'Twas brillig and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogroves,
And the mome raths outgrabe
Alice through the Looking Glass; Lewis CarrollLife is a series of pathways between rooms. You can deviate from the path for a while but very soon you'll have to find a room, be it a bivouac, or a mere cliffhanging. If you don't you'll die of exposure. On any path you may have a series of decisions to make but whatever you decide the path will still lead to the room. Our decisions aggregate towards the same ending - reaching the room. Rooms can be empty or there can be a guardian being. The guardian beings of the room can be your friends, partners, colleagues, bosses, enemies and are arranged in a spectrum of types emerging from the ten steps necessary in order to analyse a single moment. When a being of a certain type is in your room a certain response will be elicited. A simple example is being in a room with someone who is very aggressive because of high levels of testosterone - they will typically stimulate your own aggression (be it towards each other or in mutual enjoyment, watch packs of these people) or your flight response. The person has acted as a chemical messenger on the confines of your own cell of consciousness, just the like the underlying hormone they represent and how you interact with the beings on the path and in the room determine the reality of your life.
Alice in Wonderland is very important to myself and my partner. Not only did I form a close relationship with the text and movie interpretations growing up but during my early Qabalistic studies I was in an Alice themed Kabbalah study group where I was the Mad Hatter and then went on to play Lewis Carroll in a performance in Prague. This play was an original work featuring Lewis confronted by the real Alice Liddell as a young girl and then as an elderly woman contrasting the reality with the fantasy conceptual Alice. The other night I went to see ''Aspects of Alice'' at a blacklight theatre and this particular show featured our heroine flying over a mystical Prague and was filtered through the lense of Milan Kundera - wistful, fatalistic carnival music with erotic twists - ''The Unbearable Lightness of Wonderland''. Our tickets were free and provided by a friend of my partners who brought someone else with her who was a physiognomical copy of the actress who played Alice in the production where I played Carroll. When I returned home from the theatre there was a message from this actress telling me she had watched Humanity: Good Ending and thought of me.
This event returned me to a line of thought that began to crystallize during the filming of The Aftermath - a director there had been a physiognomical copy of my first esoteric mentor and, coincidentally, I recieved a message from him in my trailer - we hadn't communicated in many years. The knowledge I had allowed me to work well with the director and I was rewarded with another day, another scene and a battlefield promotion from a nameless officer to a named character - Captain Harris. The physiogomy of the Metabolism of Time is of immense predictive value in dealing with individuals on a day to day basis - the system providing insights into their various moods, etc and how they will interact with other people of different types. The thinking behind this use is based in presentism, i.e. my individual interactions through every moment create possibilities for me in the future - my decisions matter and I can take advantage of opportunities. However if the future already exists, as Raziel suggests and no matter what I think I choose to do I am trapped on a path until a robust branching moment comes along how does this knowledge remain useful? What is the Eternalist version? How are these physiognomical predictions useful to the would be time traveller, someone who wants to see their life experience in 4d rather than 3d?
Although Raziel has been clear about there being no grand free will, no infinity of parallel universes branching off every moment and how decisions on the path largely aggregate taking you to the same destination - a significant event at a robust branching moments (vertices, rooms) - there remains the freedom to switch timelines between the finite variant selves or Fourteen Minotaurs at these moments. At these moments there is a decision that has a significant consequence - so it is only here where the tricks are useful. Synchronicities, like the above encounter with my director amd mentor, or the plural Alice, are like sonar pings as you approach a significant event. For example, our motto for the Gentlemen for Jupiter was ''When Kingdoms Come'' and then, after quite some work, I ended up playing a lead role in the upcoming video game Kingdom Come: Deliverance - a solid ping suggesting a robust branching moment. We should also be aware that as we leave significant events these synchroncities will decrease in frequency.
Forward, backward, inward, outward
Come and join the chase!
Nothing could be drier
Than a jolly caucus-race
Alice in Wonderland, Lewis Carroll
What seems to being suggested by the above experiences are a) that guardian beings of the same type are temporally entangled with each other in your timeline(s) and b) that the type of guardian being reveals the underlying nature of the significant event. To make this clearer lets look at the first example in this post - the director and the mentor were both of the Treefrog type, which is a thyroidal nature, in this case hyperthyroidal. Features include short height, prominent slightly bulging eyes, rapid metabolism, they plunge into new environments to stimulate personal evolution, and have a strong interest in aesthetics - mainly visual arts, etc etc. Is there only one Treefrog that is in super position throughout my time line(s)? Is there a way of gauging the frequency of the appearance of significant Treefrogs? This Treefrog became a stimulus which my cell had to respond to and one set of reactions would have sent me down one path and another set down another - bearing in mind there are only two possible outcomes at a vertex, junction or room - yes or no/oops! In saying yes to the Treefrog I went down a path which resulted in the extra day and in saying no or being awkward I would have been denied that. Who knows what difference being a named character will make in my future?
Who the fuck is Alice? Well Alice signifies many things for many people but ultimately she is on a quest for identity in a meaningless nonsensical world - Carroll could be considered the first Absurdist. The Alices are generally a mix of adrenaline and testosterone types, which also governs the nature of their rooms, creating a huntress physiques who like to challenge boundaries (curiousity) with pre-egoic identities driven by urges and instincts. Being at the Alice show with a clone of the actress who played Alice then recieving a message from that same actress clearly shows contact with the Alice in superposition. If they are synch pings foreshadowing the significant event one can expect it with to take place with an Alice as the guardian and to be in some kind of Wonderland...
Do you live in the memory of a significant Alice seeing their face projected on to new friends, lovers, enemies who are like them in all but name? Do you seek the near-clone of someone you knew, or was that Alice foreshadowing that other Alice to come? Or are they all in super-position?
When logic and proportion have fallen sloppy dead
And the white knight is talking backwards
And the red queen's off with her head
Remember what the dormouse said
Feed your head, feed your head
White Rabbit, Jefferson Airplane