matter for snails.

在清醒存在的狀態下，你獲得了創造即將到來的現實的能力，這將成為物質上的顯現。（你看，我不斷重複這個想法，以便你能很好地理解你可以並應該創造自己的現實。）然而，有一件事你必須自己理解。當你創造現實時，你是在確定最終目標——即將到來的幀，而不是一連串的事件。

In a state of waking presence, you acquire the ability to compose impending reality, which will become physically manifest. (You see, I keep repeating the thought, so that you understand well that you can and should be composing your own reality.) However, there is one thing which you must understand for yourselves. When you compose reality, you are determining the end goal — the impending frame, not a chain of events.

創造現實是關於選擇膠卷，而不是控制劇本。劇本超出了你的能力範圍。你無法知道劇本應該如何具體呈現才能帶你達到目標。而且你也不需要知道。你就像一個電影放映機。一旦目標幀在你的放映機中被照亮，事件的進程將自動按應有的方式展開。

Composing reality is about choosing the film roll, not about controlling the script. The script is beyond your power. You are not given to know what exactly the script should look like in order to bring you to your goal. And you don’t need to know. You are working as a film projector. Once the goal frame is illuminated in your projector, the course of events will automatically turn out as they should.

在選擇膠卷時，你啟動了一個新的劇本。劇本不屬於你，而是屬於已經記錄在上面的事件，而且是在你不知情的情況下。只有目標幀是你的。膠卷會根據指定的幀自動選擇。你不必完全理解這是如何發生的。一次又一次地照亮你的幀，你將從一個膠卷轉移到另一個，直到最終到達你的目的地。

In choosing the film roll, you set a new script in motion. The script does not belong to you but to the events that have been recorded on it, moreover, without your knowledge. Only the goal frame is yours. The film roll chooses itself in accordance with the specified frame. You don’t have to understand exactly how this happens. Illuminate your frame again and again, and you will shift from one roll to another until you eventually arrive at your destination.

在永恆檔案中，膠卷是平行排列的。最接近的膠卷劇本僅在細微差別上有所不同。在創造現實時，你逐漸從一個轉移到另一個。首先，你出現在一個膠卷上，結果接近設定的目標，但還沒有完全達到。然後它越來越接近。

In the Eternity archive, film rolls are arranged in parallel. The scripts of the film rolls placed most closely differ only in minor nuances. In composing reality, you gradually shift from one to another. First you appear on a film roll, where the result is close to the set goal but not quite there yet. Then it gets closer and closer.

所有這些都是肉眼看不見的，並且在不同的實現速度下進行，這取決於期望目標的複雜性。簡單的目標幾乎立即達成，而需要“走得更遠”的更具挑戰性的目標則需要時間和耐心。

All this takes place invisibly to the eye and at different realisation speeds, depending on the complexity of the desired goal. Simple goals are reached almost immediately, whereas more challenging ones that require you to ‘go far’, require time and patience.

你的任務是將注意力集中在即將到來的幀上。劇本不是你應該關心的事情。如果你試圖設定劇本或抵抗它，你會陷入它的陷阱。當試圖影響事件的進程時，你會緊緊抓住當前幀的現實，這是毫無意義的。你抓得越緊，你就會被辮子抓得越緊。

Your task is to focus your attention on the impending frame. The script is not a matter for your concern. If you try and set the script or resist it, you will get caught up in its trap. When trying to influence the course of events, you take the reality of the current frame in a death grip, which is pointless. The harder you hold on, the more tightly you will be gripped by the tail, by the plait that is.

同樣，試圖影響其他人也是沒有意義的。試圖操控他人是一項卑鄙且不受感激的任務。它可能會讓你偏離方向，甚至產生與你期望相反的效果。角色根據他們自己的劇本行事。試圖影響他們，你又會掉入陷阱。不要這樣做。他們會自己跑向你，並做你想要的一切。稍後會詳細說明。

Similarly, it is pointless trying to influence other people. Trying to manipulate others is a base, thankless task. It can end up knocking you sideways or even creating the opposite effect to the one you wanted. Characters act according to their own script. Trying to influence them, you fall into a trap again. Don’t do it. They will come running to you themselves and do everything that you want them to. More on that later.

我重申，你需要影響的是最終結果——即將到來的幀，而不是事件或其他人，儘管你仍然會這樣做，主要是出於習慣。你總是堅持讓一切按照你的計劃進行，但我也會改掉你的這個習慣。

I repeat, that you need to influence the end result — the impending frame, not events or other people although you will still try to do so, mainly out of habit. You always persist in having everything go according to your plan, but I will win this habit off you as well.

你們真是又悶又急！我真想把你們都解剖了。我會把你們像有害昆蟲一樣釘在水彩紙上，或者把你們放在福爾馬林的罐子裡，讓你們成為其他生物的榜樣。我建議你們行為得體。別忘了：我是圖芙蒂，你們的女祭司。讚美我，崇拜我，不要膽敢惹怒我！

How stuffy and pushy you are! I would gladly dissect you all. I would staple you to watercolour paper like harmful insects, or roll you in a jar with formalin and make an example of you to all other creatures. I advise you to behave decently. Don’t forget: I am Tufti, your priestess. Praise me, worship me, do not dare to anger me!