無限中的無限。

Infinity in infinity

現在，我們要談談很多富有好奇心的人可能會懷疑等待的問題：證明，證明我們這裡談論的一切都是實實在在的。@ 難道我們真的是生活在一部電影中嗎？難道我們無法從一個電影膠卷跳到另一個嗎？@

And now, we will talk about something which many an inquisitive mind will sceptically await: proof, proof that everything we have talked about here is real. @ Surely we don’t really live in a film? And surely we can’t jump from one film roll to another? @

首先，最主要的證明來自你的親身經驗。這裡描述的方法和技法確實奏效；請你親自檢驗。其次，許多以異常和無法解釋的現象呈現的間接證據也能印證這一點。你找不到直接證明這些技法有效的證據，因為現實似乎從不輕易揭露它的奧秘。

Well, first of all, the main proof should lie in your own empirical experience. The methods and techniques described here really work; check it out for yourself. And secondly, much indirect proof, particularly indirect proof, can be found in the form of anomalous and unexplained phenomena. You won’t find direct proof that these techniques work because, for some reason, reality is not prone to revealing its secrets.

你或許會疑惑，我究竟怎麼會了解這些方法？其實我還有很多不了解，但我確信這些東西確實有效，那是事實。至於它們究竟為何、如何運作，那就另外再說。電影膠卷和鏡子只不過是對某種更複雜現象的模型和解釋。雖然我們可能不完全理解現實如何運作，但我們能且應該將現實的特質用於實際目的。因此，我提出了這些易於理解的模型和解釋。我可以自信地說：只要這模型奏效，它必定非常接近真實原貌。

How is it, you may be wondering, that I know all about these methods? There is much I do not know. What I do know is that this stuff works and that’s a fact. Why and how exactly is another question. Film rolls and the mirror are just models and interpretations of something more complex. We may not understand how exactly reality works, but we can and should use the qualities of reality for our own practical purposes. And so for this reason, I put forward these models and interpretations that are accessible to our understanding. There is one thing I can confidently confirm: if the model works then it must be very close to the original.

因此，我們將堅持這一被廣泛接受的模型。現實是有生命的，不是虛擬的。不要把它混淆成電腦遊戲。但它的構造類似於電影，更準確地說，是由無數交織在一起的電影膠卷組成。有些膠卷在快速變動，而另一些則仍留存在檔案中。

Therefore, we will stick to the accepted model. Reality is live, not virtual. Don’t confuse it with a computer game. But it is constructed similarly to a film, or more precisely, numerous film rolls that are all intertwined. Some of these film rolls are moving, while others are still in the archive.

所謂的平行物質世界並不存在。只有一個物質宇宙（無論如何，就是我們的宇宙），但卻存在無數虛擬的世界變化——即那些檔案電影膠卷。有時候，一段檔案膠卷會在當前物質畫面中隨機亮起，於是過去、未來，甚至完全屬於另一個文明的人，都可能在此刻進入我們的現實。

Parallel material worlds don’t exist. There is only one material universe (in any case, the one that is ours), but there are countless virtual variations of the world — the archive film rolls. It sometimes happens that a piece of one archival filmstrip is randomly illuminated in the current (material) frame. In this case, a person from the past, the future, or another civilisation entirely, could end up here in the present.

當一個人從這些檔案中進入我們的世界時，他上一世的回憶會變得異常真實，因為他的記憶與他來自的膠卷緊密相連。大腦並不直接存儲信息，而是存儲信息的地址。當你從一個膠卷遷移到另一個時，這些地址有時會與舊膠卷脫離，再連接到新膠卷上，這也解釋了既視感（déjà vu）的現象。

When a person ends up here, in our world, from the archive, their last life will seem very real to them because their memory is so tied to the film roll from whence they came. The brain does not store information. It stores the information’s address. When moving from one film roll to another, addresses can become detached from the former film roll and become attached to the new one, although this is not always the case. This accounts for the déjà vu effect.

既視感就是那種你確信某事已在你生命中發生過，但周圍的人都說從未發生過；或者相反，有人說某事確實發生，而你卻無法回憶起來——這並非記憶故障，而是因為那信息的地址與膠卷之間出現了混淆。現實有時確實會犯下這樣的錯誤。

The déjà vu effect is when you are certain that something has already happened in your life, but everyone around you insists that it has not. Or the opposite, people tell you that something happened, but you can’t for the life of you remember it, not because you are having a memory glitch, but because there is confusion between the addresses and the film rolls. Reality does sometimes make mistakes like these.

雖然現實極力排除這類荒謬，但並非總能如願。所謂的曼德拉效應（Mandela Effect）就是比既視感更嚴重的失誤，這絕不能僅歸咎於某個體的記憶故障。

Although reality does try very carefully to sift out similar absurdities, it does not always manage it. The so-called Mandela Effect is an even greater blunder than a déjà vu and can’t be put down to the memory glitch of a single individual.

這指的是一大群人，數以百萬計，共同錯誤記憶當前現實中某件事，而該事卻沒有事實根據。例如，許多人清晰記得某部電影中曾說過一句話，但如今那句話卻神秘地消失或被替換，任何媒介上均無記錄，即使是最早的資料也找不到。類似例子數不勝數，不僅僅局限於電影。

This is when a very large group of people, literally millions, collectively misremembers something in the current reality, for which there is no factual confirmation. For example, many remember with all clarity that a certain phrase was spoken in such and such a film. And yet, now, that phrase has disappeared somewhere or been replaced and there is no record of it on any medium, even in the very earliest sources. There are numerous examples like this one, and not only in connection with films.

什麼原因能解釋這一切？是大規模混亂嗎？為何會發生這種情況？答案很簡單：我們的整體現實已轉換到另一個電影膠卷上，而那張膠卷中呈現了該句話的另一版本。現實接受了這個不可接受的錯誤──過去改變了，但集體記憶中的地址卻未被更新。大家依然清楚記得舊膠卷上的內容，因為他們的記憶地址依舊與之相連。

What can account for this? Mass confusion? Why does this happen? The answer is simply that our general reality has shifted to a different film roll in which there is a different version of that particular phrase. Reality accepts an unacceptable mistake: the past has changed without the address in the collective memory being corrected. The collective distinctly remembers what was on the previous film, because their addresses are still connected to it.

在此我們需要說明，直到目前為止，我們談論的僅是個別的膠卷；事實上，現實這部大電影的結構遠比這複雜。每個人的個別膠卷各自運轉，但它們共同屬於一條全人類共有的集體膠卷。世界的終結必將波及我們每一個人，對吧？這樣的預言已出現過無數次，但至今仍未發生。眼中的先知們認為，這個版本的現實必然存在於某個檔案庫中，但目前，集體的人類現實卻在大事件發生前跳轉到另一個更為有福的膠卷上。

Here we should qualify this by saying that until now we have been talking about individual film rolls. Whereas in fact, the general film of reality is constructed in a much more complex manner. The individual film rolls of individual people turn separately, but they lie on a collective roll common to all humanity. The end of the world will affect us all, right? This has been predicted so many times and yet it still has not happened. As seers perceive it, this version of reality must exist somewhere in the archive, but for now, the collective human reality jumps onto another more fortuitous roll before the event can actually take place.

也有可能出現現今進入過去的情形。例如，接下來這個事實有據可查：1911年7月14日，一列客運火車從羅馬出發赴倫巴底，途中進入一座山脈隧道後銷聲匿跡。當時（更準確地說，其實更早的時候）1840年的墨西哥報紙曾報導過一件不尋常的事件：104名意大利旅客攜帶著符合當時時代的護照和身分標誌抵達墨西哥，堅稱他們是乘火車從羅馬來的。當然，沒有人相信他們，他們最終也只能被送進精神病院來隱藏。

It can also be the case that the present enters the past. For example, the following is a well-documented fact. On 14th July, 1911 a passenger train departed from Rome on its way to Lombardy, and when on the way it entered a mountain tunnel, it disappeared without trace. At that time (more precisely, an even earlier time) the Mexican newspapers of 1840 paid witness to an unusual occurrence. One hundred and four Italians equipped with passports and attributes fitting to the period arrived in Mexico insisting that they had come from Rome by train. Of course, nobody believed them and they could think of nothing better than to hide them away on a psychiatric ward.

那麼，那些失踪意大利人的現實究竟發生了什麼？很簡單，如我們所說，現實從來不是過去、不會是未來，它僅僅只在此刻。這件事並未改變任何事，因為現實永遠只呈現當下的畫面。但若此類異常現象發生，且不同的膠卷意外地交疊（這種交疊完全有可能是隨機的），那麼未來的一幕就可能出現在過去的膠卷中。如此一來，來自那部膠卷的人或物便會出現在過去。

What happened to the reality of the missing Italians? Well, as we have already said, reality is something that never was, never will be and only is, once and now. And so it is. This case does not change anything because reality is always the current frame. But if this kind of anomaly occurs and different film rolls intersect somehow (and they can do completely at random), then a frame from the future may end up in a film roll from the past. Then, people and objects from that film roll appear in the past.

但這怎可能呢？每一幀畫面都是緊密連續的，前後相繼！一個出生於現今的人，怎會在按序運轉的過去中死亡？最初，第一幀放映時那些人就消失了；緊接著，第二幀播出時，他們又重現了。其實，本來應該是第二幀先出現，第一幀後放映，但現實卻將未來與過去的膠卷錯綜混淆，造成我們難以捉摸的感知錯亂，儘管我們千方百計地試圖解釋，也依然無法明了。

But how can this be?! The frame is moving consistently, one frame after the other! How can people who are born in the present die in the past which also moves in a specific sequence. Initially, the first frame ran in which the people disappeared. Then the second frame ran, in which they reappeared. Whereas in fact, the latter frame came first and the former frame ran second. It is just that the film rolls of the future and the past were mixed up causing the kind of aberration of perception that we are unaccustomed to and which remains incomprehensible despite all our attempts at an explanation.

另一方面，也有確鑿的案例，記錄顯示過去的人連同他們的所有隨身物品，甚至口袋裡的小物件，都完整無遺地出現於當下。而在發掘中，考古學家還曾發現一些看似最近生產，或可能來自未來的文物。這裡再次證明，膠卷間相互交疊的現象有時不僅僅是交叉，而是僅僅彼此接觸，這便形成了所謂的時間幻影（chronomirage）。

However, there are also documented facts, concerning people from the past, who have turned up in the present with all their belongings right down to the contents of their pockets. There have also been cases in which archaeologists have found artefacts in their excavations that were produced recently or perhaps in an as yet unknown future. Here, again the film rolls have got mixed up and are intersecting. Sometimes, the film rolls do not so much intersect as just touch alongside each other. That is when you get a chronomirage.

事實上，無論是人還是物，都不會以物質實體的形式在時空中進行真正意義上的時間旅行。它們或許根本不存在於現實中，無論是現今還是過去，但一旦它們的膠卷進入了當前這個時空的畫面，便能隨時隨地具象化出現。物質現實就是那被照亮的一幀畫面；而現實本身則是由無數膠卷構成。這正是我們需要理解的要義。

Neither people nor objects time travel literally as material objects in space. They might not exist in reality at all, either the present or the past. But they can materialise anywhere and at any time if their film roll falls into the current frame of this place and time. Material reality is the illuminated frame. Reality itself is a multitude of film rolls. This is what needs to be understood.

這些異常現象並不能直接證明什麼，但它們卻能作為間接證據，證實現實是一個由各種不同膠卷變化組成的無限空間。此外，由於膠卷中的每一幀都是彼此間隔開的離散單位，可知不僅微觀領域內的量子是離散的，整個現實亦是如此。如果科學界能接受宏觀和微觀均呈現量子化，許多全新的發現便會隨之而來，例如瞬時穿梭於時空中的現象，以及各種幀間隙中發生的異常現象。

These anomalies do not prove anything, but they do serve as indirect confirmation that reality is an infinite space made up of variations of different film rolls. Moreover, it follows that not only the quanta of the microcosm are discrete but all of reality, because the film rolls consist of frames separated at intervals from one another. If science would accept that the macrocosm as well as the microcosm was quantum, all sorts of new discoveries would be made. For example, instantaneous movement through time and space, as well as other anomalies occur in the spaces between frames.

我們前面所談的一切實踐，都證明了現實是以離散單元存在，而非連續不斷。當你能從當前膠卷的框架頻率中解放自己，你就獲得了創造不可能的能力。可以這樣說，所有這些以專注與辮編（plait）為工具的程序，都能讓你擺脫現實的固有頻率與階段，而在這個意義上，你便能自由穿梭於一部電影之中。

All the practices we have covered confirm that all reality is discrete rather than continuous. Freeing yourself from the frame frequency of the current film roll, you acquire the ability to create the impossible. Literally, all these procedures with attention and the plait take you out of the frequency and phases of reality. And in this sense, you acquire the ability to stroll freely through a film.

可以假設，「永恆檔案」（Eternity archive）並非一夕即現，而是隨時間演化而成。曾經發生或可能發生的一切，並非總是被記錄下來（雖然也有人認為，檔案自始至終就一直存在，這就要深入探討“永遠”這個詞彙的語義——“永遠”究竟意味著什麼？有誰能確切解釋嗎？）。

One may suppose that the Eternity archive, did not appear instantly either but rather evolved over time. Everything that was or that could have been was not always recorded. (although one could also maintain, that the archive has always existed. Only then one has to delve into philosophy and determine the semantics of the word ‘always’. What does ‘always’ mean? Does anyone know?)

從某種意義上說，演化是一個產生信息的過程。無論是生物還是非生物，自然界都在演化、發展，同時也在生成關於自己存在變異的信息。網路的發展便是一個不錯的比喻——訪客輸入信息，數據便隨之不斷累積。

Evolution is, in a certain sense, a process of producing information. Both living and non-living nature evolves, develops and simultaneously produces information about itself concerning the variants of its existence. The evolution of the Web is a good analogy — visitors type in their information and the data accumulates.

膠卷檔案並不是一個全面、無限的信息場，它並非永恆存在於與一切相關的資訊中，而只是無限中的一部分，就像一座龐大的構造會隨著時間移動與生長，而這構造同時也具有無限性。它在無限中運作與成長，正如無限中的一部分。你能想像這樣的存在嗎？不能？其實也沒必要，畢竟過度分析那些超出心智範疇的東西是沒意義的。（注：有人可能會爭辯說無限並不存在，宇宙是有限的，但究竟誰能確定呢？）

The film archive is not a comprehensive, totally infinite information field, which has always existed in relation to everything, but rather, let’s say, a part of infinity, which moves and grows like a huge construct, which is also infinite. It moves and grows within infinity. It’s infinity as a part of infinity. Can you imagine such a thing? No? And there’s no need to. There is no point overanalysing things that are beyond the mind. (Who knows, someone may argue that infinity does not exist and the Universe is finite. But who can say for certain?)

別過度思考，反而應該行動起來，享受那種僅僅因為你知道自己能夠重塑自我與創造現實而帶來的喜悅感。這在隧道盡頭看到的一縷光明，能給你帶來力量、希望和目標，亦即賦予你那種從普通人眼中看似「不可能」的創造力的能量（Note: 此處暗示創造力與個人意圖（Intention）的關聯）。

Don’t overthink things, instead, act and enjoy the feeling of delight simply from knowing that you are capable of recreating yourself and your own reality. This discovery of light at the end of the tunnel gives you strength, hope, and purpose, which also means, the energy for the intention to create such something that from the point of view of the average man in the street, ‘is impossible’.

無限中的無限

Infinity in infinity

現在，我們來談談一些許多好奇心重的人會懷疑的事情：證據，證明我們在這裡談論的一切都是真實的。@ 我們真的生活在電影中嗎？我們真的可以從一個膠卷跳到另一個膠卷嗎？@

And now, we will talk about something which many an inquisitive mind will sceptically await: proof, proof that everything we have talked about here is real. @ Surely we don’t really live in a film? And surely we can’t jump from one film roll to another? @

首先，主要的證據應該來自你自己的經驗。這裡描述的方法和技術確實有效；自己檢驗一下。其次，許多間接證據，尤其是間接證據，可以以異常和無法解釋的現象形式找到。你不會找到這些技術有效的直接證據，因為出於某種原因，現實不傾向於揭示其秘密。

Well, first of all, the main proof should lie in your own empirical experience. The methods and techniques described here really work; check it out for yourself. And secondly, much indirect proof, particularly indirect proof, can be found in the form of anomalous and unexplained phenomena. You won’t find direct proof that these techniques work because, for some reason, reality is not prone to revealing its secrets.

你可能會想，我是怎麼知道這些方法的？有很多我不知道的事情。我所知道的是，這些東西確實有效，這是事實。為什麼以及如何具體運作是另一個問題。膠卷和鏡子只是更複雜事物的模型和解釋。我們可能不理解現實究竟如何運作，但我們可以並且應該利用現實的特性來達到我們的實際目的。因此，基於這個原因，我提出了這些我們可以理解的模型和解釋。我可以自信地確認一件事：如果模型有效，那麼它必定非常接近原始。

How is it, you may be wondering, that I know all about these methods? There is much I do not know. What I do know is that this stuff works and that’s a fact. Why and how exactly is another question. Film rolls and the mirror are just models and interpretations of something more complex. We may not understand how exactly reality works, but we can and should use the qualities of reality for our own practical purposes. And so for this reason, I put forward these models and interpretations that are accessible to our understanding. There is one thing I can confidently confirm: if the model works then it must be very close to the original.

因此，我們將堅持接受的模型。現實是活生生的，而不是虛擬的。不要把它和電腦遊戲混淆。但它的構造類似於電影，更準確地說，是許多交織在一起的膠卷。其中一些膠卷在運動，而其他的則仍在檔案中。

Therefore, we will stick to the accepted model. Reality is live, not virtual. Don’t confuse it with a computer game. But it is constructed similarly to a film, or more precisely, numerous film rolls that are all intertwined. Some of these film rolls are moving, while others are still in the archive.

平行的物質世界並不存在。只有一個物質宇宙（無論如何，這是我們的宇宙），但有無數虛擬的世界變體——檔案膠卷。有時，一段檔案膠卷會隨機在當前（物質）幀中被照亮。在這種情況下，來自過去、未來或完全不同文明的人可能會出現在這裡的現在。

Parallel material worlds don’t exist. There is only one material universe (in any case, the one that is ours), but there are countless virtual variations of the world — the archive film rolls. It sometimes happens that a piece of one archival filmstrip is randomly illuminated in the current (material) frame. In this case, a person from the past, the future, or another civilisation entirely, could end up here in the present.

當一個人從檔案中來到我們的世界時，他們的上一個生活對他們來說會顯得非常真實，因為他們的記憶與他們來自的膠卷緊密相連。大腦不存儲信息。它存儲信息的地址。當從一個膠卷移動到另一個膠卷時，地址可能會與前一個膠卷分離並附著到新的膠卷上，儘管這並不總是如此。這就是既視感效應的原因。

When a person ends up here, in our world, from the archive, their last life will seem very real to them because their memory is so tied to the film roll from whence they came. The brain does not store information. It stores the information’s address. When moving from one film roll to another, addresses can become detached from the former film roll and become attached to the new one, although this is not always the case. This accounts for the déjà vu effect.

既視感效應是當你確信某件事已經在你的生活中發生過，但周圍的人堅持說沒有發生過。或者相反，人們告訴你某件事發生了，但你無法記住，這不是因為你有記憶故障，而是因為地址和膠卷之間的混亂。現實有時確實會犯這樣的錯誤。

The déjà vu effect is when you are certain that something has already happened in your life, but everyone around you insists that it has not. Or the opposite, people tell you that something happened, but you can’t for the life of you remember it, not because you are having a memory glitch, but because there is confusion between the addresses and the film rolls. Reality does sometimes make mistakes like these.

儘管現實非常小心地篩選出類似的荒謬，但它並不總是能做到。所謂的曼德拉效應比既視感更大的失誤，不能歸咎於單個人的記憶故障。

Although reality does try very carefully to sift out similar absurdities, it does not always manage it. The so-called Mandela Effect is an even greater blunder than a déjà vu and can’t be put down to the memory glitch of a single individual.

這是當一個非常大的群體，字面上數百萬人，在當前現實中集體錯誤記住某件事，而沒有事實上的確認。例如，許多人清楚地記得某部電影中說過某句話。然而，現在，那句話不知去向或被替換，並且在任何媒介上都沒有記錄，即使是在最早的來源中。這樣的例子有很多，不僅僅與電影有關。

This is when a very large group of people, literally millions, collectively misremembers something in the current reality, for which there is no factual confirmation. For example, many remember with all clarity that a certain phrase was spoken in such and such a film. And yet, now, that phrase has disappeared somewhere or been replaced and there is no record of it on any medium, even in the very earliest sources. There are numerous examples like this one, and not only in connection with films.

這可以怎麼解釋呢？集體混亂？為什麼會發生這種情況？答案很簡單，我們的總體現實已經轉移到另一個膠卷，其中該特定短語的版本不同。現實接受了一個不可接受的錯誤：過去改變了，而集體記憶中的地址沒有被更正。集體清楚地記得以前的膠卷，因為他們的地址仍然與之相連。

What can account for this? Mass confusion? Why does this happen? The answer is simply that our general reality has shifted to a different film roll in which there is a different version of that particular phrase. Reality accepts an unacceptable mistake: the past has changed without the address in the collective memory being corrected. The collective distinctly remembers what was on the previous film, because their addresses are still connected to it.

在這裡，我們應該說明，直到現在我們一直在談論個別膠卷。事實上，現實的總體膠卷是以更複雜的方式構建的。個別人的膠卷分別運行，但它們位於一個共同於全人類的集體膠卷上。世界末日將影響我們所有人，對吧？這已經被預測了很多次，但它仍然沒有發生。正如先知所感知的那樣，這個版本的現實必定存在於某個地方的檔案中，但目前，集體人類現實在事件實際發生之前跳到了另一個更幸運的膠卷上。

Here we should qualify this by saying that until now we have been talking about individual film rolls. Whereas in fact, the general film of reality is constructed in a much more complex manner. The individual film rolls of individual people turn separately, but they lie on a collective roll common to all humanity. The end of the world will affect us all, right? This has been predicted so many times and yet it still has not happened. As seers perceive it, this version of reality must exist somewhere in the archive, but for now, the collective human reality jumps onto another more fortuitous roll before the event can actually take place.

也可能發生現在進入過去。例如，以下是一個有據可查的事實。1911年7月14日，一列客運列車從羅馬出發前往倫巴第，途中進入一個山洞時消失得無影無蹤。當時（更準確地說，是更早的時候）1840年的墨西哥報紙見證了一個不尋常的事件。一百零四名意大利人持有符合時代的護照和屬性來到墨西哥，堅稱他們是乘火車從羅馬來的。當然，沒有人相信他們，他們想不出更好的辦法，只能把他們藏在精神病院。

It can also be the case that the present enters the past. For example, the following is a well-documented fact. On 14th July, 1911 a passenger train departed from Rome on its way to Lombardy, and when on the way it entered a mountain tunnel, it disappeared without trace. At that time (more precisely, an even earlier time) the Mexican newspapers of 1840 paid witness to an unusual occurrence. One hundred and four Italians equipped with passports and attributes fitting to the period arrived in Mexico insisting that they had come from Rome by train. Of course, nobody believed them and they could think of nothing better than to hide them away on a psychiatric ward.

那些失蹤的意大利人的現實發生了什麼？正如我們已經說過的，現實是一些從未存在過、永遠不會存在、只在當下存在的東西。就是這樣。這個案例並沒有改變任何事情，因為現實總是當前的幀。但是，如果這種異常發生並且不同的膠卷以某種方式相交（它們可以完全隨機地做到這一點），那麼未來的幀可能會出現在過去的膠卷中。然後，來自那個膠卷的人和物體會出現在過去。

What happened to the reality of the missing Italians? Well, as we have already said, reality is something that never was, never will be and only is, once and now. And so it is. This case does not change anything because reality is always the current frame. But if this kind of anomaly occurs and different film rolls intersect somehow (and they can do completely at random), then a frame from the future may end up in a film roll from the past. Then, people and objects from that film roll appear in the past.

但是這怎麼可能呢？！幀是一個接一個地一致移動的！怎麼會有在現在出生的人死在過去，這也以特定的順序移動。最初，第一幀運行，人們消失了。然後第二幀運行，他們重新出現。然而，事實上，後一幀先運行，前一幀後運行。只是未來和過去的膠卷混淆了，導致我們不習慣的感知異常，儘管我們試圖解釋，但仍然無法理解。

But how can this be?! The frame is moving consistently, one frame after the other! How can people who are born in the present die in the past which also moves in a specific sequence. Initially, the first frame ran in which the people disappeared. Then the second frame ran, in which they reappeared. Whereas in fact, the latter frame came first and the former frame ran second. It is just that the film rolls of the future and the past were mixed up causing the kind of aberration of perception that we are unaccustomed to and which remains incomprehensible despite all our attempts at an explanation.

然而，也有記錄在案的事實，關於來自過去的人，他們帶著所有的物品，甚至口袋裡的東西出現在現在。還有考古學家在挖掘中發現最近製造的或可能是尚未知道的未來的文物。在這裡，膠卷再次混淆並相交。有時，膠卷不太相交，而是僅僅相互接觸。這就是你得到的時空幻影。

However, there are also documented facts, concerning people from the past, who have turned up in the present with all their belongings right down to the contents of their pockets. There have also been cases in which archaeologists have found artefacts in their excavations that were produced recently or perhaps in an as yet unknown future. Here, again the film rolls have got mixed up and are intersecting. Sometimes, the film rolls do not so much intersect as just touch alongside each other. That is when you get a chronomirage.

人或物體並不是字面上作為空間中的物質物體進行時間旅行的。它們可能根本不存在於現實中，無論是現在還是過去。但如果它們的膠卷落入這個地方和時間的當前幀中，它們可以在任何地方和任何時間物質化。物質現實是被照亮的幀。現實本身是多數膠卷。這是需要理解的。

Neither people nor objects time travel literally as material objects in space. They might not exist in reality at all, either the present or the past. But they can materialise anywhere and at any time if their film roll falls into the current frame of this place and time. Material reality is the illuminated frame. Reality itself is a multitude of film rolls. This is what needs to be understood.

這些異常並不能證明任何事情，但它們確實作為間接證明，證明現實是一個由不同膠卷變體組成的無限空間。此外，這意味著不僅微觀世界的量子是離散的，整個現實也是如此，因為膠卷由彼此間隔的幀組成。如果科學接受宏觀世界和微觀世界都是量子化的，將會有各種新的發現。例如，瞬間穿越時間和空間，以及其他異常現象發生在幀之間的空間。

These anomalies do not prove anything, but they do serve as indirect confirmation that reality is an infinite space made up of variations of different film rolls. Moreover, it follows that not only the quanta of the microcosm are discrete but all of reality, because the film rolls consist of frames separated at intervals from one another. If science would accept that the macrocosm as well as the microcosm was quantum, all sorts of new discoveries would be made. For example, instantaneous movement through time and space, as well as other anomalies occur in the spaces between frames.

我們所涵蓋的所有實踐都證實，所有現實都是離散的而不是連續的。從當前膠卷的幀頻率中解放出來，你獲得了創造不可能的能力。字面上，所有這些關注和辮子的程序將你帶出現實的頻率和階段。在這個意義上，你獲得了自由穿越電影的能力。

All the practices we have covered confirm that all reality is discrete rather than continuous. Freeing yourself from the frame frequency of the current film roll, you acquire the ability to create the impossible. Literally, all these procedures with attention and the plait take you out of the frequency and phases of reality. And in this sense, you acquire the ability to stroll freely through a film.

可以假設，永恆檔案也不是瞬間出現的，而是隨著時間的推移而演變。所有曾經存在或可能存在的東西並不總是被記錄下來。（儘管也可以說，檔案一直存在。只是那樣的話，就必須深入哲學並確定“總是”這個詞的語義。“總是”意味著什麼？有人知道嗎？）

One may suppose that the Eternity archive, did not appear instantly either but rather evolved over time. Everything that was or that could have been was not always recorded. (although one could also maintain, that the archive has always existed. Only then one has to delve into philosophy and determine the semantics of the word ‘always’. What does ‘always’ mean? Does anyone know?)

從某種意義上說，進化是一個產生信息的過程。生物和非生物的自然界都在進化、發展，同時產生關於其存在變體的信息。網絡的進化是一個很好的類比——訪客輸入他們的信息，數據積累起來。

Evolution is, in a certain sense, a process of producing information. Both living and non-living nature evolves, develops and simultaneously produces information about itself concerning the variants of its existence. The evolution of the Web is a good analogy — visitors type in their information and the data accumulates.

膠卷檔案不是一個全面的、完全無限的信息場，與一切事物一直存在，而是可以說，是無限的一部分，像一個巨大的結構一樣移動和增長，這也是無限的。它在無限中移動和增長。它是無限的一部分。你能想像這樣的事情嗎？不能嗎？也不需要。過度分析超出思維的事物是沒有意義的。（誰知道呢，有人可能會爭辯說無限不存在，宇宙是有限的。但誰能確定呢？）

The film archive is not a comprehensive, totally infinite information field, which has always existed in relation to everything, but rather, let’s say, a part of infinity, which moves and grows like a huge construct, which is also infinite. It moves and grows within infinity. It’s infinity as a part of infinity. Can you imagine such a thing? No? And there’s no need to. There is no point overanalysing things that are beyond the mind. (Who knows, someone may argue that infinity does not exist and the Universe is finite. But who can say for certain?)

不要過度思考事情，而是行動並享受這種愉悅的感覺，僅僅因為知道你有能力重塑自己和自己的現實。這種隧道盡頭的光明發現給你力量、希望和目標，這也意味著創造某種從普通人的角度看來“不可能”的事情的意圖能量。

Don’t overthink things, instead, act and enjoy the feeling of delight simply from knowing that you are capable of recreating yourself and your own reality. This discovery of light at the end of the tunnel gives you strength, hope, and purpose, which also means, the energy for the intention to create such something that from the point of view of the average man in the street, ‘is impossible’.