基本原則回顧

Review of basic principles

夢境空間：

The dream space:

夢境空間並非你幻想出來的，它真實存在並以一種影片檔案的形式呈現，儲存著從過去到未來所有可能存在的事物。當你夢見一個夢時，你便在觀看其中的一卷膠卷。

The dream space is not a product of your imagination. It is real and exists in the form of a film archive, where everything that was, is and ever might be is stored. When you are seeing a dream, you are viewing one of these film rolls.

物質現實：

Physical reality:

物質現實不是從未存在過，也不是永遠不會存在，而是此刻曾實際發生過的一切。它存在於每一個瞬間，就像膠卷中的一幀，從過去走向未來。

Physical reality is not that which never was, nor that which never will be, but rather that which happens, once and now. Physical reality exists for a single moment, like a frame in a film roll, which moves from the past into the future.

現實：

Reality:

現實是多層次的，就像洋蔥一樣。你熟悉的僅有兩層：你生活其中的物質現實，以及你每晚夢見的夢境空間。睡眠與覺醒大致相同，只是它們發生在不同的維度中。從沉睡到醒來，你便從一個維度轉換到另一個。睡眠及其後的覺醒在某種意義上與生死相似：生命即是沉睡，死亡則是覺醒，而非顛倒。

Reality is multi-layered, like an onion. Only two layers are familiar to you: physical reality, in which you live, and the dream space, which you dream about every night. Sleeping and waking are roughly the same thing, only they take place in different dimensions. Drifting off and waking up, you shift from one dimension into the other. Sleep and the awakening that follows sleep are similar in context to things like life and death. Life is sleeping, death is awakening and not the other way around.

你的人生：

Your life:

更準確地說，你的人生——你的本質，你的靈魂——也在一次又一次的轉生中流轉。你不會記得自己過去的每一世，因為每一個轉生都是你靈魂的另一種生活，或者可以說是一場獨立的夢。肉體的存在並非靈魂生命的必要條件；身體只是靈魂存在的一種形式，是一種類似生物戰衣的存在。

Your life, more precisely, your essence — your soul — also moves from one incarnation to another. You do not remember your previous incarnations. This is because every incarnation a separate life of your soul, or a separate dream if you like. The presence of the body is not essential to the life of the soul. The soul in the body is just one of the forms in which the soul can exist. The body is a kind of bio-suit.

運動與變化：

Movement and transformation:

運動與變化乃現實與生命的根本特質。畫面沿著膠卷前行；毛毛蟲蛻變成蝴蝶；蝴蝶產卵，而這些卵又會變成毛毛蟲，進而再變成蝴蝶。

Movement and transformation are the fundamental qualities or reality and life. The frame moves along the film roll. The caterpillar transforms into a butterfly. The butterfly lays its larvae, which in turn are transformed into caterpillars to become butterflies again.

內在屏幕：當你陷入沉思時，你的注意力會完全沉浸於內在屏幕之中，你可能對周遭發生的事情毫無察覺，而進入自動駕駛模式般地行事。

Inner screen When you are lost in thought, your attention is wholly immersed in the inner screen. You may be oblivious to what is going on around you and do things on auto-pilot.

外在屏幕：

Outer screen:

當你的注意力全神貫注於外在事物時，你會忘記自我，進而自動執行各種行為，而無需刻意思考。

When your attention is busy with something external, you forget yourself and you do things automatically without having to think about it.

注意力：

Attention:

你的注意力總是固定在你內在或外在的某一側，很少停留在中間過渡區間，因此你常常處於一種“睡眠”狀態。你習慣了緊貼於某一個屏幕而不中途轉換，結果就是你已經喪失了對注意力的主控能力；它不再服從你，而是隨意漂浮，你不斷陷入無意識之境。

Your attention is always focused either within or outside of yourself but very rarely in between. And so you are constantly sleeping. Your attention is used to being glued to one screen or the other, without pausing in the middle. The result of this is that you have stopped taking any control of your attention; it does not obey you, but drifts randomly about, you are constantly dropping into a non-conscious state.

睡眠：

Sleep:

睡眠是一種潛意識狀態，在這狀態中，你的注意力會完全沉浸於內在或外在屏幕中。此時你顯得無助，對自己或周遭發生的一切事物無法有所掌控。睡眠便是你的再生狀態 (anabiotic state)。

Sleep is a subconscious state in which your attention is immersed either in the outer or the inner screen. In this state, you are helpless and have no control over yourself or indeed anything that is happening around you. Sleep is your anabiotic state.

夢境：

Dreaming:

夢境是你在夢境空間或物質現實中所見到的景象。從根本上講，現實與夢境本質上相同，因為你其實也在夢想著現實——現實是一場夢，而夢境則即是現實。

Dreaming is what you see either in the dream space or in the space of physical reality. Reality and dreaming are essentially the same thing. For you are also dreaming reality. Reality is a dream, and dreaming is reality.

覺醒：

Awakening:

若你想在夢中或清醒生活中覺醒，必須將注意力從外在或內在屏幕中抽離，轉而集中到你的覺知中心。參見「覺醒法」。

In order to wake up either in a dream or in waking life, you must pull your attention away from the external or internal screen and shift it to your awareness centre. See the ‘Awakening method’.

覺知中心：

The awareness centre:

覺知中心是觀察點，從這裡你可以瞭解當下你的注意力指向何處及聚焦於何物，同時也能清楚看到自己正在做什麼以及周遭的情況。

The awareness centre is an observation point from which you can see where your attention is directed in any given moment and what it is focusing on. At the same time, you see what you are doing and what is going on around you.

覺察：

Awareness:

覺醒吧！並問問自己：我身在何處？我在做些什麼？我的注意力正沉浸於何方？當你這樣追問之時，你便會覺醒並抵達那覺知的點——這就是我，這就是我的現實。我充滿覺察，既看見自己，也看見我的世界。

Wake up and ask yourself: where am I, what am I doing, what is my attention immersed in? In the moment you ask yourself the question, you awaken and arrive at the awareness point. This is me, and this is my reality. I am aware. I see myself and I see my reality.

夢中漫步（無論是在睡夢中或清醒時）：

A stroll through a dream (asleep or in waking life):

進入覺知中心，對自己說：「我看見自己，也看見現實。」告訴自己：今天我要以清醒夢的狀態漫步而行；然後無論走到哪裡，不論是去工作還是上學，都要保持這份清晰。因為當你全然沉浸在內在或外在屏幕中時，你其實並不在真正的狀態中，既無法掌控自己，也無法掌控周遭情勢；唯有當你進入清醒狀態，你才能真正自由，並從此使你的夢——無論是睡夢中還是清醒時——變得清晰可見。你便能掌控自己，並最重要地，獲得掌控局面的能力。

Enter the awareness point, having said to yourself: I see myself and I see reality. Tell yourself: today I will take a stroll through a waking dream. And then go for a stroll anywhere, to work or to school, in this state of clarity. When you are immersed in either one of the screens, you aren’t there; you aren’t in control of yourself or the situation. In a condition of clarity, you are free, and from this moment your dream, whether it be whilst sleeping or in waking life, becomes lucid. You are in control of yourself, and most importantly, acquire the capacity to control the situation.

電影角色：

Film characters:

電影角色——那正是你。無論是在夢中或清醒時，你都活在一部影片裡，被劇本（script）的潮流牽引；你的心智不屬於你，因為你的注意力也不屬於你。在你漫步時，你應該已注意到自己的注意力總是不斷地向內在或外在屏幕漂移。當你達到覺醒狀態時，不像周遭那些還處於沉睡狀態的人，你能看見自己，看見現實，並有意識地控制自己的意志——這正是你邁向全新自我控制及掌控自己現實的第一步。

Film characters — that’s you. As asleep, as in waking life, you are in a film and you are carried by the flow of the script. Your mind is not your own, because your attention is not your own. On your stroll, you ought to have noticed that your own attention was constantly drifting away either to the outer or the inner screen. When you are aware, unlike the other characters around you who are asleep, you see yourself, you see reality, and can consciously control your will, which you couldn’t previously. This is your first step towards a new level of self-control and control of your own reality.

劇本：

Script:

你被一種外在劇本所牽引，這劇本將你編織進一部影片中，而你正是那影片中的角色之一。

You are led by a certain outer script, which weaves you into a film, in which you are one of the characters.

夢境角色

Dream characters How are dream characters different to living people (film characters)? They have no self-awareness — they are not aware of themselves as individual personalities. They have no willpower — they are not free in their actions; they are controlled by the script. They have no soul. They are simply templates, mannequins. They cannot say ‘I am me’. They have no self.

你：

You:

你，或更確切地說，你的自我，其實就等同於你的注意力。你的注意力無法長時間停留在覺知中心，你必須培養把注意力拉回中心的新習慣。用你的注意力去追蹤你的注意力，也就是去追蹤你自己。

You, or rather, your Self, is the same thing as your attention. Your attention cannot stay in the awareness centre for very long. You have to develop the new habit of bringing your attention back to the centre. Use your attention to track your attention, yourself that is.

夢境：

Dreams:

夢境（無論在睡夢中還是清醒時）都可以是清醒或不清醒的。在非清醒夢中，你可能會變得迷糊無助，如同一隻兔子；但你只需開始掌控注意力的焦點，你便會在影片中甦醒起來，獲得隨心所欲行事的能力，正如你所期望的那樣。

Dreams (both whilst sleeping and in waking life) can be either lucid or non-lucid. In a non-lucid dream, you are dotty and helpless, like a rabbit. But all you have to do is start controlling the focus of your attention and you come to life in a movie, gaining the ability to behave at will, exactly as you see fit.

觸發因素：

Triggers:

你不必試圖持續將注意力固定在覺知中心。真正的意義與價值在於你對周遭事物的反應能力。你必須培養相反的習慣——不要陷入夢境，而是當周遭有任何發生時就立刻覺醒。任何事件，即使僅是你所處空間中一陣微風，都應觸發你的警覺，這正是一個覺醒信號。

You do not have to try and hold your attention in the awareness centre continuously. Meaning and value are to be found in something else, namely your ability to respond to what is going on around you. You need to acquire the opposite habit — not to fall into a dream but to wake up when something happens around you. Any event, even a slight waft of air in your space, should make you alert — this is an awakening signal.

同樣地，你所採取的每一個行動都應提醒你檢查自己的注意力到底集中在哪裡。例如的觸發因素有：

Likewise, any action you take should be a reminder to check where your attention is focused. Example triggers:

外在觸發——一旦有事情發生，你就立刻覺醒；內在觸發——在你採取任何行動之前，先覺醒。

Outer — as soon as something happens, you wake up. Inner — before you do anything, wake up.

永恆檔案：

Eternity archive:

夢境空間同樣以膠卷檔案的形式存在，裡面儲存著過去曾有、將來可能有乃至於無限可能的所有事物；唯獨那被點亮的一幕——物質現實的瞬間印象——才是真正的實存，其餘一切，包括過去與未來，都只是虛擬存在，而這一切皆存於永恆檔案中。

Same thing goes for the dreaming space, which exists in the form of a film roll archive, where everything is stored that ever was, will be and could be. Only the illuminated frame, a momentary impression of physical reality, is truly real. Everything else is virtual, including the past and the future. And all this is stored in the Eternity archive.

構築現實：

Compose reality:

構築現實意味著決定下一個畫面如何移動，以及選擇哪一卷膠卷播放。你有這個機會，但卻未能善用，就像你沒能發揮對注意力的掌控功能一樣。你必須事先構想出自己所渴望的現實，而不是與當前的環境掙扎；反之，你試圖改變當前畫面既定的現實。現實之所以被稱作“現實”，是因為它已經發生過，你無法更改已發生的事，但你卻偏偏試圖改變，因為你周圍的一切都是由過去事實構成的。

To compose reality means to determine the direction in which the frame will move and the film roll that will be played. You have the opportunity to do this, but you don’t make the most of it, just as you don’t use your attention control function. You have to compose your desired reality in advance, rather than battling with your current circumstances. Instead, you try and change the given reality of the current frame. Reality is only ‘reality’ by virtue of the fact that it has already happened. You cannot change anything that has already happened. But this is exactly what you try to do, in as much as everything that surrounds you consists of that which has already happened.

推動畫面：

Propel the frame:

如你所知，改變過去是不可能的；你甚至可以放棄對當下的企圖，因為當下也已發生，且並非你所選擇的。你唯一擁有的，是創造自己未來、選擇一卷膠卷，並沿著這卷膠卷展開下一個畫面的機會。

As you know, changing the past is impossible. You may as well forget about the present too as that also has already happened and it isn’t what you would choose. What you do have is the chance to create your own future and choose a film roll, along which the next frame will move.

【意圖】(Intention)：

Intention:

【意圖】(Intention) 解釋了你所有行動的原動力。要開始任何事，你必須先懷有意圖；當你在行動時，意圖便通過這一行動得以實現。就像注意力有兩個屏幕一樣，【意圖】(Intention) 也擁有內在中心與外在中心兩個部分。

Intention accounts for your actions. In order to-start anything, you have to first intend it. When you are doing something, intention is implemented via action. Similarly to attention, which has two screens, intention has two centres, an inner and an outer centre.

內在中心主導著你日常的各項運作，其位置位於頭顱前部——這便是你那微不足道的意圖。

The inner centre accounts for all your everyday functioning and is located in the frontal part of the skull — this is your petty intention.

當你專注時，你會皺起眉頭；而當你打算行動時，你的肌肉便會緊繃，這些肌肉使你能在當前畫面中進行基本的動作。

When you concentrate, you frown. When you intend to do something, you tense your muscles. Your muscles enable you to take basic forms of action in the current frame.

你幾乎從不運用那外在中心，然而正是這部分驅動著未來的畫面；你可以立即察覺到它的位置。

You hardly use the outer centre at all. Yet this is what moves the future frame. You can see where the outer centre is located in an instant, right now.

【意圖】辮編 (plait)：

The intention plait:

這是一個能量脈輪，類似於一般的辮編——你看不見它，但正如你可以感受到幻肢的存在，即便那幻肢已不在身邊，你仍似乎能感受到它；它並非垂掛下來，而是以某個角度從你的脊椎伸出。

This is an energy chakra, and similarly to a normal plait — you cannot see it, but you can feel it like you would a phantom limb, which is no longer there, but you still feel as if it was. Rather than hanging down, it sticks out at an angle from the spine.

外在【意圖】(Intention)中心位於辮編的末端，這個位置在雙肩之間，不是緊貼脊椎，而是略微遠離。你應該能憑直覺找到這個點，具體距離不必過於在意，只要將注意力聚焦於此，你便會感受到它。

The outer intention centre is at the end of the plait. This place it between the shoulders, only not right against the spine but a little away from it. You should be able to find the spot intuitively. The exact distance away from the spine is not important. Just focus your attention on this area and you will feel it.

外在【意圖】(Intention)中心的原理極其簡單：你只需將注意力轉移至辮編末端，然後視覺化你希望吸引進入生活的某個事件。這樣一來，你便能為這個未來畫面注入能量，使之在物質現實中得以顯現。

The principle of the outer intention centre works is really very simple. You shift your attention to the end of the plait and visualise a picture of any event that you would like to attract into your life. Doing this you illuminate this future frame, and it becomes manifest in physical reality.

詳見《辮編與能量流結合法》一章。

See chapter ‘Plait with flow’.

如何運用辮編 (plait)：

How to work with the plait:

第一步：覺醒並轉移到覺知中心。像平常一樣對自己說：「我看見自己，我看見現實。」

First: wake up and shift to the awareness point. As usual, say to yourself: I see myself and I see reality.

第二步：激活辮編 (plait)。感受它的存在；當你將注意力集中於此時，辮編便會從脊椎上抬起並被激活。

Second: activate the plait. Feel it. There it is; as soon as you focus your attention on it, the plait lifts away from the spine and is activated.

第三步：仍然將注意力集中在辮編 (plait) 上，想像出你所期望的未來畫面。用你的思緒、語言以及心中的「屏幕」構築出你理想中的現實圖像。

Third: still focusing your attention on the plait, imagine a picture of the future you want. Compose the picture of your reality in thoughts, words, and on the screen — as best as you can.

如此一來，你就能照亮未來的畫面，並使它在物質現實中顯現出來。

This is how you illuminate the future frame and it manifests into physical reality.

行動的幻象：

The illusion of action:

你看似能掌控自己的行動，這個觀念固然合理，但實際上卻只是一場幻象；幻象不僅存在於你以為自己所看見的東西中，也存在於你以為自己所做的事情中，而你由於一直深陷其中，未能察覺這只是一場虛幻。

It only appears to you, that you are in control of your actions. It is a very plausible thought but still an illusion. What is illusory is not only what you think you see, but also, what you think you do. You cannot tell that this is an illusion because you are constantly immersed in it.

你認為，電影和電腦遊戲中的虛構角色是否明白自己正處於一部影片中，並且被你所觀看？

What do you think, do the fictional characters of films and computer games understand that they are in a film and that you are watching them?

當然不會。那麼，你夢中出現的那些模型（mannequins）是否意識到你正在夢見它們？答案也是不會。現在，我問你：你知道你自己是誰嗎？

No. Are the mannequins in your dreams aware, that you are dreaming them? No. And so now I ask you: do you know who you are?

你無法向電影角色提出這個問題；你可以問一個模型，但那毫無意義。你與前者和後者不同，因為你至少能模糊地理解這個問題的含義，也因此具備自我覺察。然而，你何時具有自我覺察？只有在你問自己這個問題的那一刻，而在其他時候，你究竟身在何處，又是誰？

You cannot ask film characters this question. You can ask a mannequin, but there’s no point. You differ from the former and the latter in that you are at least capable of vaguely grasping the meaning of the question. And in that, you are capable of having self-awareness. But when are you self-aware? Only in the moment that you ask yourself this question. The rest of the time, where are you and who are you?

實際上，你只不過是那段發生於你生命影片中的一個角色而已。生活並非你在主宰，而是生活在你身上發生；無論是夢中的模型還是影片中的英雄，都無法察覺到自己行動的幻象，或更確切地說，行動本身的虛幻性。那么，你為何要認為自己能夠察覺這幻象呢？若你在清醒時卻像在睡夢中一樣生活，你又與夢中的模型有何不同？

Well, you are characters in a filmstrip of the life that is happening to you. Rather than living your life, life is happening to you. Neither the mannequin in your dream, nor the hero in a film are capable of perceiving the illusion of their actions, or rather, the illusion of action. So why should you assume that you are capable of doing so? How are you different to a dream mannequin if you live as if you were sleeping in waking life?

習慣：

Habit:

你之所以成為一個“蝸牛”（更確切地說，是那些角色），正是因為你習慣了不主動創造屬於自己的現實，而只是消極等待和渴望某種結果的發生——會不會發生？會不會順利？這是一種消極的位置；在這樣的狀態下，你所能做的只有去探查現實，稍有波動就退縮放棄。

You are made snails (more precisely, characters) through the habit of not creating your own reality but waiting and hoping for something instead. Will it happen or not? Will it work out or not? This is a passive position. From this position, all you are capable of is probing reality and at the slightest thing, withdrawing your horns.

模型：

The mould:

你必須轉變為主動模式。與其等待和渴望，不如主動創造你想要的現實。這個“模型”（mould）正是你所遇到的障礙，因為根據這個模型，創造自己的現實是不可能的；這模型就像你狹小的住所。舊的習慣與觀念之所以生根發芽，正是因為不斷的重複。從現在起，你不再僅僅盯著現實並隨波逐流，而是要主動管理畫面的運動——那不是你當下所處的畫面，而是即將展現出來的新畫面。參見「畫面照亮法」。

You have to switch into proactive mode. Rather than waiting and hoping, create the reality you want. The mould is an obstacle to this, because according to the mould, creating your own reality is impossible. The mould is your little house. New habits and perceptions are developed just as the old ones took root — through ongoing repetition. Only from now on, instead of staring at reality and following it, you will actively manage the movement of the frame — not the one in which you currently find yourself, but the one that is about to come up. See. ‘Frame illumination method’.

重新編程：正是你那蝸牛角與住所（習慣與模型）使你被局限在當前的畫面中。為了跳脫這個陷阱，你必須轉變為主動模式，不再消極等待或僅抱著期盼，而是積極地構築你想要的現實。這需要你不斷練習如何掌控即將呈現的畫面。方法是：一旦發現自己在等待或期待，就運用【意圖】(Intention)；當問題出現時，立即啟動辮編 (plait) 並照亮畫面。你所需要做的不僅是構築那些結果尚未確定的事件，還包括那些結果已顯趨可能的事件。

Reprogramming It is your snail horns and house (habit and the mould) that keep you trapped in the current frame. In order to escape the trap, you must switch to proactive mode, not waiting and hoping, and compose the reality you want. This requires constant practice of how to manage the impending frame. Method: as soon as you find yourself waiting or expecting something, use intention; as soon as a problem arises, use instant plait activation and frame illumination. You need to compose not only the events, of which the outcome is unknown, but also events of which the outcome is already probable.

為什麼我們需要無休止的重複？正是為了把新的程式植入到你的蝸牛模型中。除非你親身多次體驗，否則你不會相信現實能屈服於你的意志。掌控簡單事件中的畫面運動，是最有效的訓練，從而你將……

Why do we need endless repetition? To embed a new programme into your snail mould. You will not believe that reality can submit to your will, until you experience it for yourself, moreover, repeatedly. Controlling frame movement in simple events is the most effective type of training, as a result of which you will...

• 學會覺醒並掌控你的注意力。

• Learn to wake up and control your attention.

• 培養辮編 (plait)、視覺化以及【意圖】(Intention)。

• Develop the plait, visualisation and intention.

• 轉變為主動模式，最終獲得擺脫既定外在劇本，構築屬於自己現實的能力。

• Switch to proactive mode, and in the end, acquire the ability to free yourself from the predominant script and compose your own reality.

即將到來的現實：雖然記錄於永恆檔案中，但它始終呈多重變化；在未被任何人最終認領或構築之前，並不專屬於任何一方。當某人走上前去進行構築時，現實便會服從那份構築；若那人正是你，現實就會屬於你。然而，在現實真正成為你的之前，你必須先重新編程，即透過反覆重複的過程培養全新的習慣與觀念。

Forthcoming reality:

轉化：創造者原本設計你們成為發光的生物，目光堅定向前——這正是你過去的本來面貌，在陷入行動幻象之前。當你練習構築自己的現實時，你將逐漸從“蝸牛”狀態轉變成螢火蟲。當你照亮那一畫面時，你會散發出內在的光芒，而你渴望的事件便會像飛蛾撲火般向你而來。周遭仍停留在蝸牛狀態的人，出於好奇，甚至會伸出他們的“角”向你靠近。

Although written in the Eternity archive, is always multi-variant and while it has not been ultimately claimed or composed by anyone, it does not belong to any one. If someone comes along and composes it, then it will submit to their composition. And if that someone is you, then it will be yours. But before reality can truly become yours, you have to reprogram yourself, i.e., develop new habits and perceptions via a process of multiple repetition.

專注：試著不費力地進行。成功地照亮一個畫面，關鍵在於專注而非強求。你能夠至少專注幾分鐘嗎？甚至只需一分鐘，這就足夠了。請平靜自然地遵循畫面照亮法，因為當你用力過度時，就會觸發內在【意圖】(Intention)中心，而現實則是由外在中心所管理。

Transformation:

請注意，若你在照亮畫面時肌肉過度緊繃，就意味著那微不足道的意圖在作祟。你必須全心運用外在【意圖】(Intention)——也就是辮編 (plait)——這並不是一項應該強迫或操控的技巧。

The Creator conceived you to be luminescent creatures, your gaze directed forward. And so you once were, before you became mired in the illusion of action. When you practice composing your own reality, you become gradually transformed from snails into fireflies. When you illuminate the frame, you emit an inner light, and the events you desire fly towards you, like moths to a flame. Others around you, who are still snails, will put their horns out towards you and crawl closer out of curiosity.

超能力：這是力量的反面與對立面。一般的力量（意志力和體力）作用於鏡像現實的這側，即物質平面；而超能力則在另一側運行，即微妙平面。

Concentration:

嘗試不費力地進行。要成功照亮一個畫面，重點在於專注而非強求。你能夠至少專注幾分鐘嗎？甚至只要一分鐘就足夠了。請平靜且自然地遵循畫面照亮法，因為當你過度用力時，就會觸發內在【意圖】(Intention)中心，而現實則是從外在【意圖】(Intention)中心受到管理。

Try without making an effort. To illuminate a frame successfully, concentration is important, not force. Can you concentrate, at least for a couple of minutes? Just a minute, then? That is all it requires of you. Follow the illumination method calmly and naturally. The reason for this is that by applying effort, you trigger the inner intention centre. Reality is managed from the outer centre.

請注意，若在你照亮畫面時肌肉變得僵硬，這代表你那微不足道的意圖正在作祟。你必須全心全意運用外在【意圖】(Intention)——也就是辮編 (plait)——此技法不可強迫或操控。

Note that if whilst you are illuminating the frame, your muscles are tense, this means your petty intention is working. You have to work exclusively with outer intention — with the plait. This is not something that should be strained or wielded.

超能力：

Meta-power:

這是力量的反面，即其對立面。一般力量（意志力與體能）作用於鏡像現實的這一側，即物質平面；而超能力則發揮在另一側，亦即微妙平面。

This is the flip side of force, its antipode. Normal force (willpower and physical strength) works from this side of the mirror reality, the material plane, while meta-power operates from the other side, the subtle plane.

鏡像現實中的反射存在於物質平面，而主體則位於微妙平面。

The reflection in the mirror reality is on this side, the material plane, while the subject is on the other side, the subtle plane.

物質現實乃是主體的倒影，也就是那存在於另一側的圖像；而在那部影片檔案中，未來卻蘊藏著無數的可能變體。

Physical reality is a reflection of the subject, the image, which is somewhere there, on the other side. And there, in the film archive, there are many variants of the future.

所以現在請你自行判斷：既然未來位於現實之鏡的另一邊，用僅作用於鏡子正面這側的常規力量是否能對其產生影響？答案是不可能的。

So, now, judge for yourself: if the future is located on the other side of the reality mirror, is it possible to somehow have an impact on it using standard force, which only operates here on the side the mirror is facing? No.

如果你的注意力只集中在鏡子前方，即那展現現實的畫面上，那你就完全受到劇本的束縛；但如果你的注意力轉向鏡子另一側，也就是圖像的畫面，你便可以自由移動，無論是你自己，還是未來的現實。

If your attention is focused on what is in front of the mirror, i.e. in the frame of manifestation, then you are completely captured by the script. If it is focused on the other side of the mirror, in the image frame, then you are free to move, both yourself, and future reality.

隨著你日漸感受到超能力，你將漸漸明白究竟何謂超能力。我若從未嘗試過力量，就無法向你解釋它是什麼；超能力也是如此。你必須親身感受並培養它。辮編 (plait) 就是你運用超能力的工具，而畫面照亮法則則是一種訓練超能力，同時也是構築你所渴望現實的途徑。

You will gradually come to understand what meta-power is, as you come to feel it. I would not be able to explain to you what power was if you had never tasted it. The same goes for meta-power. You have to feel it and develop it. The plait is your meta-power tool. The frame illumination method is an exercise in developing meta-power and, at the same time, a means of composing the reality you want.

推動自己：

Propel yourself:

推動自己意味著擁有自我覺察，並有意識地控制你的動機和行動。在當前畫面中，你可以依靠手腳與體力進行正常移動；然而，推動現實則完全不同，你是藉由注意力、【意圖】(Intention)與超能力來推動它。

To propel yourself means to be self-aware and deliberately control your motives and your actions. Within the frame, you will move normally, using your arms, legs, and physical strength. But you propel reality completely differently, with your attention, intention, and meta-power.

模仿行動：

Imitating action:

模仿的關鍵在於，你無權破壞既定的秩序。按照這既定秩序，你必須在劇本的安排下參與行動，沒有人能隨心所欲地脫離這部影片。劇本並非某人主觀意志的產物，而是一種客觀現實，這是無法逃避的事實。

The point of imitation lies in the fact that you do not have the right to disrupt the established order of things. The established order has it that you participate in the action whilst submitting to the lines of the script. There is not a single character that can bail out of the film roll or do whatever they like within the film. The script is not the product of someone’s subjective will. It is an objective reality and there’s no avoiding the fact.

客觀現實注定使你如同影片中的角色般存在，你無法逃避其中的行動，但你卻可以去模仿它。

Objective reality is such that you are doomed to exist within it, like characters in a film. You cannot avoid the action. But you can imitate it.

你可以欺騙現實。

You can fool reality.

你依然按照劇本所規定扮演著你的角色，完成每日任務；但與那些沉睡者不同，身處覺醒狀態的你，獲得了更大的可能——有機會更換當前的膠卷。

You continue to play your role as before, as it is written into the script; you carry out your daily tasks. But unlike the other characters, being in a state of awareness, you get something more — the opportunity to replace the current film roll.

你作為一個既甦醒卻佯作無生氣的角色，在影片中漫步，按照自己的意願更換膠卷，隨心所欲地行動。無論是劇本還是其他角色，都不會察覺到任何異常。

You stroll through the film as a character that has come to life but is pretending to be lifeless, and change the film roll as you see fit. No-one suspects anything — neither the script, nor the other characters.

影片中的存在：

Presence in the film:

你在影片中的存在，首先展現的是你那覺知，也就是你的「自我」。你作為一個具備自我覺察和意識、完全掌握自身能力的活生生個體，即使這部影片動態變化，其內部角色的行為仍然是預定的。

Your presence in the film is above all, the presence of your awareness, your ‘Self’. Your presence as a living, self- aware, conscious individual in full possession of your faculties in an immutable film. Although the film turns dynamically, it is predetermined, like the behaviour of all its characters.

你在影片中的存在，讓你在沉睡者中脫穎而出，成為那覺醒者。你清楚意識到自身的獨立性，也明白眼前所發生的一切。雖然你在影片中的行為同樣受劇本預定，但正因為你的覺醒存在，你才能有機會更換膠卷——在不同畫面間靈活穿梭。

Your presence in the film singles you out as one awakened among those who are asleep. You are conscious of your separateness and are aware of what is happening. Your behaviour within the film is also predetermined by the script. However, your presence gives you the opportunity to change the film roll — to skip from one to another.

為了讓自己真正存在，你必須甦醒過來，給自己一個徹底的喚醒檢查，弄清楚你的注意力目前集中在中央覺知中心還是停留在那兩個屏幕中的其中之一。

In order to become present, you must come alive, give yourself a good shake and work out where your attention is placed: in the central awareness point or one of the two screens.

你並不掌握劇本的控制權：

You are not in control of the script:

構築現實並非是要掌控劇本，而是要選擇播放哪一卷膠卷。你的任務是保持注意力聚焦在那即將到來的畫面上。劇本與你無關；若你試圖重新構築或抗拒它，劇本便會將你拖入陷阱。你在試圖影響事件的發展時，錯誤地過於緊握現有畫面的現實，而你握得越緊，它就越會從尾巴——也就是從辮編 (plait)——中，更緊地抓住你。

Composing reality is not about controlling the script but choosing the film roll. Your task is to hold your attention on the frame that is coming next. The script is none of your business. If you try to compose it or resist it, the script will pull you into its trap. Trying to influence the course of events, you make the mistake of taking the reality of the current frame in a deadly grip. The harder you grip, the tighter it grabs you by the tail, that is, by the plait.

你並不需要知道哪個劇本能帶你到達目標；重點是你根本無需理會。你正處於一種影片放映模式中，當你的投影機照亮目標畫面時，事情的發展便會自動轉向你所期望的方向。只要你設定了目標，劇本就會為你服務。

It is not for you to know, what script will bring you to your goal. But the point is that you don’t need to know. You are working in a film projector mode. When the goal frame is illuminated by your projector, the course of events itself turns to where you need it to be. The script works for your goal if you set it.

優勢：

Advantage:

你總是堅持一切都必須按照你的計劃進行，而這種固執反而妨礙了計劃的實現。當你表達厭惡時，你無意中為自己構築了一個更糟的現實。

You always insist on everything going according to your plan, and in so doing, you obstruct the implementation of the plan. By expressing dislike, you involuntarily and unconsciously compose a worse reality for yourself.

為了避免破壞你的現實，並將其轉化為一個各方面都極致美好的世界，你必須實踐一個簡單的原則：在一切中尋找優勢。字面上講，無論在何種令人煩惱的情境或任何讓你稍有負面反應的事件中，都要主動尋找並挖掘其中的優勢，並以此作為你生活中的目標。

To avoid mangling your reality, and instead, turning it into a wonderful world in all regards, you need to implement one simple principle: seek the advantage in everything. Literally, seek and draw out the advantage in any annoying situation, and in any event that causes you to respond even a little bit negatively. Set yourself the goal of seeking out the advantage in life.

法則是：如果你允許自己遵循這個優勢原則，生活中對你造成損害的事件便會越來越少。參見「優勢法」。

The Law has it: if you allow yourself to be guided by the principle of advantage, life will throw fewer and fewer events your way that are damaging. See ‘Advantage method’.

允許：

Allowing:

這是一個矛盾的原則：並非去構築劇本，而是構築目標畫面。你的目標是明確你想要達到的「結果」，並運用你的思緒、語言和辮編 (plait) 構築出那個現實的相應圖像。如此一來，劇本便會引領你，告訴你「如何去做」。

The paradoxical principle: compose not the script but the goal frame. Your job is to know the ‘result’ you want to achieve and compose the corresponding picture of that reality, in thoughts, words, and images using the plait. Then the script will lead you and show you the ‘how’.

追蹤優勢正是一個喚醒的觸發因素。你所經歷的每一件事，都應該成為令你保持警覺、喚醒你的號角，而非讓你陷入沉睡。你的任務是覺醒、看見現實並構築現實。

Tracking the advantage is one trigger for awakening. Any event you experience should be something that causes you to be alert serving as a wake-up call, rather than sending you off to sleep. Your task is to wake up, see reality and compose reality.

以前，每當遇到挑戰時，你總會「啊啊啊！」地揮舞雙臂，猛烈跺腳。

Previously, as soon as anything challenging happened, you’d ‘A-a-a!’, wave your arms about, and stamp your feet!

而如今，當挑戰發生時，你應低聲或大聲地對自己喊出「優勢！」

Now: as soon as something challenging happens, you exclaim (quietly to yourself, or aloud) ‘Advantage!’

此外，你還要允許宇宙為你做些好事，來幫助你，或使你更接近你的目標。

Beyond that, you allow the universe to do something nice for you, to help you, or to bring you a step closer to your goal.

劇本在引導著你：

The script directs you:

為何你總是不斷忘記注意力的所在？這並非只是心不在焉，而是因為劇本在牽引著你。你以為自己獨立行事，明察事理，但這只是一個幻象──「行動的幻象」。這幻象在於，現實緊緊束縛著你，讓你察覺不到其虛幻性，卻又使你變成那個被困在某種遊戲中的角色。

Why are you constantly forgetting about your attention? Is it down to absent-mindedness? No. It is because you are being directed by the script. You think you are acting independently and that you know what’s what, but this is an illusion. The illusion of action, let me remind you, consists in the fact, that reality takes hold of you to the extent that you do not notice the illusion and don’t realise that you are bound characters in some kind of game.

矛盾在於，與電影中的英雄不同，你本具備自我覺察的品質，但你僅在詢問自己這個問題的那一刻覺醒；而在其他時刻，你的意識卻沉睡下來，任憑外在劇本掌控。

The paradox is that unlike the heroes in the film, you are endowed with the quality of self-awareness. However, you become self-aware, only in the moment that you ask yourself this question. The rest of the time, your consciousness sleeps and relinquishes itself to the external script.

推動自己：

Propel yourself:

想像你是一個電影中的角色。膠卷在不停轉動，你無法改變情節，但卻無物能阻擋你改變自己。不要聽那些告訴你永遠不應改變的人。某種程度上，他們說得沒錯──你絕不能失去核心、原創性與獨特性。

Imagine that you are a character in a film. The film roll is turning and you cannot change the plot, but nothing is to stop you from changing yourself. Do not listen to people who tell you that you must never change. To a certain degree, they are right, you must never lose a sense of your core, your originality, your uniqueness.

你必須改變，但這改變不意味著放棄你的自我。致力於自我提升並不代表必須妥協真實的自我。自然原本造就你時就已完美無缺（包括種種瑕疵），如同其他人一樣；但若缺乏發展，便會走向退化。這是一個自然法則。你必須意識到，若不在身心靈上持續自我精進，你終將變成枯萎的蝸牛。

You have to change, without changing your Self. Working on self- improvement doesn’t mean compromising your true self. Nature originally created you perfect, warts and all, like everyone else. But lack of development leads to degradation. It is a natural law. You should be aware, that you need to work on yourself, develop yourself physically and spiritually unless you want to turn into shrivelled slugs.

創造者之火花：

The Creator’s Spark:

你的自我提升在很大程度上決定了你的命運。在你每個人內心深處，都隱藏著那微小的創造者之火花──創造者之火花──所以點燃它！這火花不是主的，而是創造者的。以壓迫他人的方式來炫耀權力，是另一種誘惑，而你絕不應屈服於此。創造你自己的現實，同時也要塑造一個完美的自我。至高的創造者並不違反這個原則；他不支配你（反正你也不會聽從），他創造，而你同樣也有這種能力。

Much depends on your self-improvement. In each and every one of you there lies a tiny part of the Creator — the Creator’s Spark — so kindle it! It is the Spark, not of the Lord but of the Creator. To lord it over others is another kind of temptation. Which you must never give in to. Create your reality and yourself perfect. The Supreme Creator does not contradict this rule; he does not rule over you (what would be the point, you wouldn’t listen anyway), he creates, and you are capable of doing the same.

權力的法則：

The dictates of Power:

憑藉自我覺察的能力，你會問「如何做到？」並根據自己的想法設計出達成目標的整體策略。沒錯，每當你問出「如何」這問題時，你的自我覺察就醒來，但這同時也會妨礙你，因為你那時候不再專注於目標，而只是陷入自己關於如何實現它的無聊幻想。你所想像的劇本與真實劇本相矛盾，而你卻固執己見，結果弄得一團糟。你發明的情境與現實衝突，但因為你堅持己見，最終搞砸了一切。

Having the capacity for self-awareness, you ask the question ‘how?’ and design a whole strategy for achieving your goal based on your own ideas. Yes, in the moment that you ask yourself ‘how,’ your self-awareness is awakened, but it gets in your way because you’re not thinking about the goal but your own silly ideas of how to manifest it. Your imagined script contradicts the real one, but you insist on having your own way and spoil everything as a result. The scenario you have invented conflicts with the real one, but you spoil everything by insisting on having things your own way.

你需要觀察自己，觀察自己的注意力。這樣，你就不會再陷入自己既定計劃的念頭中，而能順從那些幾乎難以察覺的劇本暗示，就像它們是權力的命令一樣。只要你允許自己有意識地跟隨這些權力命令，你便能感受到它們；若你的思緒只專注於目標，劇本便會引領你直達那目標。

You need to observe yourself, observe your attention so that rather than sinking back into thoughts of your own plan, you follow the barely perceptible nudges from the script as if they were dictates of Power. You can sense these dictates of Power if you allow them to lead you, consciously and intentionally. If your thoughts are focused solely on the goal, the script will lead you to the goal itself.

跟隨：

Following:

你的心智應該專注於最終結果，也就是目標畫面，而非事件的過程或他人的行為。即使你全然存在，你也無法抵抗現有劇本。你現實中所有根據你意志而產生的改變，都是你切換到另一卷膠卷的結果。對當前膠卷中的劇本，你無能為力。不要抗拒劇本，觀察自己，並順著膠卷的流動前行。學會感受並跟隨權力的命令，以最大程度發揮劇本所蘊含的力量與智慧。參見「後續方法」。

Your mind should be focused on the end result, the goal frame, not the course of events or the behaviour (actions) of other people. You can’t resist the script even when you are fully present. All the changes that take place in your reality that occur according to your will, are the result of you switching to a different film roll. You can’t do anything about the script in the current film roll. Don’t resist the script, observe yourself and follow the flow of the film roll. Learn to feel the dictates of Power and to follow the dictates of Power. Follow in order to make the most of the Power and Wisdom of the script. See ‘The following method’.

外在力量：

Outer Power:

當你全神貫注於當下、懷著【意圖】(Intention)與覺知漫步於影片中時，你正在活生生地穿越這部影片。你可以推動畫面，但不是用那微不足道的個人【意圖】(Intention)，而是用外在【意圖】(Intention)。所謂外在【意圖】(Intention)之所以如此稱呼，是因為它並非由你掌控，它不屬於你，也無法向你屈服。外在【意圖】(Intention)是一種力量，是推動現實運轉的引擎，其活躍成分使膠卷按照既定命運前行。

You are strolling live through a film when you are present with your attention, and move with intention. Move the frame, but not with your petty intention, move it with outer intention. Outer intention is referred to as such because it is not yours; it does not belong to you or submit to your will. Outer intention is a kind of Power, the engine that is powering reality. Its active component turns the film roll in the way it is destined to turn.

你能接觸這股力量的接入點，就是你的外在中心──也就是那辮編 (plait)。當你處於沉睡狀態時，力量便會利用辮編牽引你，像操縱木偶般引導你遵從劇本；但當你覺醒、全然存在並將辮編「掌握在自己手中」時，超能力──即力量的被動成分──便會被激活。這正使你能夠啟動一卷不同的膠卷，與你正在構築的畫面相匹配。

You have an access point to this power which is your outer centre, the plait. When you are asleep, Power takes you by the plait and leads you through the script as if you were a puppet. But when you are awake, fully present and take the plait ‘into your own hands’, meta-power, Power’s reactive component, is activated. This is what enables you to launch a different film roll, one that corresponds to the frame you are composing.

現實之鏡：

The reality mirror:

你總是一意孤行、從狹隘的【意圖】(Intention)出發行動；當你希望別人愛你、尊重你、幫助你、給予你某些東西時，你常常像孩子般直截了當地大聲要求：“愛我”、“尊重我”、“幫助我”、“給我”。

You always go at things head on, acting from a place of petty intention. When you want people to love, respect, and help you, to give you something, you tend to demand it directly like a child: ‘love me’, ‘respect me’, ‘help me’, ‘give me’.

從外觀上看，這幕情景就像你站在鏡子前，伸出雙手大喊“把它給我！”，試圖將鏡中的倒影拉近，而那倒影也以同樣的方式回應。它不是給予，而是奪走。現實就如同鏡中一樣，總會反映出你所有心理態度和行動的縮影——你所發出的訊息，必將獲得相同的回應；尤其當你全心表達負面情緒時，更會得到鏡像般的反饋。你付出什麼，便會得到什麼。

From the outside, this is what the scene looks like: you are standing in front of a mirror, reaching out your hands and shouting “Give it to me!”, trying to pull the reflection closer. The reflection responds by doing the same. It does not give, it takes away. In reality, as in the mirror, you always get the reflection of all your mental attitudes and actions. As the message, so the response. Particularly, when you are expressing a negative response with all your heart. As a rule, reality gives a mirrorlike response. What you give out, is what you get back.

構築圖像：

Composing the image:

要拍攝屬於自己的影片，首先必須讓自己覺醒、全然存在。試著想像你已在一部電影中活過來，不再是旁觀者，而是真正生活在其中。感受它，睜開雙眼，好似第一次環顧周遭，一切都煥然一新，你會發現色彩更加濃郁。接著，將自己視為一位客觀的外部觀察者，而非僅僅是電影中的角色；你曾作為內部人士進入電影，但僅你一人知曉這個秘密——你的身體在電影中，而你的注意力則在電影之外。感受你那獨立與存在的感覺。

The first thing you must do, in order to shoot your own film is to wake up, and become fully present. Imagine that you have come to life in a motion picture. Instead of watching the film, you are living in it. Feel it. Open your eyes and look around you as if for the first time. Look at everything afresh. You will notice that the colours are richer. Now, imagine yourself to be an objective outsider rather than a film character. You entered the film as an insider. Nobody else knows but you. Your body is inside the film, but your attention is outside it. Feel your separateness, your presence.

第二步。在你開始向他人和現實索取、期待或要求之前，請先想像自己站在鏡子前，問自己：“我該怎麼做，才能讓倒影與我相遇？”顯然，你必須邁出第一步。不再像往常那樣自私地索取大塊“蛋糕”，或不斷喊著“給，給，給…”，而是要覺醒並意識到，現實之鏡僅僅是反射你的行動。如果你想得到什麼，必須先付出同等的東西。具體給出什麼並不重要，重點在於將“給我”換成“來吧，拿著”。然後，就像施了魔法一樣，在那倒影中，你會獲得你所渴望的東西。你所付出的，正是你所收到的；這也能從內在推動自己前進。參見「圖像法」。

Second. Before you start wanting, expecting, and asking something of other people and reality, you must imagine that you are standing in front of a mirror and asking yourself the question: what must I do for the reflection to meet me half way? Obviously, you must take the first step. Instead of your usual manner of claiming the larger portion of the cake for yourself and harping on “give, give, give...”, you wake up and realise that the reality mirror is simply repeating your movements. And if you want to receive something, you must first give something similar. It doesn’t matter what exactly. Simply, replace your ‘give me’ with the opposite, ‘here, take’. And then, as if by magic, in the reflection, you will receive the very thing you wanted. What you give out is what you get back. This also propelling yourself from within. See ‘The image method’.

你可以掌控現實，但卻無法掌控他人：

You can control reality, but you can’t control people:

如果在構築目標畫面時，你企圖用武力讓某個人隨你擺佈，那通常行不通，甚至適得其反，因為你雙重違反規矩——你正在干涉他人的劇本。

If, when composing the goal frame, you try and forcibly make a certain individual dance to your tune, it probably won’t work or it will produce the opposite effect, because you’re breaking the rules twofold — you’re intruding into someone else’s script.

唯有你個人的現實可以由你掌控，因此在夢想中構築目標畫面時，應該只有你置於中央：你是舞台上的明星，是導演椅上的主角，是駕馭自己遊艇的船長；其他人物只作為背景布景存在。

Only your personal reality is yours to play with. Therefore, only you should be the central figure in the goal frame as you imagine yourself in your dreams: you are the star on the stage, you are in the Director’s chair, you are sailing your own yacht. All the other figures in the frame should be in the background, as part of the set design.

試圖針對特定的人運用這些技巧並不正當，你只能與他們建立起鏡像般的關係。如果你想從某個特定的人那裡得到某些東西，就主動見面、溝通，但要記得，這部影片本質上就像一面鏡子。

Trying to carry out these techniques involving specific people is not right. All you can do is have a mirror-like relationship with them. If you want something specific from a certain person, go and see them and communicate with them within the current film, taking account of the fact that the film is mirror-like in nature.

內在驅動力：

Inner motivator:

你不僅受到外在驅動者——也就是劇本——的引導，還有一種為了追求自我價值與自我實現而滋長的內在驅動力。如果你希望他人對你友好，或從中獲得某些東西，就請設定目標，強調他們的重要性，並幫助他們實現自己的目標。

You are led not only by an outer driver, i.e. the script, but also by a certain inner motivator which is the need for a sense of self- worth and the pursuit of self-realisation. If you want people to be well- disposed towards you, or you want something from them, set yourself the goal of underlining their importance and help them realise their own goals.

若想避免結下仇敵，務必要小心不要傷害到別人的自我價值感。為他人創造優勢應成為你人生哲學的一部分；如此一來，你在自我實現的路上就不會遇到太多阻礙。而且，你只有在能夠造福他人時，自我實現才會真正成功；反之，若你所作之事對他人毫無裨益，那最終也無法真正幫助到你。

If you want to avoid making enemies, be very careful not to injure anyone else’s sense of worth. Creating advantage for others should become part of your philosophy of life. If you do this, you will have no difficulty with your own self-realisation. Moreover, your own realisation will be successful only when it starts to benefi t others. Conversely, if what you do is of no benefit to others, it won’t really help you much either.

操縱他人：

Manipulating others:

在當前畫面中，操縱另一個角色的意識是有可能的。正如你所知，你既受外在劇本的引導，也受內在驅動力的推動，儘管後者的影響較小。這股內在驅動力量主要決定你前進的方向，但你仍然是在劇本的牽引下運動。然而，那些最貪婪的“蝸牛”（更確切來說，是角色）可能會根據他們自身的【意圖】(Intention)或劇本，試圖改變你前行的方向，以符合他們的自身利益。

It is possible to manipulate the consciousness of another character in the current frame. As you are already aware, you are led both by the external script and an inner driving force. The latter, however, to a far lesser degree. This driving force mainly determines the direction in which you move, but you are still set in motion by the script. However, the most greedy snails, either in accordance with their intentions or their script may try to alter the direction your course is taking to suit their own interests.

這就是操縱——試圖控制他人在影片中的發展方向。這可能表現為欺騙、創造虛假的價值觀與目標，或利用他人的弱點與需求來達成目的。（Note:此處強調利用不正當手段影響他人行為）

This is manipulation — trying to control someone else’s course in the film. This may be, for example, by deception, creating false values and goals, or by playing on the weaknesses and needs of others. Unlike the mirror principles that do not disturb your course, but rather assist it, manipulators will divert you from your course and use you. Whenever you feel that something is being imposed on you, ask yourself: who does this benefit and how?

操縱現實：

Manipulating reality:

現實具有雙重性質。一方面，它就像一部影片；另一方面，又猶如一面三維鏡子。這兩者都極易引起混淆，其主要幻象在於：現實的真實本質被隱藏了起來。你無法看到影片膠卷所隱含的空間，也看不到鏡子框架本身；但只要你明白並記住這一點，那幻象就不再對你有任何影響。

Reality has a dual nature. On the one hand, it is a film, and on the other hand, a three-dimensional mirror. Both are bound to confuse. The main illusion is that the true nature of reality is hidden. You can’t see the space of a film strip, and the mirror framework itself isn’t visible. But if you know this and you remember it, then the illusion will no longer have any power over you.

現實之鏡的幻象遠比一般鏡子複雜。這個空間並非被一分為二，現實與虛構之間也沒有明顯的界線。你同時既處於鏡內又在鏡外，圖像與鏡中反射是相互連結的。這意味著什麼？這表示你所創造的圖像可以轉化為一個反射，而這反射又可以融入主體中。換句話說，你可以將反射變成主體，假裝自己擁有某些事物，或變成某個你尚未成為的人。

The illusion of the reality mirror is much more complex than a standard mirror. The space is not split in half, and there is no visible boundary between what is real and what is imaginary. You are, at the same time, both inside and outside of the mirror. The image and the mirror reflection are connected. So what does that give us? It means that the image you create can become a reflection, and the reflection can flow into the subject. In other words, you can turn a reflection into a subject pretending you have something you don’t, or that you are someone, you have not yet become.

舉例來說，假如你渴望擁有自己的家，你便會在商店裡漫步，挑選各種家具和裝飾品，彷彿你已經擁有一個家。又或者你渴望富有，你會注目於那些昂貴的物品、名車、遊艇或水療度假村，允許財富進入你的生活；又或你想成為某個領域的明星，便以明星的姿態行事，至少在想像中暫時過著那樣的生活。

For example, you want to have your own home. You wander round the shops looking at furniture and items to decorate the interior as if you already had a home. Or you might want to be wealthy. You look at expensive things, cars, yachts, spa resorts. Allow wealth into your life. Or you want to become a star in some area or another. Behave as if you were already a star; live that life, for now at least, in your imagination.

漸漸地，現實的圖像會調整以契合你的幻想。現實喜歡製造幻象，但卻無法容忍被無限供應幻象，它必將尋找方法將你所創造的幻象轉化為現實。

Gradually, the picture of reality will attune itself to your make-believe. Reality loves to create illusions, but can’t stand being fed them. It will find a way of turning the illusion you have created into reality.

構築反射：

Composing a reflection:

你可以同時構築圖像與反射。在第一種情況下，圖像呈現為反射；而在第二種情況下，則相反，反射呈現為圖像。

You are capable of composing both an image and a reflection. In the first case, the image appears as a reflection, whereas in the second, the opposite is true, the reflection appears as the image.

第一種（正向）過程：你所傳達的便是你所得回報；你所付出的是你所獲得，而你真正的本質就存在於你所擁有的一切中。

First (direct) process: what you put out is what you get back; what you give is what you receive, and who you really are is what you have.

第二種（逆向）過程：遊戲如何，現實便如何；你所模仿的是你將得到的；你所假裝成為的人，最終就會變成那個人。

Second (reverse) process: as the game, so the reality; what you imitate is what you get; who you pretend to be is who you will become.

正向來說：圖像呈現為反射。構築圖像就是你向現實傳遞訊息的方式，你所輸出的，正是你所擁有的。

Directly: the image appears as the reflection. Composing the image is your way of putting a message out to reality. What you put out is what you have.

逆向來說：反射呈現為圖像。你的虛構與模仿便是你構築反射的方式；你曾假裝成為的人，實際上便是你最終成為的那個人。

Reversed: the reflection appears as the image. Your make-believe and imitation is your way of composing the reflection. Who you have pretended to be is, in reality, the person you have become.

所有這些有關鏡子的操縱，正是所謂「從內在推動自己」時所涉及的操作。

All these manipulations with the mirror are what is being referred to when we talk about ‘propelling yourself from within’.

首要的條件是：這場遊戲必須被極其認真地對待；其次，這場遊戲必須保持一致。參見《反射法》一章。（Note:「反射法」意指利用鏡像效應來調整現實）

The first essential condition is that the game is taken very seriously. The second essential condition is that the game should be consistent. See chapter ‘The Reflection Method’.

你不喜歡自己的原因：

The reason you do not like yourself:

你不喜歡自己的原因在於，各種螢幕與印刷封面展示著美麗、成功與幸福的理想。你輕易地陷入這些幻象，努力使自己符合別人定義的形象，結果每次都認為自己達不到那些標準。其實，美麗、成功與幸福無法被統一標準化，每個人都有獨特的風貌；然而，你仍然選擇相信這幻象，並試圖追隨它。

The reason you don’t like yourself is that all the screens and printed covers illustrate the ideals of beauty, success, and happiness. You fall for these illusions obediently trying to fit yourself into someone else’s image, each time coming to the conclusion that you fall short of these standards. In actual fact, beauty, success, and happiness cannot be standardised; these things have a very individual cut. Yet, still, you prefer to believe in the illusion and try to keep up with it.

當你看著他人時，不要生出嫉妒；而當你檢視自己時，也別感到沮喪。要像螢火蟲般，從內而外地推動自己。不要將自己所處的現實視為完全不受你控制的東西，而是應該親自構築一個全新的現實。利用辮編 (plait) 來轉換你未來的現實，同時藉由你視覺化的圖像與反射，改變你當前的現實。

Don’t be jealous when you look at others; and don’t be discouraged when you look at yourself; become like fireflies: propel yourself and propel yourself from within. Don’t look at the reality in which you find yourself living as something that is beyond your control; instead, compose a new one yourself. Shift your forthcoming reality by using the plait, and shift your current reality by moving yourself with the image you visualise and the reflection.

這正是讓你垮掉的原因：

This is what is getting you down:

當你發現自己在等待、希望、焦慮或被某事束縛時，就應當覺醒並自我覺察：你正被外在的劇本牽引，而不是依據你自己的劇本行事；這正拖累著你。你潛意識中感受到不自由、依賴現實，就像一個角色被劇情所局限一樣。你或許能察覺這一點，卻因未完全覺醒而無法作出改變。

As soon as you have caught yourself waiting for something, hoping for something, being anxious about something, or burdened by something, wake up and be self-aware: you are being led by the external script, not your own script; this is what is getting you down. You feel subconsciously that you are not free, that you are dependent on reality, that you are limited by circumstances like a character is limited by a plot. You may sense it, but you cannot do anything about it because you are not fully aware.

你必須真正明白，等待某事發生或不發生、成功或失敗都是徒勞無功的。憑藉你堅強的意志，你完全有能力同時構築一個主體圖像、一個反射，或甚至是整個現實。你應該：

You have to get to the point where you truly know that holding out for something to happen or not happen, to work out or not work out, is foolish and pointless. It is within the power of your will to compose a subject image, or a reflection, or reality, or all of these things at the same time. You should:

將索取的習慣轉變為付出的習慣。

Replace the habit of wanting with the habit of giving.

將拒絕的習慣轉變為接納的習慣。

Replace the habit of rejecting with the habit of accepting.

將沉睡的習慣轉變為覺醒的習慣。

Replace the habit of dropping off with the habit of waking up.

最有益的習慣是：不要急於索求現實中的事物；而是主動構築現實。這是核心，同時還有其他同樣重要的衍生原則：

The most beneficial habit is this: don’t want things of reality; compose reality. That’s the main thing but with equally important derivatives:

不要害怕，而要主動構築。

Don’t be afraid, compose instead.

不要等待，而要主動構築。

Don’t wait, compose instead.

不要寄望，而要主動構築。

Don’t hope, compose instead.

不要哀嘆，而要主動構築。

Don’t lament, compose instead.

模仿技法：

Imitation technique:

你不僅能構築現實，還可以構築你自己——你那模型。同時，這模型也會隨之改變。藉由交替調整膠卷與反射，你將變得與眾不同，正如你夢中所期望的那般。參見《綜合運動漫步法》及《模仿技法》一章。

It is possible to compose not only reality but yourself, your mannequin. And at the same time, the mannequin will change. By shifting in turn the film roll and the reflection, you will become different, the way you dreamed of seeing yourself. See ‘The integrated movement-strolling method’, and chapter ‘The Imitation Technique’.

構築你自己的模型：

Compose your own mannequin:

你在影片中擁有屬於自己的模型，這些模型被存放在“永恆檔案”中。當你在夢中瀏覽其中一卷膠卷時，你的意識會定位到自己那個模型，接著該模型便甦醒起來並開始行動。只要你持續在夢中，那夢境模型的身軀便成為你的一個潛在變化版本。

You have your own mannequins in the films, which are stored in the Eternity archive. When you see one of these film rolls in a dream, your consciousness finds your own mannequin, and then it comes to life and starts to move. For as long as you dream the dream, you occupy the body of the dream mannequin, as one of many of your potential variants.

在物質現實中亦然——你的生命正依據那些膠卷運行。在每一卷新的膠卷中，你的意識都會進入下一個版本的模型，然後該模型便活躍起來，在當前畫面中呈現你的形象。

The same thing happens in physical reality, in the film rolls, according to which your life is moving along. On each new film roll your consciousness enters the next version of the mannequin, which then comes to life and becomes you in the current frame.

這個模型可以在極短時間內發生變化。你能夠迅速地轉變，甚至驚豔地改變外在形象；同時，你也可以改變自信、魅力、溝通能力、勇氣、智慧與專業等品質與技能。

The mannequin can change right now, in a short period of time. You are capable of changing very quickly, to the point of spectacularly changing your outer appearance. You can also change qualities and skills such as: self-confidence, charm, ability to communicate, courage, intelligence, and professionalism.

改變自己並不等同於否定或完全抹去舊我。我們討論的是成長與發展，即使你可能滿足於現狀、不覺得需要改變，但你仍必須持續進步，否則就會走向衰退之路。你需要在不改變內在自我、核心身份、根本原則、信念與人生哲學的前提下，實現自我改變。

Changing yourself doesn’t mean rejection of self or completely getting rid of the old you. We are talking about development. Especially if you are a rare exception of someone who likes themselves the way they are and doesn’t particularly feel the need to change themselves. But even if that is the case, you have to keep developing, otherwise you’ll go down the route of deterioration. You need to change yourself, without changing yourself, your core identity, your fundamental principles, convictions and philosophy of life.

獨特性：

Uniqueness:

獨特性就是你所擁有的一切，而且從某種程度來看，這已絕對足夠。獨特性自成完美，因為世界上沒有任何事物能與之相提並論。那獨一無二之物是否有價值？毫無疑問。它是一種優勢，你可以選擇善加利用，也可以任其被擱置——一切全憑你的【Choice】(Choice)。

Uniqueness is all you have, but to a great extent, this is more than enough. Uniqueness is perfect unto itself because there is nothing of its kind anywhere else. Is it valuable, that which cannot be found anywhere else in anyone else? Undoubtedly. It is an advantage, which you can either use or chuck to the back of a dusty cupboard. And it is all a matter of choice.

然而，所有缺點都有一個矛盾面向：若你接受缺點，它會轉化為一種珍貴的個性品質；反之，若你抗拒缺點，與之鏖戰，那缺點便會成為明顯的瑕疵。外界對你的評價便會如此——要麼視之為寶貴品質，要麼視之為缺陷。只要你接納自身的不足，它就能轉變成一種優勢。

But all shortcomings have one paradoxical aspect. If you accept a shortcoming, it becomes a valuable, individual quality. If you don’t accept a shortcoming and battle against it, the shortcoming becomes a flaw. This is exactly how others will perceive it: either as a valuable quality, or as a flaw. If you accept a personal shortcoming, it can transform into an advantage.

你是完美的，正如自然與創造者之火花 (The Creator’s Spark) 所賦予的。完美意味着一個人能夠展現自身的獨特性，並與自我達到和諧。接納自我便會引發和諧；而任何否定則只會引起不和諧，這一點眾人皆能察覺。

You are perfect, just as Nature and the Creator intended you to be. Perfection is when an individual is embodying their uniqueness and in harmony with the self. Where there is acceptance, harmony appears. And the opposite is true; any negation gives rise to disharmony, which everyone notices.

那些明顯損害你自身、健康或聲譽，或對他人有害的惡習與弱點，應該徹底剷除；而在其他方面，培養積極正面的品質比與缺點抗爭更為有益。

An obvious vice or weak point that directly harms you, your health, and reputation for example, or that harms others, should be rooted out. In everything else though, it is better to develop your positive qualities than to battle with your shortcomings.

三項成就法：

The three achievements method:

首先，別專注於自己的缺點，不要沉溺於感覺被剝奪的狀態，因為那只會帶來破壞，讓缺點惡化並引致更大衰退。你必須轉換到一種更積極建設的狀態，這將有助於你進行下一步。

First, don’t focus on your shortcomings. Don’t dwell on feeling deprived in some way; this is a destructive state. Your shortcomings will only worsen and this will lead to greater deterioration. You have to shift into a different, more constructive state. This will help with the second action.

其次，你必須在生命中確定一個激勵人心、充滿熱情且造福你我他人的目標。若你對生活漠不關心，那就意味著你缺乏目標；反之，沒有目標也會讓你對生活感到麻木。沒有目標，就沒有渴求；缺乏奮鬥就意味著生活缺乏動力。沒有動力，就沒有生命。因此，你必須找到真正的人生目的，並開始向它前進。若你尚未找到人生目標，第三步將幫助你。

Second. You have to have a goal in life — something inspiring that fills you with enthusiasm, that benefits you and others. If you feel apathetic about life in general, then, you don’t have a goal. Or, if you look at it from the other way around — when you have no goal, you feel apathetic about life. If you have no goal, you won’t have anything to desire. If you experience no sense of striving — there will be no movement in your life. No movement, no energy; no energy, no life. So, you must find your true goal, your life purpose, and begin moving towards it. Without a life purpose, whatever that might be, there is no ‘you’; you are an empty space. If you haven’t yet found a life purpose, the third action will help you.

第三，不論你是否已確定人生目的，你都應專注於個人成長與自我再造，時刻聚焦於自己。點燃內心的創造者之火花 (The Creator’s Spark)，努力提升與完善自我。這一方法能立即帶來三項成就：擺脫被剝奪的感覺、找到你的人生目的，以及實現這一目的。

Third. Whether you have found your life purpose or not, you should concentrate on personal development, on re-making yourself. Focus on yourself constantly, always. Kindle in yourself the Creator’s Spark, work on self-development and self-improvement. This method delivers three achievements instantly: shake off a state of feeling deprived, find your life purpose, realise your life purpose.

三重行動：

Triple action:

目標的實現源自於“三重行動”：推動現實、推動自己、從內在推動自己。自我提升是一條值得追求的目標與道路，在這條路上你的人生使命會自然顯現；一旦發現，就再也無人能阻擋你。切記：只有進步或衰退兩種結果。

Goals are achieved via triple action: propel reality, propel yourself, propel yourself from within. Self-development is a worthy goal and path. Your life purpose on this path will find itself. Once you have found it, there should be no stopping you. Remember: there is either development or deterioration.

千萬別將自我提升視為一項沉重的責任或繁瑣的差事。事實上，停滯不前、消極懶惰才更為難受。致力於自我提升並非辛苦勞作，而是一種為更美好未來做準備的愉悅過程。就像你去派對前會打扮自己一樣（Note:派對當天你會讓自己看起來精神奕奕），一次性準備不足以面對明天、一個月後或一年之後的挑戰。

You mustn’t think of self-development as an onerous duty or heavy chore. Quite the opposite, it’s much harder to experience stagnation, inactivity, and laziness. Working on yourself is no labour but pleasant preparation for something more pleasant. For you to get ready when you are going to a party, don’t you smarten yourself up? The party is today. A one-time preparation won’t be enough for what will come tomorrow, in a month’s time or in a year from now.

你的人生使命：

Your life purpose:

你的人生使命是激發你、造福自己與他人的動力。要追求卓越，讓生命綻放光華，你必須擺脫停滯與衰退的狀態。走出困境的辦法，就是找出你真正的目標，再朝它邁步前進。你的人生使命其實就是你自我實現的方向。沒有使命的人生只會淪為無意識的存在。也許你尚不明白自己的生命使命，但你內心那團燃燒著的創造者之火花 (The Creator’s Spark) 心知肚明，只待點燃。當你喚醒內在的創造者之火花，致力於自我提升時，你就能同時達成三項成就：拋開停滯、找到人生使命、並實現它。

Your life purpose is what inspires you and benefits yourself and others. To become magnificent and turn your life into magnificence, you have to shift out of a state of stagnation and degradation. The way out is to find your life purpose, your true goal, and then take steps towards it. Your life purpose is your course of self- realisation. Without a life purpose, life turns into a mindless existence. You may not be aware of what your life purpose is. The Creator’s Spark that smoulders inside you knows. But it has to be kindled. By kindling inside the Creator’s Spark, working on yourself, you achieve these three things: you leave stagnation behind, you find your life purpose, you realise your life purpose.

占據一個全新的模型：

Occupying a new mannequin:

比如說，你渴望擁有一副迷人的身材，或塑造出一種風度翩翩、各方面都讓人愉悅的個性，又或成為某個領域中高薪專業人士。實質上，這意味著你要占據一個在根本上截然不同的影片膠卷上完善的模型。你要堅信，這樣的膠卷和模型確實存在，你只需抵達那個層次。這個目標正是通過“三重行動”：推動現實、推動自己、從內在推動自己來實現的。（參見《你是卓越的》、《模仿技法》等章節）

Let’s say you want to have a beautiful body, transform yourself into a charming personality, pleasant in all respects, or become a high-paid professional in a particular field. Essentially, this means to occupy your perfected mannequin on a fundamentally different film roll. Have no doubt that this film roll and such a mannequin exists. All you have to do is get there. This goal is achieved via triple action: propel reality, propel yourself, propel yourself from within. See chapter ‘You are brilliant’, ‘The Imitation Technique’ etc.

這個概述僅呈現基礎要點。要真正掌握這些細微的內涵，你需要仔細閱讀整本書。若遇到不懂之處，請參閱有關 Transurfing 的書籍——Transurfing 基本上相當於初級教育；相較之下，Tufti 的技法則更像是中學或高空特技課程。

This overview gives the basics. To assimilate all the subtle details of this material, you will need to read the whole book very carefully. If there is something that you do not understand, read the book about Transurfing. Transurfing is essentially primary school. By comparison, Tufti’s techniques are high school and aerobatics.

其他你可能會覺得有幫助的書籍包括：

Other books you may find helpful include:

《Transurfing Reality》——基礎解析：現實如何運作以及如何應對。

Transurfing Reality — the basics explained — how reality works and what to do with it.

《Separate Reality Projector》——詳細描述及創造個人世界的工具。

Separate Reality Projector — A detailed description and tool for creating and equipping your personal world.

《Hacking The Technogenic System》——如何避免成為體制中的一個小齒輪。

Hacking The Technogenic System — How not to become a cog in the matrix.

《kLIBE》——《羊群思維幻象的終結》：如何在技術化環境中生存並實現既定目標。

‘kLIBE’ — The End of The Illusion of the Herd Mentality — How to survive in a technogenic environment and achieve set goals.

《cleanEating》——如何恢復健康與健美的身體。

‘cleanEating’ — How to get back to a healthy, fit body.

翻譯：Joanna Dobson

Translation by Joanna Dobson

封面設計：Irina Novikova

Cover design by Irina Novikova

瓦迪姆‧澤蘭

Vadim Zeland

女祭司 Tufti——在電影中漫步。 ISBN 978-5-9573-3472-9

Tufti the Priestess. Live Stroll Through A Movie. ISBN 978-5-9573-3472-9

迎接新世界熱潮的代表——這就是 Tufti。

Meet the new world sensation. It’s Tufti.

為什麼即便你依照自己的自由意志行動，總感覺事情無法按你預期發展？你可能認為這僅僅是生活的本來面貌，但真正的原因是：你並非完全根據自己的自由意志行事，而是被一個劇本所牽引。另外，人們之所以無法讓事物如願發展，是因為他們不知道如何採取正確的行動來塑造事件。與其構築即將上映的膠卷所代表的未來現實，他們往往沉迷於與現有畫面中的現實抗爭。而現實只存在於此時此地，其真實性也僅限於已在物質世界中發生的事物。

Why is it that nothing seems to work out the way you want it to, despite the fact that you act according to your own free will? You might think that the reason why nothing is working out the way you want, is because that’s just how life is. But the real reason things don‘t work out the way you want them to, is because you aren‘t acting according to your own free will — you are being directed by a script. Another reason things don‘t work out the way people want them to, is because they don‘t know how to take the right action to shape events the way they want. Rather than composing the reality of the upcoming film roll, they tend to battle with the reality they face in the current frame. Reality exists only in the here and now, and what is real is real only to the extent that it has taken place in the material world.

你無法改變已發生的事；然而，當你與當前現實抗爭時，你正是在對抗那些已經發生的一切。如果你想改變這部劇本，就必須覺醒，在這部影片中真正“活”起來。

You cannot change what has already happened. Yet when you fight with your current reality, that is exactly what you are doing, because everything that surrounds you consists of something that has already happened. If you want to change the script, you have to wake up and come alive inside the movie.

主題：神秘學 / 神秘教義

Subject: Esoteric / Esoteric teachings

版權所有。未經版權所有者書面許可，不得以任何形式使用或複製本書任何部分。

All rights reserved. No part of this book may be used or reproduced in any form without the written permission from the copyright owners.

© OJSC Ves Publishing Group, 2018

© OJSC Ves Publishing Group, 2018

基本原則回顧

Review of basic principles

夢境空間：

The dream space:

夢境空間不是你的想像產物。它是真實的，存在於膠卷檔案的形式中，儲存著所有曾經存在、現在存在和可能存在的事物。當你做夢時，你正在觀看這些膠卷之一。

The dream space is not a product of your imagination. It is real and exists in the form of a film archive, where everything that was, is and ever might be is stored. When you are seeing a dream, you are viewing one of these film rolls.

物質現實：

Physical reality:

物質現實不是從未存在過的，也不是永遠不會存在的，而是發生在當下的。物質現實僅存在於一個瞬間，就像膠卷中的一幀，從過去移動到未來。

Physical reality is not that which never was, nor that which never will be, but rather that which happens, once and now. Physical reality exists for a single moment, like a frame in a film roll, which moves from the past into the future.

現實：

Reality:

現實是多層次的，就像洋蔥。你只熟悉兩層：你生活的物質現實和你每晚夢見的夢境空間。睡眠和清醒大致相同，只是它們發生在不同的維度中。入睡和醒來，你從一個維度轉移到另一個維度。睡眠和隨後的醒來在上下文中類似於生命和死亡。生命是睡眠，死亡是醒來，而不是相反。

Reality is multi-layered, like an onion. Only two layers are familiar to you: physical reality, in which you live, and the dream space, which you dream about every night. Sleeping and waking are roughly the same thing, only they take place in different dimensions. Drifting off and waking up, you shift from one dimension into the other. Sleep and the awakening that follows sleep are similar in context to things like life and death. Life is sleeping, death is awakening and not the other way around.

你的生活：

Your life:

你的生活，更準確地說，你的本質——你的靈魂——也從一個化身移動到另一個化身。你不記得你之前的化身。這是因為每個化身都是你靈魂的獨立生命，或者如果你願意的話，是一個獨立的夢。身體的存在對靈魂的生命並不是必需的。靈魂在身體中只是靈魂可以存在的形式之一。身體是一種生物套裝。

Your life, more precisely, your essence — your soul — also moves from one incarnation to another. You do not remember your previous incarnations. This is because every incarnation a separate life of your soul, or a separate dream if you like. The presence of the body is not essential to the life of the soul. The soul in the body is just one of the forms in which the soul can exist. The body is a kind of bio-suit.

運動和轉變：

Movement and transformation:

運動和轉變是現實和生命的基本特質。幀沿著膠卷移動。毛毛蟲變成蝴蝶。蝴蝶產卵，卵又變成毛毛蟲，然後再次成為蝴蝶。

Movement and transformation are the fundamental qualities or reality and life. The frame moves along the film roll. The caterpillar transforms into a butterfly. The butterfly lays its larvae, which in turn are transformed into caterpillars to become butterflies again.

內屏 當你陷入沉思時，你的注意力完全沉浸在內屏中。你可能對周圍發生的事情一無所知，自動駕駛地做事情。

Inner screen When you are lost in thought, your attention is wholly immersed in the inner screen. You may be oblivious to what is going on around you and do things on auto-pilot.

外屏：

Outer screen:

當你的注意力忙於外部事物時，你會忘記自己，自動地做事情而不需要思考。

When your attention is busy with something external, you forget yourself and you do things automatically without having to think about it.

注意力：

Attention:

你的注意力總是集中在內部或外部，很少在中間。因此你不斷地在睡眠。你的注意力習慣於粘在一個屏幕或另一個屏幕上，而不在中間停留。這導致你已經停止控制你的注意力；它不再服從你，而是隨機漂移，你不斷地進入無意識狀態。

Your attention is always focused either within or outside of yourself but very rarely in between. And so you are constantly sleeping. Your attention is used to being glued to one screen or the other, without pausing in the middle. The result of this is that you have stopped taking any control of your attention; it does not obey you, but drifts randomly about, you are constantly dropping into a non-conscious state.

睡眠：

Sleep:

睡眠是一種潛意識狀態，在這種狀態下，你的注意力沉浸在外部或內部屏幕中。在這種狀態下，你無助，無法控制自己或周圍發生的任何事情。睡眠是你的休眠狀態。

Sleep is a subconscious state in which your attention is immersed either in the outer or the inner screen. In this state, you are helpless and have no control over yourself or indeed anything that is happening around you. Sleep is your anabiotic state.

做夢：

Dreaming:

做夢是你在夢境空間或物質現實空間中看到的。現實和做夢本質上是相同的。因為你也在夢見現實。現實是一個夢，做夢就是現實。

Dreaming is what you see either in the dream space or in the space of physical reality. Reality and dreaming are essentially the same thing. For you are also dreaming reality. Reality is a dream, and dreaming is reality.

覺醒：

Awakening:

無論是在夢中還是在清醒的生活中醒來，你必須將注意力從外部或內部屏幕中拉出，轉移到你的意識中心。參見“覺醒方法”。

In order to wake up either in a dream or in waking life, you must pull your attention away from the external or internal screen and shift it to your awareness centre. See the ‘Awakening method’.

意識中心：

The awareness centre:

意識中心是一個觀察點，從這裡你可以看到你的注意力在任何時刻指向哪裡，專注於什麼。同時，你看到自己在做什麼，以及周圍發生了什麼。

The awareness centre is an observation point from which you can see where your attention is directed in any given moment and what it is focusing on. At the same time, you see what you are doing and what is going on around you.

意識：

Awareness:

醒來並問自己：我在哪裡，我在做什麼，我的注意力沉浸在哪裡？當你問自己這個問題時，你就覺醒並到達意識點。這是我，這是我的現實。我有意識。我看到自己，我看到我的現實。

Wake up and ask yourself: where am I, what am I doing, what is my attention immersed in? In the moment you ask yourself the question, you awaken and arrive at the awareness point. This is me, and this is my reality. I am aware. I see myself and I see my reality.

夢中漫步（睡著或在清醒的生活中）：

A stroll through a dream (asleep or in waking life):

進入意識點，對自己說：我看到自己，我看到現實。告訴自己：今天我將在清醒的夢中漫步。然後在這種清晰的狀態下去任何地方，去工作或上學。當你沉浸在其中一個屏幕中時，你不在那裡；你無法控制自己或情況。在清晰的狀態下，你是自由的，從這一刻起，你的夢，無論是在睡眠中還是在清醒的生活中，都變得清晰。你能控制自己，最重要的是，獲得控制情況的能力。

Enter the awareness point, having said to yourself: I see myself and I see reality. Tell yourself: today I will take a stroll through a waking dream. And then go for a stroll anywhere, to work or to school, in this state of clarity. When you are immersed in either one of the screens, you aren’t there; you aren’t in control of yourself or the situation. In a condition of clarity, you are free, and from this moment your dream, whether it be whilst sleeping or in waking life, becomes lucid. You are in control of yourself, and most importantly, acquire the capacity to control the situation.

電影角色：

Film characters:

電影角色——那就是你。無論是在睡夢中還是在清醒的生活中，你都在一部電影中，隨著劇本的流動而被帶動。你的思想不是你自己的，因為你的注意力不是你自己的。在你的漫步中，你應該注意到你的注意力不斷地漂移到外部或內部屏幕。當你有意識時，與周圍沉睡的其他角色不同，你看到自己，看到現實，並能有意識地控制你的意志，這是你以前做不到的。這是你邁向新的自我控制和控制自己現實的第一步。

Film characters — that’s you. As asleep, as in waking life, you are in a film and you are carried by the flow of the script. Your mind is not your own, because your attention is not your own. On your stroll, you ought to have noticed that your own attention was constantly drifting away either to the outer or the inner screen. When you are aware, unlike the other characters around you who are asleep, you see yourself, you see reality, and can consciously control your will, which you couldn’t previously. This is your first step towards a new level of self-control and control of your own reality.

劇本：

Script:

你被某個外部劇本引導，將你編織進一部電影中，在其中你是其中一個角色。

You are led by a certain outer script, which weaves you into a film, in which you are one of the characters.

夢中角色 夢中角色與活生生的人（電影角色）有何不同？他們沒有自我意識——他們不知道自己是獨立的個體。他們沒有意志力——他們的行動不自由；他們被劇本控制。他們沒有靈魂。他們只是模板，模特。他們不能說“我是我”。他們沒有自我。

Dream characters How are dream characters different to living people (film characters)? They have no self-awareness — they are not aware of themselves as individual personalities. They have no willpower — they are not free in their actions; they are controlled by the script. They have no soul. They are simply templates, mannequins. They cannot say ‘I am me’. They have no self.

你：

You:

你，或者更確切地說，你的自我，就是你的注意力。你的注意力無法長時間停留在意識中心。你必須養成將注意力帶回中心的新習慣。用你的注意力來追蹤你的注意力，也就是你自己。

You, or rather, your Self, is the same thing as your attention. Your attention cannot stay in the awareness centre for very long. You have to develop the new habit of bringing your attention back to the centre. Use your attention to track your attention, yourself that is.

夢：

Dreams:

夢（無論是在睡眠中還是在清醒的生活中）可以是清晰的或不清晰的。在不清晰的夢中，你像兔子一樣糊塗無助。但你所要做的就是開始控制你的注意力焦點，你就會在電影中活過來，獲得按意願行事的能力，正如你所認為的那樣。

Dreams (both whilst sleeping and in waking life) can be either lucid or non-lucid. In a non-lucid dream, you are dotty and helpless, like a rabbit. But all you have to do is start controlling the focus of your attention and you come to life in a movie, gaining the ability to behave at will, exactly as you see fit.

觸發：

Triggers:

你不必嘗試將注意力持續保持在意識中心。意義和價值在於其他東西，即你對周圍發生的事情的反應能力。你需要養成相反的習慣——當周圍發生某事時，不是陷入夢境，而是醒來。任何事件，即使是你空間中的一絲微風，都應該讓你警覺——這是一個覺醒信號。

You do not have to try and hold your attention in the awareness centre continuously. Meaning and value are to be found in something else, namely your ability to respond to what is going on around you. You need to acquire the opposite habit — not to fall into a dream but to wake up when something happens around you. Any event, even a slight waft of air in your space, should make you alert — this is an awakening signal.

同樣，你所做的任何行動都應該提醒你檢查你的注意力集中在哪裡。觸發示例：

Likewise, any action you take should be a reminder to check where your attention is focused. Example triggers:

外部——一旦發生某事，你就醒來。內部——在你做任何事情之前，醒來。

Outer — as soon as something happens, you wake up. Inner — before you do anything, wake up.

永恆檔案：

Eternity archive:

同樣的情況也適用於夢境空間，它以膠卷檔案的形式存在，儲存著所有曾經存在、將要存在和可能存在的事物。只有被照亮的幀，即物質現實的瞬間印象，是真正真實的。其他一切都是虛擬的，包括過去和未來。而這一切都儲存在永恆檔案中。

Same thing goes for the dreaming space, which exists in the form of a film roll archive, where everything is stored that ever was, will be and could be. Only the illuminated frame, a momentary impression of physical reality, is truly real. Everything else is virtual, including the past and the future. And all this is stored in the Eternity archive.

構思現實：

Compose reality:

構思現實意味著決定幀將如何移動以及將播放哪個膠卷。你有機會這樣做，但你沒有充分利用它，就像你沒有使用你的注意力控制功能一樣。你必須提前構思你想要的現實，而不是與當前的情況鬥爭。相反，你試圖改變當前幀的既定現實。現實之所以是“現實”，是因為它已經發生了。你無法改變已經發生的事情。但這正是你試圖做的，因為你周圍的一切都是已經發生的事物。

To compose reality means to determine the direction in which the frame will move and the film roll that will be played. You have the opportunity to do this, but you don’t make the most of it, just as you don’t use your attention control function. You have to compose your desired reality in advance, rather than battling with your current circumstances. Instead, you try and change the given reality of the current frame. Reality is only ‘reality’ by virtue of the fact that it has already happened. You cannot change anything that has already happened. But this is exactly what you try to do, in as much as everything that surrounds you consists of that which has already happened.

推動幀：

Propel the frame:

如你所知，改變過去是不可能的。你也可以忘記現在，因為它也已經發生了，並且不是你會選擇的。你所擁有的是創造自己未來的機會，並選擇一個膠卷，下一幀將沿著它移動。

As you know, changing the past is impossible. You may as well forget about the present too as that also has already happened and it isn’t what you would choose. What you do have is the chance to create your own future and choose a film roll, along which the next frame will move.

意圖 (Intention)：

Intention:

意圖 (Intention) 決定你的行動。要開始任何事情，你必須首先有意圖 (Intention)。當你在做某事時，意圖 (Intention) 通過行動來實現。類似於注意力，注意力有兩個屏幕，意圖 (Intention) 有兩個中心，一個內部中心和一個外部中心。

Intention accounts for your actions. In order to-start anything, you have to first intend it. When you are doing something, intention is implemented via action. Similarly to attention, which has two screens, intention has two centres, an inner and an outer centre.

內部中心負責你日常的功能，位於頭骨的前部——這是你的小意圖 (Intention)。

The inner centre accounts for all your everyday functioning and is located in the frontal part of the skull — this is your petty intention.

當你集中注意力時，你會皺眉。當你打算做某事時，你會緊張肌肉。你的肌肉使你能夠在當前幀中採取基本的行動形式。

When you concentrate, you frown. When you intend to do something, you tense your muscles. Your muscles enable you to take basic forms of action in the current frame.

你幾乎不使用外部中心。然而，這是推動未來幀的關鍵。你可以立即看到外部中心的位置，就在此刻。

You hardly use the outer centre at all. Yet this is what moves the future frame. You can see where the outer centre is located in an instant, right now.

意圖辮子 (Intention plait)：

The intention plait:

這是一個能量脈輪，類似於普通的辮子——你看不見它，但你可以像感覺幻肢一樣感覺到它，雖然它不再存在，但你仍然感覺它在那裡。它不是垂下來，而是從脊椎以一定角度伸出。

This is an energy chakra, and similarly to a normal plait — you cannot see it, but you can feel it like you would a phantom limb, which is no longer there, but you still feel as if it was. Rather than hanging down, it sticks out at an angle from the spine.

外部意圖中心位於辮子的末端。這個位置在肩膀之間，但不是緊貼脊椎，而是稍微遠離它。你應該能夠直覺地找到這個位置。距離脊椎的精確距離並不重要。只需將注意力集中在這個區域，你就會感覺到它。

The outer intention centre is at the end of the plait. This place it between the shoulders, only not right against the spine but a little away from it. You should be able to find the spot intuitively. The exact distance away from the spine is not important. Just focus your attention on this area and you will feel it.

外部意圖中心的原理非常簡單。你將注意力轉移到辮子的末端，並想像你想吸引到生活中的任何事件的畫面。這樣做，你照亮了這個未來幀，它在物質現實中顯現出來。

The principle of the outer intention centre works is really very simple. You shift your attention to the end of the plait and visualise a picture of any event that you would like to attract into your life. Doing this you illuminate this future frame, and it becomes manifest in physical reality.

參見“辮子與能量流”章節。

See chapter ‘Plait with flow’.

如何使用辮子：

How to work with the plait:

首先：醒來並轉移到意識點。像往常一樣，對自己說：我看到自己，我看到現實。

First: wake up and shift to the awareness point. As usual, say to yourself: I see myself and I see reality.

第二：激活辮子。感受它。當你將注意力集中在它上面時，辮子從脊椎抬起並被激活。

Second: activate the plait. Feel it. There it is; as soon as you focus your attention on it, the plait lifts away from the spine and is activated.

第三：仍然將注意力集中在辮子上，想像你想要的未來畫面。用思想、言語和屏幕構思你的現實畫面——盡你所能。

Third: still focusing your attention on the plait, imagine a picture of the future you want. Compose the picture of your reality in thoughts, words, and on the screen — as best as you can.

這就是你如何照亮未來幀，並使其在物質現實中顯現。

This is how you illuminate the future frame and it manifests into physical reality.

行動的幻覺：

The illusion of action:

你只是覺得自己在控制行動。這是一個非常合理的想法，但仍然是一種幻覺。幻覺的不僅是你認為你看到的，還有你認為你做的。你無法分辨這是幻覺，因為你不斷沉浸其中。

It only appears to you, that you are in control of your actions. It is a very plausible thought but still an illusion. What is illusory is not only what you think you see, but also, what you think you do. You cannot tell that this is an illusion because you are constantly immersed in it.

你認為，電影和電腦遊戲中的虛構角色是否知道他們在電影中，而你在觀看他們？

What do you think, do the fictional characters of films and computer games understand that they are in a film and that you are watching them?

不知道。你夢中的模特是否知道你在夢見他們？不知道。所以現在我問你：你知道你是誰嗎？

No. Are the mannequins in your dreams aware, that you are dreaming them? No. And so now I ask you: do you know who you are?

你不能問電影角色這個問題。你可以問一個模特，但這沒有意義。你與前者和後者不同之處在於你至少能夠模糊地理解這個問題的意義。並且在於你能夠擁有自我意識。但你什麼時候有自我意識？只有在你問自己這個問題的時候。其餘的時間，你在哪裡，你是誰？

You cannot ask film characters this question. You can ask a mannequin, but there’s no point. You differ from the former and the latter in that you are at least capable of vaguely grasping the meaning of the question. And in that, you are capable of having self-awareness. But when are you self-aware? Only in the moment that you ask yourself this question. The rest of the time, where are you and who are you?

其實，你是生活中發生在你身上的膠卷中的角色。與其說你在生活，不如說生活在你身上發生。無論是夢中的模特，還是電影中的英雄，都無法感知他們行動的幻覺，或者說，行動的幻覺。那麼，為什麼你認為自己有能力做到這一點？如果你像在清醒的生活中沉睡一樣生活，那麼你與夢中的模特有何不同？

Well, you are characters in a filmstrip of the life that is happening to you. Rather than living your life, life is happening to you. Neither the mannequin in your dream, nor the hero in a film are capable of perceiving the illusion of their actions, or rather, the illusion of action. So why should you assume that you are capable of doing so? How are you different to a dream mannequin if you live as if you were sleeping in waking life?

習慣：

Habit:

你因為不創造自己的現實，而是等待和希望某事發生的習慣，變成了蝸牛（更準確地說，是角色）。會發生還是不會？會成功還是不會？這是一種被動的姿態。在這種狀態下，你所能做的就是試探現實，並在一有風吹草動時縮回你的觸角。

You are made snails (more precisely, characters) through the habit of not creating your own reality but waiting and hoping for something instead. Will it happen or not? Will it work out or not? This is a passive position. From this position, all you are capable of is probing reality and at the slightest thing, withdrawing your horns.

模具：

The mould:

你必須切換到主動模式。與其等待和希望，不如創造你想要的現實。模具是這一過程的障礙，因為根據模具，創造自己的現實是不可能的。模具是你的小房子。新的習慣和認知的發展就像舊習慣一樣，通過不斷重複來扎根。從現在開始，不再盯著現實並跟隨它，而是積極管理幀的移動——不是你目前所在的幀，而是即將出現的幀。參見“幀照亮方法”。

You have to switch into proactive mode. Rather than waiting and hoping, create the reality you want. The mould is an obstacle to this, because according to the mould, creating your own reality is impossible. The mould is your little house. New habits and perceptions are developed just as the old ones took root — through ongoing repetition. Only from now on, instead of staring at reality and following it, you will actively manage the movement of the frame — not the one in which you currently find yourself, but the one that is about to come up. See. ‘Frame illumination method’.

重新編程 是你的蝸牛觸角和房子（習慣和模具）將你困在當前幀中。為了逃出這個陷阱，你必須切換到主動模式，不再等待和希望，並構思你想要的現實。這需要不斷練習如何管理即將到來的幀。方法：一旦你發現自己在等待或期待某事，使用意圖 (Intention)；一旦出現問題，立即使用辮子激活和幀照亮。你需要構思的不僅是結果未知的事件，還有結果已經可能的事件。

Reprogramming It is your snail horns and house (habit and the mould) that keep you trapped in the current frame. In order to escape the trap, you must switch to proactive mode, not waiting and hoping, and compose the reality you want. This requires constant practice of how to manage the impending frame. Method: as soon as you find yourself waiting or expecting something, use intention; as soon as a problem arises, use instant plait activation and frame illumination. You need to compose not only the events, of which the outcome is unknown, but also events of which the outcome is already probable.

為什麼我們需要無休止的重複？為了將新程序嵌入你的蝸牛模具中。你不會相信現實可以服從你的意志，直到你親身體驗，並且多次體驗。控制簡單事件中的幀移動是最有效的訓練方式，結果是你將...

Why do we need endless repetition? To embed a new programme into your snail mould. You will not believe that reality can submit to your will, until you experience it for yourself, moreover, repeatedly. Controlling frame movement in simple events is the most effective type of training, as a result of which you will...

• 學會醒來並控制你的注意力。

• Learn to wake up and control your attention.

• 發展辮子、視覺化和意圖 (Intention)。

• Develop the plait, visualisation and intention.

• 切換到主動模式，最終獲得從主導劇本中解放出來並構思自己現實的能力。

• Switch to proactive mode, and in the end, acquire the ability to free yourself from the predominant script and compose your own reality.

即將到來的現實：

Forthcoming reality:

雖然寫在永恆檔案中，但它總是多變的，當它尚未被任何人最終認領或構思時，它不屬於任何人。如果有人來構思它，那麼它將服從他們的構思。如果那個人是你，那麼它將屬於你。但在現實真正成為你的之前，你必須重新編程自己，即通過多次重複的過程發展新的習慣和認知。

Although written in the Eternity archive, is always multi-variant and while it has not been ultimately claimed or composed by anyone, it does not belong to any one. If someone comes along and composes it, then it will submit to their composition. And if that someone is you, then it will be yours. But before reality can truly become yours, you have to reprogram yourself, i.e., develop new habits and perceptions via a process of multiple repetition.

轉變：

Transformation:

創造者設想你是發光的生物，目光向前。而你曾經是這樣的，直到你陷入行動的幻覺中。當你練習構思自己的現實時，你會逐漸從蝸牛變成螢火蟲。當你照亮幀時，你發出內在的光，並且你渴望的事件像飛蛾撲火般飛向你。周圍仍是蝸牛的人會好奇地伸出觸角，爬近你。

The Creator conceived you to be luminescent creatures, your gaze directed forward. And so you once were, before you became mired in the illusion of action. When you practice composing your own reality, you become gradually transformed from snails into fireflies. When you illuminate the frame, you emit an inner light, and the events you desire fly towards you, like moths to a flame. Others around you, who are still snails, will put their horns out towards you and crawl closer out of curiosity.

專注：

Concentration:

嘗試不費力地做到。要成功照亮幀，專注很重要，而不是用力。你能專注至少幾分鐘嗎？就一分鐘，那就是你所需要的。平靜自然地遵循照亮方法。原因是，通過施加努力，你會觸發內部意圖中心。現實是由外部中心管理的。

Try without making an effort. To illuminate a frame successfully, concentration is important, not force. Can you concentrate, at least for a couple of minutes? Just a minute, then? That is all it requires of you. Follow the illumination method calmly and naturally. The reason for this is that by applying effort, you trigger the inner intention centre. Reality is managed from the outer centre.

注意，如果在你照亮幀時，你的肌肉緊張，這意味著你的小意圖正在運作。你必須專注於外部意圖——與辮子一起工作。這不是應該緊張或操控的東西。

Note that if whilst you are illuminating the frame, your muscles are tense, this means your petty intention is working. You have to work exclusively with outer intention — with the plait. This is not something that should be strained or wielded.

元力量：

Meta-power:

這是力量的另一面，其對立面。正常的力量（意志力和體力）在鏡子現實的這一側，即物質層面運作，而元力量在另一側，即微妙層面運作。

This is the flip side of force, its antipode. Normal force (willpower and physical strength) works from this side of the mirror reality, the material plane, while meta-power operates from the other side, the subtle plane.

鏡子現實中的反射在這一側，即物質層面，而主體在另一側，即微妙層面。

The reflection in the mirror reality is on this side, the material plane, while the subject is on the other side, the subtle plane.

物質現實是主體的反射，圖像位於那邊，在另一側。而在那裡，膠卷檔案中有許多未來的變體。

Physical reality is a reflection of the subject, the image, which is somewhere there, on the other side. And there, in the film archive, there are many variants of the future.

所以，現在，自己判斷：如果未來位於現實鏡子的另一側，是否有可能以某種方式用標準力量影響它，這種力量只能在鏡子面對的這一側運作？不可能。

So, now, judge for yourself: if the future is located on the other side of the reality mirror, is it possible to somehow have an impact on it using standard force, which only operates here on the side the mirror is facing? No.

如果你的注意力集中在鏡子前面，即在顯現的幀中，那麼你完全被劇本捕獲。如果它集中在鏡子的另一側，即圖像幀中，那麼你可以自由地移動自己和未來的現實。

If your attention is focused on what is in front of the mirror, i.e. in the frame of manifestation, then you are completely captured by the script. If it is focused on the other side of the mirror, in the image frame, then you are free to move, both yourself, and future reality.

當你開始感受到它時，你會逐漸理解什麼是元力量。如果你從未體驗過力量，我無法向你解釋什麼是力量。元力量也是如此。你必須感受它並發展它。辮子是你的元力量工具。幀照亮方法是一種發展元力量的練習，同時也是創造你想要的現實的方法。

You will gradually come to understand what meta-power is, as you come to feel it. I would not be able to explain to you what power was if you had never tasted it. The same goes for meta-power. You have to feel it and develop it. The plait is your meta-power tool. The frame illumination method is an exercise in developing meta-power and, at the same time, a means of composing the reality you want.

推動自己：

Propel yourself:

推動自己意味著要有自我意識，並有意識地控制你的動機和行動。在幀中，你會正常地移動，使用你的手臂、腿和體力。但你推動現實的方式完全不同，依靠的是你的注意力、意圖 (Intention) 和元力量。

To propel yourself means to be self-aware and deliberately control your motives and your actions. Within the frame, you will move normally, using your arms, legs, and physical strength. But you propel reality completely differently, with your attention, intention, and meta-power.

模仿行動：

Imitating action:

模仿的要點在於你無權打破既定的秩序。既定的秩序要求你在行動中參與，同時服從劇本的線條。沒有一個角色可以從膠卷中脫身，或在電影中隨心所欲。劇本不是某人主觀意志的產物。它是一種客觀現實，無法避免。

The point of imitation lies in the fact that you do not have the right to disrupt the established order of things. The established order has it that you participate in the action whilst submitting to the lines of the script. There is not a single character that can bail out of the film roll or do whatever they like within the film. The script is not the product of someone’s subjective will. It is an objective reality and there’s no avoiding the fact.

客觀現實是這樣的，你注定要在其中存在，就像電影中的角色一樣。你無法避免行動。但你可以模仿它。

Objective reality is such that you are doomed to exist within it, like characters in a film. You cannot avoid the action. But you can imitate it.

你可以愚弄現實。

You can fool reality.

你繼續按照劇本所寫的那樣扮演你的角色；你完成日常任務。但與其他角色不同的是，處於意識狀態的你獲得了更多——更換當前膠卷的機會。

You continue to play your role as before, as it is written into the script; you carry out your daily tasks. But unlike the other characters, being in a state of awareness, you get something more — the opportunity to replace the current film roll.

你以一個活過來但假裝無生命的角色漫步於電影中，並根據自己的意願更換膠卷。沒有人會懷疑任何事情——無論是劇本還是其他角色。

You stroll through the film as a character that has come to life but is pretending to be lifeless, and change the film roll as you see fit. No-one suspects anything — neither the script, nor the other characters.

在電影中的存在：

Presence in the film:

你在電影中的存在首先是你的意識，你的“自我”的存在。你作為一個活生生的、有自我意識的、有意識的個體，完全掌握自己的能力，存在於一部不變的電影中。儘管電影動態地轉動，但它是預定的，就像所有角色的行為一樣。

Your presence in the film is above all, the presence of your awareness, your ‘Self’. Your presence as a living, self- aware, conscious individual in full possession of your faculties in an immutable film. Although the film turns dynamically, it is predetermined, like the behaviour of all its characters.

你在電影中的存在使你成為那些沉睡者中覺醒的一員。你意識到自己的獨立性，並意識到正在發生的事情。你在電影中的行為也由劇本預定。然而，你的存在給了你更換膠卷的機會——從一個跳到另一個。

Your presence in the film singles you out as one awakened among those who are asleep. You are conscious of your separateness and are aware of what is happening. Your behaviour within the film is also predetermined by the script. However, your presence gives you the opportunity to change the film roll — to skip from one to another.

為了成為存在，你必須活過來，給自己一個好的搖晃，並弄清楚你的注意力放在哪裡：在中央意識點還是兩個屏幕之一。

In order to become present, you must come alive, give yourself a good shake and work out where your attention is placed: in the central awareness point or one of the two screens.

你無法控制劇本：

You are not in control of the script:

構思現實不是控制劇本，而是選擇膠卷。你的任務是將注意力集中在即將到來的幀上。劇本與你無關。如果你試圖構思或抵抗它，劇本會將你拉入它的陷阱。試圖影響事件的進程，你犯了將當前幀的現實緊緊抓住的錯誤。你抓得越緊，它就越緊緊抓住你的尾巴，也就是辮子。

Composing reality is not about controlling the script but choosing the film roll. Your task is to hold your attention on the frame that is coming next. The script is none of your business. If you try to compose it or resist it, the script will pull you into its trap. Trying to influence the course of events, you make the mistake of taking the reality of the current frame in a deadly grip. The harder you grip, the tighter it grabs you by the tail, that is, by the plait.

你不需要知道哪個劇本會帶你達到目標。但重點是你不需要知道。你正在以電影放映機模式工作。當目標幀被你的放映機照亮時，事件的進程本身會轉向你需要的地方。如果你設定了目標，劇本會為你的目標服務。

It is not for you to know, what script will bring you to your goal. But the point is that you don’t need to know. You are working in a film projector mode. When the goal frame is illuminated by your projector, the course of events itself turns to where you need it to be. The script works for your goal if you set it.

優勢：

Advantage:

你總是堅持一切都按照你的計劃進行，這樣做反而妨礙了計劃的實施。通過表達不喜歡，你不自覺地為自己構思了一個更糟糕的現實。

You always insist on everything going according to your plan, and in so doing, you obstruct the implementation of the plan. By expressing dislike, you involuntarily and unconsciously compose a worse reality for yourself.

為了避免破壞你的現實，而是將其轉變為一個在各方面都美好的世界，你需要實施一個簡單的原則：在一切中尋找優勢。字面上，在任何惱人的情況中尋找並發掘優勢，以及在任何讓你稍微有點負面反應的事件中。設定一個目標，在生活中尋找優勢。

To avoid mangling your reality, and instead, turning it into a wonderful world in all regards, you need to implement one simple principle: seek the advantage in everything. Literally, seek and draw out the advantage in any annoying situation, and in any event that causes you to respond even a little bit negatively. Set yourself the goal of seeking out the advantage in life.

法則是：如果你讓自己被優勢原則引導，生活將會給你帶來越來越少的損害事件。參見“優勢方法”。

The Law has it: if you allow yourself to be guided by the principle of advantage, life will throw fewer and fewer events your way that are damaging. See ‘Advantage method’.

允許：

Allowing:

矛盾的原則：構思的不是劇本，而是目標幀。你的工作是知道你想要達到的“結果”，並用辮子在思想、言語和圖像中構思出相應的現實畫面。然後劇本會引導你並告訴你“如何”。

The paradoxical principle: compose not the script but the goal frame. Your job is to know the ‘result’ you want to achieve and compose the corresponding picture of that reality, in thoughts, words, and images using the plait. Then the script will lead you and show you the ‘how’.

追蹤優勢是覺醒的一個觸發器。你經歷的任何事件都應該讓你警覺，作為一個喚醒的信號，而不是讓你進入沉睡。你的任務是醒來，看到現實並構思現實。

Tracking the advantage is one trigger for awakening. Any event you experience should be something that causes you to be alert serving as a wake-up call, rather than sending you off to sleep. Your task is to wake up, see reality and compose reality.

以前，一旦發生任何挑戰性的事情，你會“啊啊啊！”，揮舞手臂，跺腳！

Previously, as soon as anything challenging happened, you’d ‘A-a-a!’, wave your arms about, and stamp your feet!

現在：一旦發生任何挑戰性的事情，你會（悄悄地對自己或大聲地）喊“優勢！”

Now: as soon as something challenging happens, you exclaim (quietly to yourself, or aloud) ‘Advantage!’

此外，你允許宇宙為你做一些好事，幫助你，或讓你更接近你的目標。

Beyond that, you allow the universe to do something nice for you, to help you, or to bring you a step closer to your goal.

劇本引導你：

The script directs you:

為什麼你總是忘記你的注意力？是因為心不在焉嗎？不是的。這是因為你被劇本引導。你以為自己在獨立行動，知道一切，但這是一種幻覺。讓我提醒你，行動的幻覺在於，現實緊緊抓住你，以至於你沒有注意到這種幻覺，也沒有意識到自己是某種遊戲中的角色。

Why are you constantly forgetting about your attention? Is it down to absent-mindedness? No. It is because you are being directed by the script. You think you are acting independently and that you know what’s what, but this is an illusion. The illusion of action, let me remind you, consists in the fact, that reality takes hold of you to the extent that you do not notice the illusion and don’t realise that you are bound characters in some kind of game.

矛盾在於，與電影中的英雄不同，你擁有自我意識的品質。然而，你只有在問自己這個問題的時候才會有自我意識。其餘的時間，你的意識在沉睡，並將自己交給外部劇本。

The paradox is that unlike the heroes in the film, you are endowed with the quality of self-awareness. However, you become self-aware, only in the moment that you ask yourself this question. The rest of the time, your consciousness sleeps and relinquishes itself to the external script.

推動自己：

Propel yourself:

想像你是電影中的角色。膠卷在轉動，你無法改變情節，但沒有什麼能阻止你改變自己。不要聽那些告訴你絕不能改變的人。在某種程度上，他們是對的，你絕不能失去你的核心、本真和獨特性。

Imagine that you are a character in a film. The film roll is turning and you cannot change the plot, but nothing is to stop you from changing yourself. Do not listen to people who tell you that you must never change. To a certain degree, they are right, you must never lose a sense of your core, your originality, your uniqueness.

你必須改變，但不改變你的自我。自我提升不意味著妥協你的真實自我。大自然最初創造了你，無論優缺點，都是完美的，就像其他人一樣。但缺乏發展會導致退化。這是一條自然法則。你應該意識到，你需要在身體和精神上發展自己，除非你想變成萎縮的蛞蝓。

You have to change, without changing your Self. Working on self- improvement doesn’t mean compromising your true self. Nature originally created you perfect, warts and all, like everyone else. But lack of development leads to degradation. It is a natural law. You should be aware, that you need to work on yourself, develop yourself physically and spiritually unless you want to turn into shrivelled slugs.

創造者的火花：

The Creator’s Spark:

很多事情取決於你的自我提升。在你們每一個人心中都有一小部分創造者——創造者的火花——所以點燃它吧！這是創造者的火花，而不是主宰者的火花。統治他人是另一種誘惑。你絕不能屈服於這種誘惑。創造你的現實，並讓自己完美。至高無上的創造者不會違背這條規則；他不會統治你（這有什麼意義，你也不會聽），他創造，而你也有能力做到同樣的事情。

Much depends on your self-improvement. In each and every one of you there lies a tiny part of the Creator — the Creator’s Spark — so kindle it! It is the Spark, not of the Lord but of the Creator. To lord it over others is another kind of temptation. Which you must never give in to. Create your reality and yourself perfect. The Supreme Creator does not contradict this rule; he does not rule over you (what would be the point, you wouldn’t listen anyway), he creates, and you are capable of doing the same.

力量的指引：

The dictates of Power:

具備自我意識的能力，你會問“如何？”並根據自己的想法設計一整套實現目標的策略。是的，當你問自己“如何”時，你的自我意識被喚醒，但它妨礙了你，因為你不是在思考目標，而是在思考如何實現它的愚蠢想法。你想像的劇本與真實的劇本相矛盾，但你堅持自己的方式，結果破壞了一切。你發明的情節與真實的情節相衝突，但你堅持自己的方式，結果破壞了一切。

Having the capacity for self-awareness, you ask the question ‘how?’ and design a whole strategy for achieving your goal based on your own ideas. Yes, in the moment that you ask yourself ‘how,’ your self-awareness is awakened, but it gets in your way because you’re not thinking about the goal but your own silly ideas of how to manifest it. Your imagined script contradicts the real one, but you insist on having your own way and spoil everything as a result. The scenario you have invented conflicts with the real one, but you spoil everything by insisting on having things your own way.

你需要觀察自己，觀察你的注意力，這樣你就不會沉浸在自己的計劃中，而是跟隨劇本中微妙的暗示，就像它們是力量的指引一樣。如果你允許這些力量的指引引導你，有意識地、有意圖地引導你，你就能感受到這些力量的指引。如果你的思想專注於目標，劇本就會引導你達到目標。

You need to observe yourself, observe your attention so that rather than sinking back into thoughts of your own plan, you follow the barely perceptible nudges from the script as if they were dictates of Power. You can sense these dictates of Power if you allow them to lead you, consciously and intentionally. If your thoughts are focused solely on the goal, the script will lead you to the goal itself.

跟隨：

Following:

你的思想應該專注於最終結果，即目標幀，而不是事件的進程或其他人的行為（行動）。即使你完全在場，你也無法抵抗劇本。所有按照你的意志在現實中發生的變化，都是因為你切換到了不同的膠卷。你無法對當前膠卷中的劇本做任何事情。不要抵抗劇本，觀察自己，跟隨膠卷的流動。學會感受力量的指引，並跟隨力量的指引。跟隨以充分利用劇本的力量和智慧。參見“跟隨方法”。

Your mind should be focused on the end result, the goal frame, not the course of events or the behaviour (actions) of other people. You can’t resist the script even when you are fully present. All the changes that take place in your reality that occur according to your will, are the result of you switching to a different film roll. You can’t do anything about the script in the current film roll. Don’t resist the script, observe yourself and follow the flow of the film roll. Learn to feel the dictates of Power and to follow the dictates of Power. Follow in order to make the most of the Power and Wisdom of the script. See ‘The following method’.

外部力量：

Outer Power:

當你的注意力在場並帶著意圖移動時，你在電影中漫步。移動幀，但不是用你的小意圖，而是用外部意圖。外部意圖之所以被稱為外部，是因為它不是你的；它不屬於你，也不服從你的意志。外部意圖是一種力量，是推動現實的引擎。它的活躍組件以命中註定的方式轉動膠卷。

You are strolling live through a film when you are present with your attention, and move with intention. Move the frame, but not with your petty intention, move it with outer intention. Outer intention is referred to as such because it is not yours; it does not belong to you or submit to your will. Outer intention is a kind of Power, the engine that is powering reality. Its active component turns the film roll in the way it is destined to turn.

你有一個接入這種力量的點，那就是你的外部中心，辮子。當你沉睡時，力量抓住你的辮子，像牽線木偶一樣引導你穿過劇本。但當你清醒、完全在場並將辮子“掌握在自己手中”時，元力量，力量的反應組件，被激活。這使你能夠啟動一個不同的膠卷，與你構思的幀相符。

You have an access point to this power which is your outer centre, the plait. When you are asleep, Power takes you by the plait and leads you through the script as if you were a puppet. But when you are awake, fully present and take the plait ‘into your own hands’, meta-power, Power’s reactive component, is activated. This is what enables you to launch a different film roll, one that corresponds to the frame you are composing.

現實鏡子：

The reality mirror:

你總是正面迎擊，從小意圖的角度行動。當你希望人們愛你、尊重你、幫助你、給你一些東西時，你往往像孩子一樣直接要求：“愛我”、“尊重我”、“幫助我”、“給我”。

You always go at things head on, acting from a place of petty intention. When you want people to love, respect, and help you, to give you something, you tend to demand it directly like a child: ‘love me’, ‘respect me’, ‘help me’, ‘give me’.

從外面看，場景是這樣的：你站在鏡子前，伸出雙手喊著“給我！”，試圖把反射拉近。反射也做同樣的事。它不給予，而是奪走。在現實中，就像在鏡子中一樣，你總是得到你所有心態和行動的反射。信息是什麼，回應就是什麼。特別是當你全心全意地表達負面反應時。通常，現實給予的是鏡像的回應。你給予什麼，就會得到什麼。

From the outside, this is what the scene looks like: you are standing in front of a mirror, reaching out your hands and shouting “Give it to me!”, trying to pull the reflection closer. The reflection responds by doing the same. It does not give, it takes away. In reality, as in the mirror, you always get the reflection of all your mental attitudes and actions. As the message, so the response. Particularly, when you are expressing a negative response with all your heart. As a rule, reality gives a mirrorlike response. What you give out, is what you get back.

構思形象：

Composing the image:

要拍攝自己的電影，首先要做的是醒來，完全在場。想像你在一部電影中活過來了。不是在觀看電影，而是在其中生活。感受它。睜開眼睛，像第一次一樣環顧四周。重新審視一切。你會注意到顏色更豐富。現在，想像自己是一個客觀的旁觀者，而不是電影角色。你作為內部人進入電影。沒有人知道，只有你知道。你的身體在電影中，但你的注意力在外面。感受你的獨立性，你的存在。

The first thing you must do, in order to shoot your own film is to wake up, and become fully present. Imagine that you have come to life in a motion picture. Instead of watching the film, you are living in it. Feel it. Open your eyes and look around you as if for the first time. Look at everything afresh. You will notice that the colours are richer. Now, imagine yourself to be an objective outsider rather than a film character. You entered the film as an insider. Nobody else knows but you. Your body is inside the film, but your attention is outside it. Feel your separateness, your presence.

第二。在你開始想要、期待和要求其他人和現實之前，你必須想像自己站在鏡子前，問自己：我必須做什麼才能讓反射與我相遇？顯然，你必須邁出第一步。與其像往常一樣為自己要求更大的一塊蛋糕，並不停地說“給，給，給...”，不如醒來並意識到現實鏡子只是重複你的動作。如果你想得到什麼，你必須先給予類似的東西。具體是什麼並不重要。簡單地將你的“給我”替換為相反的“來，拿去”。然後，就像魔法一樣，在反射中，你會得到你想要的東西。你給予什麼，就會得到什麼。這也是從內部推動自己。參見“影像方法”。

Second. Before you start wanting, expecting, and asking something of other people and reality, you must imagine that you are standing in front of a mirror and asking yourself the question: what must I do for the reflection to meet me half way? Obviously, you must take the first step. Instead of your usual manner of claiming the larger portion of the cake for yourself and harping on “give, give, give...”, you wake up and realise that the reality mirror is simply repeating your movements. And if you want to receive something, you must first give something similar. It doesn’t matter what exactly. Simply, replace your ‘give me’ with the opposite, ‘here, take’. And then, as if by magic, in the reflection, you will receive the very thing you wanted. What you give out is what you get back. This also propelling yourself from within. See ‘The image method’.

你可以控制現實，但你不能控制人：

You can control reality, but you can’t control people:

如果在構思目標幀時，你試圖強迫某個人按照你的節奏行動，這可能行不通，或者會產生相反的效果，因為你違反了兩個規則——你侵入了別人的劇本。

If, when composing the goal frame, you try and forcibly make a certain individual dance to your tune, it probably won’t work or it will produce the opposite effect, because you’re breaking the rules twofold — you’re intruding into someone else’s script.

只有你的個人現實是你可以玩弄的。因此，只有你應該是目標幀中的中心人物，就像你在夢中想像自己一樣：你是舞台上的明星，你坐在導演椅上，你駕駛自己的遊艇。幀中的其他人物應該在背景中，作為佈景的一部分。

Only your personal reality is yours to play with. Therefore, only you should be the central figure in the goal frame as you imagine yourself in your dreams: you are the star on the stage, you are in the Director’s chair, you are sailing your own yacht. All the other figures in the frame should be in the background, as part of the set design.

嘗試涉及特定人物的這些技術是不對的。你所能做的就是與他們建立鏡像關係。如果你想從某個人那裡得到具體的東西，去找他們，並在當前的電影中與他們交流，考慮到電影本質上是鏡像的。

Trying to carry out these techniques involving specific people is not right. All you can do is have a mirror-like relationship with them. If you want something specific from a certain person, go and see them and communicate with them within the current film, taking account of the fact that the film is mirror-like in nature.

內在驅動力：

Inner motivator:

你不僅被外部驅動力引導，也就是劇本，還有某種內在驅動力，即對自我價值感的需求和追求自我實現。如果你希望人們對你友善，或者你想從他們那裡得到什麼，設定一個目標，強調他們的重要性，並幫助他們實現自己的目標。

You are led not only by an outer driver, i.e. the script, but also by a certain inner motivator which is the need for a sense of self- worth and the pursuit of self-realisation. If you want people to be well- disposed towards you, or you want something from them, set yourself the goal of underlining their importance and help them realise their own goals.

如果你想避免樹敵，要非常小心不要傷害他人的自我價值感。為他人創造優勢應成為你生活哲學的一部分。如果你這樣做，你的自我實現將不會有困難。此外，只有當你的實現開始對他人有益時，你的自我實現才會成功。相反，如果你所做的對他人沒有益處，那麼對你自己也不會有太大幫助。

If you want to avoid making enemies, be very careful not to injure anyone else’s sense of worth. Creating advantage for others should become part of your philosophy of life. If you do this, you will have no difficulty with your own self-realisation. Moreover, your own realisation will be successful only when it starts to benefi t others. Conversely, if what you do is of no benefit to others, it won’t really help you much either.

操控他人：

Manipulating others:

在當前幀中，可以操控另一個角色的意識。正如你已經知道的，你既被外部劇本引導，也被內在驅動力引導。然而，後者的影響力要小得多。這種驅動力主要決定了你的移動方向，但你仍然是由劇本推動的。然而，最貪婪的蝸牛，無論是根據他們的意圖還是他們的劇本，可能會試圖改變你的路徑方向以符合他們自己的利益。

It is possible to manipulate the consciousness of another character in the current frame. As you are already aware, you are led both by the external script and an inner driving force. The latter, however, to a far lesser degree. This driving force mainly determines the direction in which you move, but you are still set in motion by the script. However, the most greedy snails, either in accordance with their intentions or their script may try to alter the direction your course is taking to suit their own interests.

這就是操控——試圖控制別人在電影中的路徑。例如，通過欺騙、創造虛假的價值和目標，或利用他人的弱點和需求。與不干擾你路徑的鏡像原則不同，操控者會偏離你的路徑並利用你。每當你感覺到有東西被強加給你時，問問自己：這對誰有利，怎麼有利？

This is manipulation — trying to control someone else’s course in the film. This may be, for example, by deception, creating false values and goals, or by playing on the weaknesses and needs of others. Unlike the mirror principles that do not disturb your course, but rather assist it, manipulators will divert you from your course and use you. Whenever you feel that something is being imposed on you, ask yourself: who does this benefit and how?

操控現實：

Manipulating reality:

現實具有雙重性質。一方面，它是一部電影，另一方面，它是一面三維鏡子。兩者都容易讓人困惑。主要的幻覺在於現實的真實本質是隱藏的。你看不到膠卷的空間，鏡子的框架本身也不可見。但如果你知道這一點並記住它，那麼幻覺將不再對你有任何影響。

Reality has a dual nature. On the one hand, it is a film, and on the other hand, a three-dimensional mirror. Both are bound to confuse. The main illusion is that the true nature of reality is hidden. You can’t see the space of a film strip, and the mirror framework itself isn’t visible. But if you know this and you remember it, then the illusion will no longer have any power over you.

現實鏡子的幻覺比標準鏡子要複雜得多。空間不是一分為二的，現實和想像之間沒有明顯的界限。你同時在鏡子內外。圖像和鏡像反射是相連的。那麼這對我們有什麼意義呢？這意味著你創造的圖像可以成為反射，而反射可以流入主體。換句話說，你可以將反射變成主體，假裝擁有你沒有的東西，或者成為你尚未成為的人。

The illusion of the reality mirror is much more complex than a standard mirror. The space is not split in half, and there is no visible boundary between what is real and what is imaginary. You are, at the same time, both inside and outside of the mirror. The image and the mirror reflection are connected. So what does that give us? It means that the image you create can become a reflection, and the reflection can flow into the subject. In other words, you can turn a reflection into a subject pretending you have something you don’t, or that you are someone, you have not yet become.

例如，你想擁有自己的家。你在商店裡四處逛，像已經有家一樣看著家具和裝飾品。或者你想變得富有。你看著昂貴的東西、汽車、遊艇、度假村。讓財富進入你的生活。或者你想成為某個領域的明星。行為舉止就像你已經是明星一樣；至少在你的想像中過那樣的生活。

For example, you want to have your own home. You wander round the shops looking at furniture and items to decorate the interior as if you already had a home. Or you might want to be wealthy. You look at expensive things, cars, yachts, spa resorts. Allow wealth into your life. Or you want to become a star in some area or another. Behave as if you were already a star; live that life, for now at least, in your imagination.

漸漸地，現實的圖像會調整到你的幻想。現實喜歡創造幻覺，但無法忍受被餵食幻覺。它會找到一種方法將你創造的幻覺變成現實。

Gradually, the picture of reality will attune itself to your make-believe. Reality loves to create illusions, but can’t stand being fed them. It will find a way of turning the illusion you have created into reality.

構思反射：

Composing a reflection:

你能夠構思圖像和反射。在第一種情況下，圖像顯現為反射，而在第二種情況下，反射顯現為圖像。

You are capable of composing both an image and a reflection. In the first case, the image appears as a reflection, whereas in the second, the opposite is true, the reflection appears as the image.

第一（直接）過程：你給予什麼，就會得到什麼；你給予什麼，就會收到什麼，你真正是誰，就是你擁有的。

First (direct) process: what you put out is what you get back; what you give is what you receive, and who you really are is what you have.

第二（反向）過程：遊戲如何，現實如何；你模仿什麼，就會得到什麼；你假裝成為誰，就會成為誰。

Second (reverse) process: as the game, so the reality; what you imitate is what you get; who you pretend to be is who you will become.

直接：圖像顯現為反射。構思圖像是你向現實發出信息的方式。你給予什麼，就是你擁有什麼。

Directly: the image appears as the reflection. Composing the image is your way of putting a message out to reality. What you put out is what you have.

反向：反射顯現為圖像。你的幻想和模仿是你構思反射的方式。你假裝成為誰，實際上就是你成為的人。

Reversed: the reflection appears as the image. Your make-believe and imitation is your way of composing the reflection. Who you have pretended to be is, in reality, the person you have become.

所有這些與鏡子的操控，就是我們所說的“從內部推動自己”。

All these manipulations with the mirror are what is being referred to when we talk about ‘propelling yourself from within’.

第一個基本條件是認真對待遊戲。第二個基本條件是遊戲應該一致。參見“反射方法”章節。

The first essential condition is that the game is taken very seriously. The second essential condition is that the game should be consistent. See chapter ‘The Reflection Method’.

你不喜歡自己的原因：

The reason you do not like yourself:

你不喜歡自己的原因是所有的屏幕和印刷封面都展示了美麗、成功和幸福的理想。你順從地相信這些幻覺，試圖將自己融入他人的形象中，每次都得出結論，你達不到這些標準。實際上，美麗、成功和幸福無法標準化；這些東西有非常個人的特質。然而，你仍然願意相信幻覺並試圖跟上它。

The reason you don’t like yourself is that all the screens and printed covers illustrate the ideals of beauty, success, and happiness. You fall for these illusions obediently trying to fit yourself into someone else’s image, each time coming to the conclusion that you fall short of these standards. In actual fact, beauty, success, and happiness cannot be standardised; these things have a very individual cut. Yet, still, you prefer to believe in the illusion and try to keep up with it.

當你看著別人時，不要嫉妒；當你看著自己時，不要氣餒；變得像螢火蟲一樣：推動自己，並從內部推動自己。不要將你所處的現實視為超出你控制的東西；相反，自己構思一個新的。使用辮子轉移即將到來的現實，並通過你視覺化的圖像和反射來移動當前的現實。

Don’t be jealous when you look at others; and don’t be discouraged when you look at yourself; become like fireflies: propel yourself and propel yourself from within. Don’t look at the reality in which you find yourself living as something that is beyond your control; instead, compose a new one yourself. Shift your forthcoming reality by using the plait, and shift your current reality by moving yourself with the image you visualise and the reflection.

這就是讓你沮喪的原因：

This is what is getting you down:

一旦你發現自己在等待某事、希望某事、擔心某事或被某事壓垮，醒來並有自我意識：你被外部劇本引導，而不是自己的劇本；這就是讓你沮喪的原因。你潛意識地感覺到自己不自由，依賴於現實，被情況限制，就像角色被情節限制一樣。你可能感覺到這一點，但你無能為力，因為你沒有完全意識到。

As soon as you have caught yourself waiting for something, hoping for something, being anxious about something, or burdened by something, wake up and be self-aware: you are being led by the external script, not your own script; this is what is getting you down. You feel subconsciously that you are not free, that you are dependent on reality, that you are limited by circumstances like a character is limited by a plot. You may sense it, but you cannot do anything about it because you are not fully aware.

你必須達到一個真正知道等待某事發生或不發生、成功或不成功是愚蠢和無意義的地步。你的意志力可以構思一個主體圖像、反射、現實，或同時構思所有這些。你應該：

You have to get to the point where you truly know that holding out for something to happen or not happen, to work out or not work out, is foolish and pointless. It is within the power of your will to compose a subject image, or a reflection, or reality, or all of these things at the same time. You should:

將想要的習慣替換為給予的習慣。

Replace the habit of wanting with the habit of giving.

將拒絕的習慣替換為接受的習慣。

Replace the habit of rejecting with the habit of accepting.

將沉睡的習慣替換為醒來的習慣。

Replace the habit of dropping off with the habit of waking up.

最有益的習慣是：不要向現實索求；而是構思現實。這是主要的，但同樣重要的衍生物有：

The most beneficial habit is this: don’t want things of reality; compose reality. That’s the main thing but with equally important derivatives:

不要害怕，改為構思。

Don’t be afraid, compose instead.

不要等待，改為構思。

Don’t wait, compose instead.

不要寄希望，改為構思。

Don’t hope, compose instead.

不要哀嘆，改為構思。

Don’t lament, compose instead.

模仿技術：

Imitation technique:

不僅可以構思現實，也可以構思自己，你的模特。與此同時，模特也會改變。通過依次轉換膠卷和反射，你會變得不同，成為你夢想中的樣子。參見“綜合運動漫步方法”和“模仿技術”章節。

It is possible to compose not only reality but yourself, your mannequin. And at the same time, the mannequin will change. By shifting in turn the film roll and the reflection, you will become different, the way you dreamed of seeing yourself. See ‘The integrated movement-strolling method’, and chapter ‘The Imitation Technique’.

構思你自己的模特：

Compose your own mannequin:

你在電影中有自己的模特，這些電影儲存在永恆檔案中。當你在夢中看到其中一個膠卷時，你的意識會找到自己的模特，然後它會活過來並開始移動。在你做夢的時候，你佔據了夢中模特的身體，作為你眾多潛在變體之一。

You have your own mannequins in the films, which are stored in the Eternity archive. When you see one of these film rolls in a dream, your consciousness finds your own mannequin, and then it comes to life and starts to move. For as long as you dream the dream, you occupy the body of the dream mannequin, as one of many of your potential variants.

同樣的事情也發生在物質現實中，在膠卷中，你的生活沿著這些膠卷前進。在每一個新的膠卷上，你的意識進入下一個版本的模特，然後它活過來，成為當前幀中的你。

The same thing happens in physical reality, in the film rolls, according to which your life is moving along. On each new film roll your consciousness enters the next version of the mannequin, which then comes to life and becomes you in the current frame.

模特可以在短時間內立即改變。你能夠非常迅速地改變，甚至在外表上發生顯著的變化。你也可以改變如自信、魅力、溝通能力、勇氣、智慧和專業技能等品質。

The mannequin can change right now, in a short period of time. You are capable of changing very quickly, to the point of spectacularly changing your outer appearance. You can also change qualities and skills such as: self-confidence, charm, ability to communicate, courage, intelligence, and professionalism.

改變自己並不意味著拒絕自我或完全擺脫舊的自己。我們談論的是發展。特別是如果你是少數喜歡自己現狀的人，並不特別覺得需要改變自己。但即便如此，你也必須不斷發展，否則你會走向退化的道路。你需要改變自己，但不改變你的核心身份、基本原則、信念和生活哲學。

Changing yourself doesn’t mean rejection of self or completely getting rid of the old you. We are talking about development. Especially if you are a rare exception of someone who likes themselves the way they are and doesn’t particularly feel the need to change themselves. But even if that is the case, you have to keep developing, otherwise you’ll go down the route of deterioration. You need to change yourself, without changing yourself, your core identity, your fundamental principles, convictions and philosophy of life.

獨特性：

Uniqueness:

獨特性是你擁有的一切，但在很大程度上，這已經足夠了。獨特性本身就是完美的，因為其他地方找不到類似的東西。那種在其他地方找不到的東西有價值嗎？毫無疑問。這是一種優勢，你可以選擇利用它或將其丟在塵封的櫥櫃後面。這完全取決於你的選擇。

Uniqueness is all you have, but to a great extent, this is more than enough. Uniqueness is perfect unto itself because there is nothing of its kind anywhere else. Is it valuable, that which cannot be found anywhere else in anyone else? Undoubtedly. It is an advantage, which you can either use or chuck to the back of a dusty cupboard. And it is all a matter of choice.

但所有缺點都有一個矛盾的方面。如果你接受一個缺點，它就會成為一個有價值的、個人的特質。如果你不接受一個缺點並與之鬥爭，缺點就會成為一個缺陷。這正是其他人會如何看待它：要麼作為有價值的特質，要麼作為缺陷。如果你接受個人的缺點，它可以轉化為一個優勢。

But all shortcomings have one paradoxical aspect. If you accept a shortcoming, it becomes a valuable, individual quality. If you don’t accept a shortcoming and battle against it, the shortcoming becomes a flaw. This is exactly how others will perceive it: either as a valuable quality, or as a flaw. If you accept a personal shortcoming, it can transform into an advantage.

你是完美的，正如大自然和創造者所設想的那樣。完美是當一個人體現了他們的獨特性並與自我和諧相處。接受的地方，和諧就會出現。反之亦然；任何否定都會引發不和諧，這是每個人都能察覺到的。

You are perfect, just as Nature and the Creator intended you to be. Perfection is when an individual is embodying their uniqueness and in harmony with the self. Where there is acceptance, harmony appears. And the opposite is true; any negation gives rise to disharmony, which everyone notices.

一個明顯的惡習或弱點，直接損害你、你的健康和聲譽，或者損害他人的，應該根除。然而，在其他方面，發展你的積極品質比與缺點鬥爭要好。

An obvious vice or weak point that directly harms you, your health, and reputation for example, or that harms others, should be rooted out. In everything else though, it is better to develop your positive qualities than to battle with your shortcomings.

三重成就方法：

The three achievements method:

首先，不要專注於你的缺點。不要沉迷於某種缺失感；這是一種破壞性的狀態。你的缺點只會惡化，這將導致更大的退化。你必須轉換到一種更具建設性的狀態。這將有助於第二個行動。

First, don’t focus on your shortcomings. Don’t dwell on feeling deprived in some way; this is a destructive state. Your shortcomings will only worsen and this will lead to greater deterioration. You have to shift into a different, more constructive state. This will help with the second action.

第二。你必須有一個人生目標——一些能激勵你、讓你充滿熱情的東西，對你和他人都有益。如果你對生活感到冷漠，那麼，你就沒有目標。或者，從另一個角度看——當你沒有目標時，你對生活感到冷漠。如果你沒有目標，你就不會有任何渴望。如果你沒有奮鬥的感覺——你的生活中就不會有運動。沒有運動，就沒有能量；沒有能量，就沒有生命。因此，你必須找到你的真正目標，你的人生目的，並開始朝著它前進。沒有生活的目的，無論那是什麼，就沒有“你”；你是一個空洞。如果你還沒有找到人生目標，第三個行動會幫助你。

Second. You have to have a goal in life — something inspiring that fills you with enthusiasm, that benefits you and others. If you feel apathetic about life in general, then, you don’t have a goal. Or, if you look at it from the other way around — when you have no goal, you feel apathetic about life. If you have no goal, you won’t have anything to desire. If you experience no sense of striving — there will be no movement in your life. No movement, no energy; no energy, no life. So, you must find your true goal, your life purpose, and begin moving towards it. Without a life purpose, whatever that might be, there is no ‘you’; you are an empty space. If you haven’t yet found a life purpose, the third action will help you.

第三。無論你是否找到了人生目標，你都應該專注於個人發展，重塑自己。始終不斷地專注於自己。在自己內心點燃創造者的火花，致力於自我發展和自我提升。這種方法立即帶來三個成就：擺脫缺失感，找到人生目標，實現人生目標。

Third. Whether you have found your life purpose or not, you should concentrate on personal development, on re-making yourself. Focus on yourself constantly, always. Kindle in yourself the Creator’s Spark, work on self-development and self-improvement. This method delivers three achievements instantly: shake off a state of feeling deprived, find your life purpose, realise your life purpose.

三重行動：

Triple action:

目標是通過三重行動達成的：推動現實，推動自己，從內部推動自己。自我發展是一個值得追求的目標和道路。在這條道路上，你的人生目標將自然而然地顯現。一旦找到它，就不應該停下來。記住：要麼發展，要麼退化。

Goals are achieved via triple action: propel reality, propel yourself, propel yourself from within. Self-development is a worthy goal and path. Your life purpose on this path will find itself. Once you have found it, there should be no stopping you. Remember: there is either development or deterioration.

你不應該將自我發展視為一項繁重的義務或沉重的工作。恰恰相反，經歷停滯、不活躍和懶惰要困難得多。努力提升自己不是勞動，而是為更愉快的事物做準備。當你要去參加派對時，你不會打扮得漂漂亮亮嗎？派對就是今天。一時的準備不足以應對明天、一個月後或一年後的事情。

You mustn’t think of self-development as an onerous duty or heavy chore. Quite the opposite, it’s much harder to experience stagnation, inactivity, and laziness. Working on yourself is no labour but pleasant preparation for something more pleasant. For you to get ready when you are going to a party, don’t you smarten yourself up? The party is today. A one-time preparation won’t be enough for what will come tomorrow, in a month’s time or in a year from now.

你的人生目標：

Your life purpose:

你的人生目標是激勵你並對自己和他人有益的東西。要變得卓越並將你的生活變得卓越，你必須擺脫停滯和退化的狀態。出路在於找到你的人生目標，你的真正目標，然後朝著它邁進。你的人生目標是自我實現的路徑。沒有人生目標，生活就會變成無意識的存在。你可能不知道你的人生目標是什麼。內心燃燒的創造者火花知道。但它需要被點燃。通過點燃內心的創造者火花，努力提升自己，你可以實現這三件事：擺脫停滯，找到人生目標，實現人生目標。

Your life purpose is what inspires you and benefits yourself and others. To become magnificent and turn your life into magnificence, you have to shift out of a state of stagnation and degradation. The way out is to find your life purpose, your true goal, and then take steps towards it. Your life purpose is your course of self- realisation. Without a life purpose, life turns into a mindless existence. You may not be aware of what your life purpose is. The Creator’s Spark that smoulders inside you knows. But it has to be kindled. By kindling inside the Creator’s Spark, working on yourself, you achieve these three things: you leave stagnation behind, you find your life purpose, you realise your life purpose.

佔據一個新的模特：

Occupying a new mannequin:

假設你想擁有一個美麗的身體，將自己變成一個在各方面都令人愉悅的迷人個性，或者成為某個領域的高薪專業人士。本質上，這意味著在一個根本不同的膠卷上佔據你完美的模特。毫不懷疑這個膠卷和這樣的模特是存在的。你所要做的就是到達那裡。這個目標是通過三重行動達成的：推動現實，推動自己，從內部推動自己。參見“你是卓越的”、“模仿技術”等章節。

Let’s say you want to have a beautiful body, transform yourself into a charming personality, pleasant in all respects, or become a high-paid professional in a particular field. Essentially, this means to occupy your perfected mannequin on a fundamentally different film roll. Have no doubt that this film roll and such a mannequin exists. All you have to do is get there. This goal is achieved via triple action: propel reality, propel yourself, propel yourself from within. See chapter ‘You are brilliant’, ‘The Imitation Technique’ etc.

這個概述提供了基本內容。要吸收這些材料的所有細節，你需要非常仔細地閱讀整本書。如果有不明白的地方，可以閱讀關於Transurfing的書。Transurfing本質上是小學教育。相比之下，Tufti的技術是高中和高級技巧。

This overview gives the basics. To assimilate all the subtle details of this material, you will need to read the whole book very carefully. If there is something that you do not understand, read the book about Transurfing. Transurfing is essentially primary school. By comparison, Tufti’s techniques are high school and aerobatics.

其他可能對你有幫助的書籍包括：

Other books you may find helpful include:

《Transurfing Reality》——解釋基本概念——現實如何運作以及如何應對。

Transurfing Reality — the basics explained — how reality works and what to do with it.

《Separate Reality Projector》——詳細描述和工具，用於創建和裝備你的個人世界。

Separate Reality Projector — A detailed description and tool for creating and equipping your personal world.

《Hacking The Technogenic System》——如何不成為矩陣中的一個齒輪。

Hacking The Technogenic System — How not to become a cog in the matrix.

《kLIBE》——群體思維幻覺的終結——如何在技術環境中生存並實現設定的目標。

‘kLIBE’ — The End of The Illusion of the Herd Mentality — How to survive in a technogenic environment and achieve set goals.

《cleanEating》——如何恢復健康、健美的身體。

‘cleanEating’ — How to get back to a healthy, fit body.

翻譯：Joanna Dobson

Translation by Joanna Dobson

封面設計：Irina Novikova

Cover design by Irina Novikova

Vadim Zeland

Vadim Zeland

《Tufti the Priestess. Live Stroll Through A Movie》. ISBN 978-5-9573-3472-9

Tufti the Priestess. Live Stroll Through A Movie. ISBN 978-5-9573-3472-9

迎接新的世界轟動。這是Tufti。

Meet the new world sensation. It’s Tufti.

為什麼事情總是無法如你所願，即使你按照自己的自由意志行事？你可能認為事情不如意的原因只是因為生活就是這樣。但真正的原因是，你並不是按照自己的自由意志行事——你被劇本引導。另一個原因是人們不知道如何採取正確的行動來塑造事件的發展。他們傾向於與當前幀中的現實鬥爭，而不是構思即將到來的膠卷的現實。現實只存在於此時此地，只有在物質世界中發生的事情才是真實的。

Why is it that nothing seems to work out the way you want it to, despite the fact that you act according to your own free will? You might think that the reason why nothing is working out the way you want, is because that’s just how life is. But the real reason things don‘t work out the way you want them to, is because you aren‘t acting according to your own free will — you are being directed by a script. Another reason things don‘t work out the way people want them to, is because they don‘t know how to take the right action to shape events the way they want. Rather than composing the reality of the upcoming film roll, they tend to battle with the reality they face in the current frame. Reality exists only in the here and now, and what is real is real only to the extent that it has taken place in the material world.

你無法改變已經發生的事情。然而，當你與當前的現實鬥爭時，這正是你在做的，因為你周圍的一切都是已經發生的事物。如果你想改變劇本，你必須醒來並在電影中活過來。

You cannot change what has already happened. Yet when you fight with your current reality, that is exactly what you are doing, because everything that surrounds you consists of something that has already happened. If you want to change the script, you have to wake up and come alive inside the movie.

主題：神秘學/神秘學教義

Subject: Esoteric / Esoteric teachings

版權所有。未經版權擁有者的書面許可，本書的任何部分不得以任何形式使用或複製。

All rights reserved. No part of this book may be used or reproduced in any form without the written permission from the copyright owners.

© OJSC Ves Publishing Group, 2018

© OJSC Ves Publishing Group, 2018