I gazed at every mirror on the planet, not one gave back my reflection.

While I was looking for the information I am interested with, I found Plato's theory and Borges metaphor.

Borges thoughts were really interesting and helpful to the things I'm considering while the preparing. So based on his mind I have listed some of the points that worth double checking when I was creating part of the project.

* Borges believes: "Writing novels and creating mazes are the same thing", so every one of his novels is a maze. He also declared that his work is "dedicated to the mirror, the Minotaur and the dagger", which corresponds exactly to the three mazes in his novels: "Mirror" refers to the metaphysical labyrinth of time, and "Minotaur" refers to the subject. The "dagger" refers to the reality labyrinth of space.

The confusion of time and space is the eternal confusion of mankind, because it is the confusion of life and its mysterious destiny. Human life exists in time and space, so the maze of man himself is a complex maze of time and space. Therefore, these three kinds of mazes are interpenetrating and interweaving. Therefore, some of Borges’ works compound the three types of mazes, and may emphasise the time mazes in their own mazes (such as "The Garden of Forking Paths"), or a maze that focuses on expressing space in its own maze (such as "Death and the Compass").

“I imagined a labyrinth of labyrinths, a maze of mazes, a twisting, turning, ever-widening labyrinth that contained both past and future and somehow implied the stars. Absorbed in those illusory imaginings, I forgot that I was a pursued man; I felt myself, for an indefinite while, the abstract perceiver of the world. The vague, living countryside, the moon, the remains of the day did their work in me; so did the gently downward road, which forestalled all possibility of weariness. The evening was near, yet infinite.”

― Jorge Luis Borges, Ficciones

Jorge Luis Borges, “Mirrors,” in Dreamtigers, Mildred Boyer and Harold Morland, tr. [1960] (Austin: University of Texas Press, 1964), pp. 60–61. Copyright 1964, renewed 1992. By permission of the University of Texas Press.