MODEL OF TIME
The first approximation.
Today each person on the Earth, anyhow, collided{faced} with primitive model of Time. This primitive model is - cinema. At cinema any interval sated with this or that sequence of events is modelled, depending on a plan of the author. Then the film can be considered{examined} as the information carrier or the carrier of time broken on certain quantity{amount} of discrete conditions or frames. To force this information "to live", it is necessary to project the written down information with the help of light on the screen and with the certain sequence to change frames. It is done{made} with the help of a normal film projector. Sitting in a hall and being the observer so, to some extent, the participant of events, we perceive these events continuously as our eye does not perceive step-type behaviour of conditions if they vary with frequency not less than 24 conditions per second. Thus we can reflect in two-hour film a history in hundred years or on the contrary stretch{drag out} 10 minutes on one hour. All depends on a plan of the founder. Interfere or change something we cannot. Now there are computer games in which in base film the computer program and the spectator is entered can participate, change event, but, nevertheless, the complex of events conceived by the author is not changed.
Imagine, that the film of film is not collected in the reel, and completely unwound and started on a circle at some fantastic cinema in which the quantity{amount} of halls is more than frames in film and in each hall film is shown with displacement on one frame (fig. 27). The film goes with a speed 24 frames per second. Thus if in the whole to judge all model, it is possible to tell, that at such cinema there are halls where film yet did not begin or where film has already ended. There are halls in which the spectator has seen the name or where the spectator has seen the end of film. There are halls, where events in the heat. We shall assume, also, that there is an opportunity to pass from a hall in a hall, that is, for example, from a hall with the beginning of film in a hall with the end of film at once to learn{find out} " than business was terminated ". If each hall to designate as a place in space being somewhere in the middle of film and moving to the beginning of film you get in the past concerning your medial position (it you already saw) or in the future if will pass to a hall where the termination{ending} of film (it would not be desirable to sit all film) is shown. Means we can identify three components: the present, the past, the future. Thus, a place in space where film just about will begin, we name " the beginning of a cycle ", and a place where film has just ended - " the end of a cycle ".
Let's assume, that the spectator can pass from a hall in a hall only along a film, either on a course, or against a course. Thus he{it} will not notice any changes, as speed of movement of a film more than high-speed opportunities of the person. But if, nevertheless, to assume, that he{it} can reach{achieve} the big speeds, that, moving with film velocity, he{it} will see stood patterns, that is will perceive the same frame. " The trouble " this spectator that he{it} does not know that in the center of this fantastic cinema there is a film-booth, and in it{her} is a projectionist who simultaneously in all halls broadcasts cinema, and that in each hall from a film-booth there is a door. This projectionist can simultaneously observe all events. For him{it} there is no Time. All film for him{it} is Outside of Time or Eternal Now. At the desire he{it} instantly can enter any hall (in any place in space) according to the moment interesting him{it} at cinema (in models of Time). The spectator does not suspect of a hall about existence of this small secret door, the projectionist, his{its} assistant and the Founder of film knows about it only. But they do not hasten to open a secret of a secret door to spectators, let those think.