TIME TRAVEL: MEETING YOURSELF




THE BOOTSTRAP PARADOX


IF YOU COULD TRAVEL BACK IN TIME WOULD IT BE POSSIBLE TO MEET YOURSELF?



the Wanderling


"The Bootstrap Paradox as it is so called, is a time-travel paradox wherein an object or information can exist without ever seeming to have been created. The object or piece of information in the future is taken back in time where, through the normal passage of time from the past to the future, it is retrieved to become the very object or piece of information that was brought back in the beginning."

THE BOOTSTRAP PARADOX, Below


The question is, if you could travel back in time would it be possible to meet yourself? Most people who contemplate such matters usually relegate an actual outcome of similar or like events into the realm of science fiction or the theoretically impossible. However, there is on record an actual every day real life example of an incident wherein just such a scenario as one meeting oneself transpired. While it is true the incident seems to have been set into motion initially in a somewhat more exotic environment or atmosphere than most people experience on a daily basis the event itself transpired nonetheless with the people involved being just ordinary people, or at least the primary participant being so. To wit:


In the early to mid 1940s a very young American boy from a small Southern California beach town travels to India with a foster couple, ending up staying several months at or near the ashram of the venerated Indian holy man, the Bhagavan Sri Ramana Maharshi in Tiruvannamalai, south India. Prior to his departure from the U.S. the foster couple allows the boy to select one, and one only, small easy to carry toy to take with him. He picks his hands-down favorite, a metal decoder badge known as a Photo-Matic Code-O-Graph that has a picture of Captain Midnight mounted in it.[1]

In a seeming set of incredible coincidences, an American man, who was at the time around age 25 or so, and unbelievably from the same Southern California hometown as the boy, visits the ashram during the same period the young boy is there. Oddly enough, although a full grown man, he too has a near duplicate decoder with him, albeit slightly more tarnished than the boy's decoder, that has on it's surface a somewhat newer like sheen. So too, in lieu of the Captain Midnight photo, the man's Code-O-Graph has in it's place a black-and-white photograph of himself as a young boy. After inadvertently meeting each other and discovering they both have decoders, with the boy's permission, for reasons no longer known but seemingly valid at the time, they switch the two photos, exchanging the man's for the picture of Captain Midnight and vice versa for the boy.

Not long after the man's departure from the ashram the young boy leaves as well, returning to the U.S. with the couple, ending up being left off by the couple totally unannounced at the home his grandmother on his father's side in Pennsylvania. When the boy returns to California, the decoder with the now switched picture of the boy in it, for reasons unknown, is left behind at the grandmother's and, rather than trying to return it, she simply stores it in a box where it slowly languishes away and soon forgotten.

Several years later the grandmother dies and upon her death her son, who happens to be the boy's uncle, travels to her home in Pennsylvania to put her things in order. There he finds the decoder in the box among her belongings. Having been the boy's onetime guardian the uncle instantly recognizes the photo as being that of his nephew while at the same time remembering how important Code-O-Graphs were to the boy during his very early childhood years as well. So said, the uncle, knowing that the boy had stayed at his mother's for a short time during those same years, after which the decoder went missing, but now having found it, without really thinking about it sends it to his nephew. The nephew however, is now no longer a young boy but reaching into his late teenage years and just about ready to graduate from high school. The decoder, having lost both it's luster physically as well as in importance to the boy, floats around a few years eventually ending up stored away in a box at his younger brother's when the boy, now a man just into his early twenties in the 1960s, is drafted into the U.S. Army.

While the boy-now-a-man is in the Army and fully vested as a soldier he requests his younger brother send him some much needed items. In the process his younger brother either inadvertently or mistakenly includes the decoder in the package along with the other items he requested. With the decoder in his possession and some distance from home he simply carries it around with him during his young adult years and has it with him when he decides to visit the ashram of the Bhagavan Sri Ramana Maharshi in Tiruvannamalai, south India.

During the man's visit to the ashram, in what seems to be another set of incredible if not unbelievable coincidences, he meets a young boy from his own home town who has been staying at the ashram with a foster couple for a couple of months --- and has with him of all things, a Photo-Matic Code-O-Graph --- except that the boy's seems much newer and has a picture of Captain Midnight in it while the man's has a picture of himself when he was a young boy. Following a short discussion the man switches the picture of himself as a boy that is in his decoder for the picture of Captain Midnight that is in boy's decoder, leaving the decoder with the picture of the boy in the hands of the boy, while taking the decoder that now has the Captain Midnight photo inserted in the square with him when he leaves the ashram. Over time he eventually returns home, continuing to have the decoder with Captain Midnight's picture in it right up to this day.

Not long after the man's departure from the ashram the young boy leaves India returning to the U.S. ending up at his grandmother on his father's side in Pennsylvania. A few weeks later the boy returns to his home in California and for reasons unknown leaves the decoder with the picture of the boy at the grandmother's. She, rather than trying to return it to her grandson, simply puts it away in a darkened box where it is soon forgotten. A few years later the grandmother dies and her son goes to Pennsylvania to put her estate in order. There he finds the decoder and recognizes the photo as being that of his nephew when he was a young boy and sends it to him.


The above paragraphs are a synopsis or an extrapolated abridgment of sorts if you will, of a series of real life events wherein an adult man in an actual account, apparently in a time-loop of some kind, appears to have met himself as a young boy as found in The Code Maker, The Zen Maker.

Although there is no claim as to time-travel on a formal basis in The Code Maker, The Zen Maker, nor is there any mention or implication of any sort of a time-loop, all of it being Siddhi-based, for those who may be so interested, as the events unfold in the above brief synopsis and as found in the original account, embedded within the events is a mirror-like image of the classical time-travel paradox The Bootstrap Paradox as discussed further within the following context, albeit, if you continue, with some hitches. See:


THE BOOTSTRAP PARADOX


(please click image)



ANALOGIES IN TIME AND PLACE


SIDDHIS: SUPERNORMAL PERCEPTUAL STATES


BHAGAVAN SRI RAMANA MAHARSHI


A SOLDIER'S STORY


THE MEETING
AN UNTOLD STORY OF SRI RAMANA



(please click)

THE MOBIUS STRIP




CLICK
HERE FOR
ENLIGHTENMENT

ON THE RAZOR'S
EDGE


E-MAIL
THE WANDERLING

(please click)


ORIGINATING SOURCE:
THE CODE MAKER, THE ZEN MAKER


As to the subject of donations, for those of you who may be interested in doing so as it applies to the gratefulness of my works, I invariably suggest any funds be directed toward THE WOUNDED WARRIOR PROJECT and/or THE AMERICAN RED CROSS.

















Footnote [1]



PHOTO-MATIC CODE-O-GRAPH
----------------(please click)


Captain Midnight Code-O-Graphs were originally designed to be replaced one after the other on a yearly basis. The Photo-Matic version of the Code-O-Graph, pictured above, was manufactured in 1941 just prior to the outbreak of World War II for issue during the 1942 season. Because of the wartime metal shortage it was continued for use throughout the 1943 and 1944 seasons as well, making it the Code-O-Graph with the longest service life. The following excerpt is from CAPTAIN MIDNIGHT: The Code-O-Graphs linked at the bottom:


The second Code-O-Graph was the "Photo-Matic" unit. The badge had a space for a picture of the owner, to make it a photo-ID badge.

The advent of World War II had an impact on the Code-O-Graph availability: the two previous models were made of brass, and the attack on Pearl Harbor, which propelled the United States into World War II, caused the U.S. Government to impose restrictions on manufacturing materials. Copper and brass were considered critical materials, and most of the materials were diverted to war activities. This precluded brass being used to manufacture novelties like radio premiums.

The Photo-Matic Code-O-Graph, although not distributed until 1942, was manufactured prior to the Pearl Harbor attack. Since it, and its predecessor, were undated, the newer Code-O-Graph was used for the 1943 and 1944 seasons as well as the 1942 season, making it the Code-O-Graph with the longest service life. The cipher setting scheme was similar to the 1941 Mystery Dial model, but there was only one cipher setting window, labeled "Master Code." The word season used in context here refers to the radio broadcast season --- that is, when the Captain Midnight radio program started with and continued with all new programs for a given period of time before starting with another whole series of new programing.


CAPTAIN MIDNIGHT: THE CODE-O-GRAPHS


The following two paragraphs, albeit containing some redundant material, has within its context additional information as so found at the source cited:


"Without knowing it, apparently as I fiddled with the decoder while walking, the pin became unhooked. In the bending down motion to position myself on the low wall next to the boy the sharp point of the pin went right through the thin material of my pocket and directly into my leg just as I was finishing sitting down, jabbing me with a sharp jolt of pain through the upper front of my thigh."


"The decoder, again a Photo-Matic Code-O-Graph, was different than other Captain Midnight decoders in that it was designed to allow the owner to insert a photo of themself in a small open square at the top of the badge, replacing the photo of Captain Midnight that came with it. The idea for doing so was to create a personalized identification badge like those used in defense plants of the era. Once the picture of Captain Midnight was removed and the owner substituted it with a picture of their own, they were supposed to push down the four metal tabs at each of the corners so it could not be removed. As well, although NOT all Captain Midnight decoders were badges, the Photo-Matic Code-O-Graph was because it had a pin that went through a little hook on the back so it could be pinned on and worn like a badge."(source)


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THE BOOTSTRAP PARADOX


"The action in the future only happened because the action in the past happened,
but the action in the past was explicitly caused by the action in the future."




The Bootstrap Paradox as it is so called, is a time-travel paradox wherein an object or information can exist without ever seeming to have been created. The object or piece of information in the future is taken back in time where, through the normal passage of time from the past to the future, it is retrieved to become the very object or piece of information that was brought back in the beginning.

The term originates from the expression "pulling yourself up by your bootstraps" and was used to describe the time-travel paradox in Robert A. Heinleinís short story, written under the pseudonym Anson MacDonald, titled "By His Bootstraps" that was originally published in the October 1941 issue of Astounding Science Fiction. The main character in Heinleinís story, Bob Wilson, recreates, that is, copies the contents of a notebook belonging to his future self. At the end of the story, he wonders who actually compiled the notebook as he hands over the book to his younger self in the past, the same book his future self gave him to copy in the first place.

It is thought by some a similar paradox arises relative to the exchange of the decoder photographs as presented in the main text above. There is, however, a chance there might be a potential unresolvable caveat, possibly two, when it comes to a Bootstrap Paradox, either being implied or actual in the above scenario. See Footnote [2]


Although such things as I have put forward regarding the young boy and the man at the ashram as having transpired AND that did in fact transpire, how it is that they were actually able to transpire?

The whole Bootstrap Paradox as it relates to us here as described above in the main text finds it's foundation built upon a two-fold incident, with the first of that two-fold incident involving the boy having been taken to the ashram of Sri Ramana in India in the first place with the following results:


"Within an hour of his face-to-face meeting with Sri Bhagavan, his mental barriers were reduced to nothingness."


The above quote stating "his mental barriers were reduced to nothingness" with the "HIS" in the quote making reference to the Wanderling, is found in FACE TO FACE WITH SRI RAMANA MAHARSHI, Enchanting and Uplifting Reminiscences of 202 Persons (2009) as compiled by Laxmi Narain and available at the link below so sourced --- with the quote segment from Number 179 provided thru the written observations of Sri C.R. Rajamani. The quote below as found in RAMANA PERIYA PURANAM (Inner Journey of 77 Old Devotees) by Ramana devotee V. Ganesan, also linked below, is cited by me and as presented by me throughout much of my same works. Although not originally intended to be so by either author, both quotes are in fact unwittingly deeply interrelated, and in doing so unfolds as the second part of the two-fold incident --- with the second part not referring to the boy as found in the first part, but to the man who arrived at the ashram later:


"(T)he American entered without announcing his name. From the moment he entered, Bhagavan's gaze was on him. He sat before Bhagavan for three hours. Some kind of communication was going on between them during this time. There was such deep silence; no words were exchanged. The American got up and left. He never came back."


There is a tendency for many people to not only confuse, but also intermingle both of those two main quotes that I cite so often: the one at the top of the footnote about the face-to-face meeting with Ramana and the one found immediately above about the American entering the ashram without announcing his name.

The problem arises because not only do I quote the two so close together or in conjunction with each other throughout what I write that they get intermingled, but also because, even though they are by separate authors in separate books writing about separate incidents, they are talking about the exact same person as well as the exact same time, place, and time period at the ashram with Sri Ramana. The difference between the two is that in the first incident Ramana saw the boy as a boy, in the second he saw the boy as a man even though both were in same time, place, and time period.


  1. FACE TO FACE WITH SRI RAMANA MAHARSHI
    Enchanting and Uplifting Reminiscences of 202 Persons


  2. RAMANA PERIYA PURANAM (Inner Journey of 77 Old Devotees) (page 304)


The answer, or non-answer as the case may be, still lingers then in the form of the original question regarding the boy and the man. How did what has been put forward as having transpired actually have been able to transpire?

For one thing the Ramana Ashram isn't just anywhere. It is located at the foot of the Holy Hill Arunachala just below the caves Sri Ramana Maharshi lived in for so long. The reason Arunachala is considered to be so sacred and the holiest of the holy and why Ramana as well as so many others have been drawn to its slopes is intertwined with the fact that the chronological age of the hill itself, geologically-speaking, dates back into ancient, ancient times --- thousands of years older than the Himalayas and way before man ever tread foot on the surface of the Earth, in a sense making the foothills and the ground the ashram is built on imbued with a deep and sacred meaning, infused with magic and blessed by spiritual timelessness.


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The second of the two-fold incident, beyond, above, and including Ramana and the ashram, we are also talking about in combination, a special instance occurring or propagating within the environment-realm of the mysterious spiritual hermitage of Shamabhala incurring thus then, all of it's inherent trappings. If you recall the following from The Code Maker, The Zen Maker:


"It is after passing through the forward walls of the ruins and finding a fully functional monastery on the other side of the doors that people start getting befuddled. If they don't totally dismiss what is being said, they lose the ability to grasp the concept. Once through the main portal the time associated within the walls of the monastery and the land beyond flowed like the surface of a Mobius Strip, non-orientable."


As so stated, time associated within the walls of the monastery and the land beyond flowed like the surface of a Mobius Strip, non-orientable. When the Zen master put into place his intentions, he did so from a non-orientable time environment --- meaning, because of conditions, when and where he was within that non-orientable time environment relative to the conditions, would determine the outcome or results of his efforts --- in effect making his Siddhi efforts different in implementation and outcome than they would by if put into place on the other side of the walls.

As for the so mention of conditions: the word conditions is an English word used in context from the Sutras for the Sanskrit word Pratyaya which means (roughly): "the pre-existing conditions that allow primary causes to function." To wit, the following from the source so cited:


"Conditions are the milieu, stage set, or playing field where acts or impulses unfold. They can be increased by other conditions, decreased by other conditions, or replaced by other conditions to accelerate or postpone results in the stream of events. Which means that conditions can, but not necessarily DO modify. They arise primarily on a broader scale from causes in the distant past. When conditions do manifest themselves they are for the most part not defined, that is, they are undefined or spent, meaning they cannot create or impact figuratively further downstream responses. However, even though they are spent, they are still extremely powerful in how they impose themselves on the immediate circumstances in which they are operating." (source)


SENSITIVE DEPENDENCE ON INITIAL CONDITIONS


Any shift in any fashion in the conditions up or down or across the stream relative to the cause will impact the resultant outcome of that cause.


Additional time-travel possibilities and outcomes related to meeting yourself as well as how doing so relates back to the specific case outlined in the main text above, including a couple of videos from the 1960s TV series Twilight Zone. The Twilight Zone is a virtual goldmine of time travel stories, almost always with a twist or paradox. There are two standout episodes that are highly intriguing, both of which are deeply infused with time-like paradoxes. Of real interest with each is that neither of the two main characters in either of the two stories use any sort of a mechanical device such as a time machine or high-energy portal or similar such contrivance to be transported into or back from the past or future. They simply "walk" into or out of it not to dissimilar to the main character in the main text above.

The first episode oddly enough is titled "Walking Distance," wherein a man on a present-day road trip stops to get gas and have his car serviced. While the service is being done he walks to a small town a mile or so away he was raised in. After he arrives he discovers there has been no changes or anything, the town having remained almost exactly the same as he remembered when he was a kid. At about the 8 minute 13 second mark into the video the man sees a small boy carving his name into a post of the town square gazebo and remembers doing the same thing when he was kid. Later the man tries to talk to the boy as he is riding a carousel located in the same town square as the gazebo. When he does the boy runs, falling off the merry-go-round injuring his leg when it gets caught under the turning floorboards. After that the man walks with a slight limp.

The second very excellent Twilight Zone episode is titled "A Hundred Yards Over The Rim" a right up the alley Bootstrap Paradox story. Unfortunately like the above episode I have been unable to locate a free reliable access for my readers. Amazon provides access for free to Amazon Premium members. Try HERE for "Walking Distance" and HERE for "A Hundred Yards Over The Rim." Scrolling down the pages that come up will take you to each of the episodes. So too, if you are a Netflix subscriber or know someone who is, Netflix has all of the Twilight Zone episodes available in their "series" section.

The Calvin and Hobbes newspaper comic strip, of which I've presented a single panel above starring the young boy and tiger, wherein the boy Calvin, in a Bootstrap type adventure, goes time-traveling instead of writing a story for a school assignment --- a strip that appeared over the span of several weeks, between May 20, 1992 and June 6, 1992 --- can be seen in its complete run by clicking HERE.

If you haven't gone to Footnote [2] yet you should really do so.



H.G. WELLS: THE TIME MACHINE

FOR ANY OR ALL OF THE THREE VERSIONS SHOWN BELOW PLEASE CLICK IMAGES

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SEE ALSO:

TIME TRAVEL PARADOXES


TIME TRAVEL: A STRANGE MEETING


TIME TRAVEL: MEETING YOURSELF
MASTERFUL EXPLANATION USING NOT MINE, BUT A TOTALLY DIFFERENT EXAMPLE

TIME TRAVEL: THE BOOTSTRAP PARADOX EXPLAINED


TRAVELING IN TIME: BRINGING YOURSELF BACK, OR NOT!




ROBERT A. HEINLEIN'S SHORT STORY BY HIS BOOTSTRAPS CAN BE READ IN IT'S ENTIRETY BY GOING TO:

BY HIS BOOTSTRAPS



















Footnote [2]


Even though the entire contents of the incident so presented replicate and fall perfectly within all the concepts and perimeters of a Bootstrap Paradox, it may or may not apply to what has been presented. To wit, the following paragraphs as found in The Code Maker, The Zen Maker, Footnote [12]:


"(There were) piles of various black and white photos of every size and shape of my family taken during the period of time when my brothers and I were kids, all the photos except possibly a minor few were taken prior to my mother's death, and for sure none of us three kids together after her death.

"However, and this is one of the biggest howevers ever, and why all of the above is relevant: In what appeared to be a series of consecutively taken photographs, all seemingly done at the same time and at the same location, there were four that clearly showed the three of us kids standing behind a dark colored 1939 Plymouth four door sedan, with my older brother standing on the ground and my younger brother and I on the rear bumper.

"The photos were taken at what looked to be a railroad yard of a train station or possibly a dock or pier of some sort. The car in the photos was identified as having belonged to my grandmother from before the war years up to at least 1950, something both my younger brother and I clearly remembered. Among that series of four photographs was one that was a head-and-shoulder close-up of just my younger brother and myself, of which where the picture of my face should have been, was instead a hole. Actually a carefully cut away square hole, as if done so by an extremely steady hand using an ultra sharp razor blade or an x-acto knife.

"All the time I was at my brother's that photo kept gnawing away at me. What would be the use of a picture of my face being cut out, especially so no matter how neat it was done, would still ruin the rest of the photo. Then it dinged. I went back through the photos until I found it, then using the inside edges of the cut out opening as a template drew the square on a piece of paper. When I returned home I matched the square I drew with the size required to fit snugly into the opening of my Photo-Matic Code-O-Graph. The size matched perfectly. Although I left the photo that had my face cut out at my brother's with the rest of the photos, on the back of one of the series of four, in cursive writing, most likely in my mother's or grandmother's hand and using fountain pen ink, was the first names of my two brothers and myself along with the words 'Union Station' and the date 1942-43."


If it is taken that somehow the above is directly related to the events so described in the main text as well as the Bootstrap Paradox, a problem arises on two fronts. One, other than being the correct person, that is, me as a boy, and the correct time in the overall scheme of things, 1942-43, as well as the exact size and shape of the hole in the alleged photograph being a perfect size to be inserted into a Photo-Matic Code-O-Graph, there is no hard proof that the cut-out headshot was ever the actual photo that was in the aforementioned decoder badge --- or any other Photo-Matic for that fact. Secondly, even if it was the exact same photo, the question is, how and when could it have found it's way into the time stream we are talking about here?

The following quote is from the main text of the aforementioned The Code Maker, The Zen Maker. The quote pretty much makes clear that my mother, prior to her death or the coming on of her full-blown illness, had unfettered access to "my" Photo-Matic Code-O-Graph as well as it would seem by inference, because of what appears to be her handwriting on the back of the photos, to the series of 1942-1943 Union Station photographs of which the picture of my face was carefully cut out.


"(W)hen I was a young boy growing up, those who were close remembered well when I received my first Captain Midnight decoder badge. It was a Photo-Matic Code-O-Graph I sort of misappropriated from my older brother. I did so first without his knowledge, then without his approval, leaving him stuck with the old previous model, albeit the first in the series, a 1941 Mystery Dial Code-O-Graph. Once I got my hands on the Photo-Matic, not only would I not give it up, for years afterwards hardly anyone ever saw me without it. They say me listening to Captain Midnight and deciphering his Secret Squadron messages all the while coveting the decoder for myself raised a huge inter-sibling calamity and fuss in the family. But my mother, seeing that using the decoder required dealing with letters and numbers, and me willingly learning them at such an early age, bought a bunch of Ovaltine and sent for another decoder so both my brother and I would have one. The recognition of the importance and the learning aspect of it all is one of the few fond memories I have of my mother prior to her death a couple of years later --- and of which, along with the addition of the extended life of the Photo-Matic decoder through to the end of the war --- had a major impact on the importance of decoders on me starting so early in my life. As for the second decoder, the one ordered by my mother for my older brother, no sooner had he obtained it than he lost interest, eventually surgically disassembling it into as many pieces as he could. The last I saw anything of it, the main body of his decoder had been smashed totally flat after having been run over by my dad backing the car out of the driveway."


Even though my mother may seemingly have had long-term access to both the decoder badge and the photographs at the correct time and place and could have easily cut out the headshot and inserted it into the Code-O-Graph, a problem of any interaction on her part following through with either arises in the overall scheme of things. As it is put forth in the opening paragraph of the main text at the top of the page, when the boy arrived at the ashram with his favorite toy, the Photo-Matic Code-O-Graph, it clearly had a photo of Captain Midnight in the square. It was only after the man had arrived at the ashram carrying his own Code-O-Graph with a picture of himself in it as a boy, then switched the two photos did the boy's Code-O-Graph end up with a picture of a boy in the square.

So said then, implied or actual, if taken for granted that the events transpired in real life and seemingly on the conventional plain at all times relative to the protagonist, there seems to be no explanation other than the concepts so imbued within the boundaries of the Bootstrap Paradox.

Please go to Footnotes [3] and [4].

















Footnote [3]




As to whose picture was in the Code-O-Graph I carried with me when I traveled to India as a young boy with the foster couple there is no doubt it was one of Captain Midnight rather than of me as a kid --- with the soonest such proof actually surfacing so early in time that my mother was still alive and my family intact. To wit:

One day during that period of time my father took my brothers and me to a giant outdoor amusement park in Long Beach called the Pike. While on the midway I came into contact with a flamboyant gypsy-like sideshow medium. The medium asked for my Captain Midnight decoder in order to tell my fortune only to faint when she took it into her hands, falling to the ground totally unconscious. She was then assisted by a man who stepped from the crowd with the following results:


"During the assist the man from the crowd had also picked up the decoder. The woman softly requested the man, who by now was talking to my dad as they seemed to know each other from the shipyards, to hand her the decoder, which he did. While just barely touching her performer-like bright red lips to my forehead in a kiss-like manner the medium placed the decoder in the palm of my hand and gently folded my fingers closed over the top. Then, using each of her hands and fingers from both, she formed little circles putting them to her face around her eyes creating finger goggles, mimicking all the same as those worn by Captain Midnight in photos that came with the badge. Bringing both hands down from her face she put one hand on mine still holding the decoder while using her other hand to place the hand of the man that assisted her on top of them all and, speaking to me, said, 'From man to boy to man, your future and past is already marked by what is held together here in our hands.'"(source)


The above quote as the source so shows comes from Footnote [3] of Guy Hague who I met while I was a teenager in high school and told me what happened. Hague was the same man that knew my dad from the shipyards and had stepped up from the crowd that day to assist the medium. What I take from the story is, in that when the medium made finger goggles using her hands and fingers and put them around her eyes, she was actually mimicking what she saw in the photo in the decoder --- a picture of Captain Midnight wearing goggles --- and all done so while my mother was still alive and before I ever went to India taking the decoder with me.




Adding to the conundrum of the Bootstrap Paradox and the photos is the following, as written by the Wanderling and found, again in relation to Footnote [12] of The Code Maker, The Zen Maker:


"Not long after my father died than his then wife, who disliked both my older brother and me with a certain amount of way over-the-top high passion intensity, completely bypassing or overlooking the two of us, called my younger brother and told him she had a whole bunch of boxes containing belongings of our father related to his early years that she found stored away, and if my brother was interested, to come by and pick them up before she had them all carted off to the dump or tossed into the trash.

"Before moving the boxes out of the storage unit they were located my brother started going through some of them, but stopped after only a few because the woman my dad was married to at the time, at first, made him open them one by one watching every move he made and making sure nothing was in any of them that was of her concern. Instead, my brother balking at her nasty demeanor, just took all the boxes and stored them away in a conex container on his property with tons of other stuff thinking he would go through them some day. He did know that in at least one of the boxes he unsealed there was a lot of old photos of our family and mother that our father had, upon her death back in the mid 1940s, simply taped up and secreted away. To my brother's knowledge the inside content of the boxes hadn't been seen or gone through by anybody since, and for sure, until we saw them, neither my brother nor I knew they existed. It was within that same box of photos that I found the one with the square cut out with the date 1942-43."


In a sort of Schrodinger's Cat paradox, basically what is being said is, that almost immediately after my mother's death my father gathered up everything related to her and us three boys, including the box of photographs which he apparently sealed closed by taping it up, then put it all into storage. There the box and the photographs remained untouched to anybody's knowledge until my brother found it and opened it following our father's death.


SCHRODINGER'S CAT


"A living cat is placed into an opaque box-like steel chamber. In the chamber is a very small amount of hydrocyanic acid, a radioactive substance. If even a single atom of the substance decays during the test period, a relay mechanism will trip a hammer, which will, in turn, break the vial and kill the cat.

"An outside observer cannot know whether or not an atom of the substance has decayed, and consequently, cannot know whether the vial has been broken, the hydrocyanic acid released, and the cat killed. Since it is not possible to know with any amount of certainty according to quantum law, the cat is both dead and alive, in what is called a superposition of states. It is only when the box is opened and learn the condition of the cat that the superposition is lost, and the cat becomes one or the other, dead or alive."

WhatIs.com


See also Footnote [4]





















Footnote [4]


UNION STATION, LOS ANGELES, CALIFORNIA:

Although as a young boy I never lived in the downtown area of Los Angeles I did grow up in the suburbs as well as the 20 mile away beach towns and the even further away farm and ranch areas that surrounded the city in those days. Unlike now, during those same growing up years, traveling by train was big, with the main railroad terminal in Los Angeles being Union Station, a place that figured large in my life on several occasions. Again, in the previously mentioned Footnote [12] in The Code Maker, The Zen Maker I wrote about how a series of four black and white photographs of my brothers and me figured prominently in my life. On the back of one of the photos of the series of four, in cursive writing, most likely in my mother's or grandmother's hand and using fountain pen ink, was the first names of my two brothers and myself along with the words 'Union Station' with the date 1942-43 which is the first time and earliest date and year I can confirm being at Union Station, the next being July of 1944. On the night of July 3, 1944, as a very young boy, I was on a train from Chicago to Los Angeles when it derailed in a high speed crash, killing the fireman and three passengers while injuring 113 passengers and 13 train employees. Needless to say it took days before I made it to Union Station. For more please click the graphic below:



JULY OF 1944: THE CRASH, A YOUNG BOY, CHICAGO, AND UNION STATION
(please click image)


About five years later, following the death of my mother and by then living with my Stepmother, I met an elderly (to me) Chinese man that washed dishes and swamped a bar not far from where I lived. During slow times he used to meditate in the alley near the back door of the bar. The two of us met while I was traveling with a couple of kid-friends from school collecting and turning in beer and pop bottles for the deposit. One day I came by without my friends and he asked why I was traveling without my buddies.

I told the Chinese man come dish washer that several days before, just as I was leaving the garage with a wagon to catch up with my two friends to collect bottles my godfather stopped me and asked if I was going to meet up with the "Jew-kid" and the "(explicative)," using the N-word in that one of my school buddies was Black. If I had ever heard either word before I don't remember, but I remember well the day my godfather said them. Although I usually fell under the auspices of my Uncle, my godfather was still an adult figure in my life and when he said what he said I could tell by the inflection in his voice that somehow, at least as he viewed, something was wrong with both my friends. Continuing, I told the dish washer the following from the source so cited:


"A couple of days later I was at Union Station in Los Angeles with my stepmother who was either meeting someone or seeing someone off. I was on the platform some distance behind dawdling along when out of nowhere, using one of my newly learned words, I said, 'Woo, woo, here goes the (explicative)-train,' using the same N-word my godfather had used. The next thing I knew a Redcap was bending over with his face in mine, grabbing my shirt around the collar at the neck with one hand and waving the index finger of his other hand inches from my nose and loudly saying, 'Don't you ever use that word again!' Having never been grabbed like that before, by a black man or otherwise, I was scared shitless. Before I could respond in any fashion my stepmother was on the scene with her bodyguard asking what was going on. The Redcap, recognizing who my stepmother was, quickly reinstituted his Redcap role and using her first name by prefacing it beforehand with Lady almost as if she was royalty, related what happened. It was easy to tell my stepmother was totally aghast, fully unable to believe I would use such a word and insisted I apologize immediately not only to the Redcap but to all within earshot. She scribbled something on the back of her business card and handing it to the Redcap thanked him for what he had done telling him if there was ever anything in her power she could help him with, to call. Back in the car she demanded to know where I was learning such words. I told her what my godfather had said. Not long after that, under my stepmother's request, he was gone."


The Chinese man asked if I read comic books. When I nodded yes, he asked me to wait, got up and went through the back door of the bar returning in a few minutes with a handful of six or eight comics, all of which were in pristine condition. He went through the stack until he came to a specific issue, then he thumbed through that issue until he found what he was looking for. The comic book was called the Green Lama and the story he was looking for was about discrimination in the Army during World War II, how wrong it was and how it was resolved. The story was long for a comic book, ten or eleven pages. The full story as well as the source for the quote above can be found at the Green Lama site so linked, however the page below pretty much sums up the gist of the story:




The Green Lama was a 1940s superhero. Sporting an everyday guise as Jethro Dumont, a rich New York City resident and man about town, if necessity demanded it and he recited the Jewel in the Lotus Mantra "Om Mani Padme Hum", Dumont underwent a startling and dramatic change, becoming the Green Lama, gaining super strength, invulnerability, and the ability to fly.


THE GREEN LAMA


(please click)


OM MANI PADME HUM





















JULY OF 1944: THE CRASH, A YOUNG BOY, CHICAGO, AND L.A. UNION STATION



(photo courtesy Arizona Republic)


After the death of my mother, as a very young boy, following a series of events that for me were both fortunate and unfortunate and of which are fully articulated in M.V. Tulagi and elsewhere, I was left off alone and totally unannounced at my grandmother's on my father's side in Pennsylvania --- a grandmother I had never met nor ever even heard of.

I am not sure how long I was there, but from her place I was eventually returned to the west coast to be with my grandmother on my mother's side. It was during the return trip to my grandmother's in California that another interesting aspect in my young life unfolded.

Sometime around the very last day of June or so 1944, I was put on a passenger train in Pennsylvania headed toward Chicago, traveling with who I do not know. If it was or was not the couple described in The Last American Darshan who took me to India without approval of my family and then just left me in Pennsylvania has never been determined.




In Chicago I boarded the Number 19 Santa Fe Chief westbound to Los Angeles. Toward midnight of July 3, 1944, between Flagstaff, Arizona and Williams, on a high speed downhill run and behind schedule, the Chief's locomotive, a powerful Baldwin built 4-8-4 Northern with 80 inch drive wheels and clocking out at over 90 miles per hour, hit a marked 55 mph speed limit curve, with the locomotive derailing and sliding in the dirt on it's side off the tracks for well over 500 feet before coming to a stop. The rest of the 14 car train ended up in various stages of derailment and wreckage on and off the track, some cars remaining upright with two actually staying on the tracks undamaged. The fireman and three passengers were killed. 113 passengers along with 13 train employees injured, among them the severely injured engineer.



WRECK OF THE NUMBER 19 SANTA FE CHIEF JULY 3, 1944.

Although I was unhurt, the person or people I was traveling with was among the injured and taken, with me along with them, to either Williams or Flagstaff. Because of the nature of their injuries, whoever I was traveling with was held-up under doctors care for several days, leaving me without direct adult supervision. My grandmother, who had been contacted by the railroad, called my uncle in Santa Fe. He inturn contacted a nearby tribal spiritual elder to oversee me until he was able personally to intercede and safely get me to Los Angeles Union Station and thus then, to my grandmother's home in California.

The events found in this footnote has also been presented by me in virtually the same manner and same form in any number of my other works. What I have not included in the above account or have not revealed previously is a part of the crash event that circulates around the somewhat mysterious tribal spiritual elder my uncle arranged for me to be watched by until he, my uncle, could catch up with me. As you may recall, after the wreck, because the adult or adults I was traveling with had been hospitalized, I was left without adult supervision. I write about sitting in the waiting room late at night in some train station out in the middle of Arizona with the tribal spiritual elder waiting for my uncle to come get me.

What I don't write about is that I recognized the spiritual elder the moment he walked into the hospital waiting area looking for me as found in the following quote:


"Mid-evening on the night of the-unknown-to-anybody at the time up-coming crash I had gone to bed in the bunk in my compartment and as far as I knew had fallen fast asleep. Sometime during that period between the time I fell asleep and the crash occurred I found myself neither asleep nor in my bunk but outside of the train standing barefoot on the desert floor in the middle of the night in my PJs some distance off from a set of railroad tracks, my hand being held by an elderly Native American man.

"No sooner had I been standing there than in the distance to the east I could see the headlight of a locomotive heading in our same direction. Within seconds the train was parallel to where I was standing and then, almost as though in slow motion the train began coming off the tracks with the engine barely moving on it's side pushing huge mounds of dirt in front of itself and cars slowly going everywhere. Then silence and the passage of time returning to normal."(see)


THE SPIRITUAL ELDER AND THE SANTA FE CHIEF


Three years later, within a day or two of the third year anniversary of the train wreck, July 3, 1947, found me with my uncle traveling in the desert southwest having passed through Williams, Arizona on our way to Fort Sumner, New Mexico to visit the gravesite of Billy the Kid. We stopped at the crash site to pay reverence to those that died and my survival. While my uncle sat in the truck I walked the tracks where the wreck occurred. In the three short years since the derailment barely a sign of anything having happened remained, the wind along with the heavy downfall of summer monsoons nearly erasing the 500 foot groove and other marks caused by the huge Baldwin locomotive and passenger cars. If a person was unfamiliar with what happened it would have been unobservable.

Just as my visit at the train wreck site ended and my uncle and I headed toward Fort Sumner the Fourth of July weekend of 1947 was upon us. Any deep reverence or importance by me being at the train site was quickly overshadowed by a much larger event of earthshaking and monumental proportions when in the middle of the night of that weekend an unidentified airborne object of unknown origin began disintegrating, spreading debris and foil in a long swath out over the New Mexico flatlands only to eventually slam into the northern face boulders and rocks of the lower upslope of the Capitan Mountains --- an event that soon became known worldwide as the Roswell UFO.


ACCIDENT REPORT: SANTA FE CHIEF JULY 3, 1944


SANTA FE LOCOMOTIVE #3774


WRECK OF THE CHIEF


RIDING THE CAB FORWARDS


















The lower portion of the graphic below shows the location of the India landmass 70 million years ago --- 5 million years before the demise of the dinosaurs as so aptly discussed by me in The Mayan Shaman and Chicxulub.

Returning, the middle of the below graphic shows the location of the same landmass 20 million years later, i.e, 50 million years ago, having moved north and crossed into and partway through the equator. The top of the graphic depicts India's present location having connected fully into the Eurasian continental land mass. As you can see, throughout all those million of years that the sub-continent moved north it stayed virtually intact and unchanged --- all the while carrying the mountain range that contained that which would eventually come to be called Arunachala, except for typical wear and tear that might occur through normal weather and geologic processes, along with it.




PANGAEA SUPER-CONTINENT CIRCA 250 MILLION YEARS AGO


MAP OF THE RAMANA ASHRAM




















The above graphic shows a scene from a Minion movie. In the graphic, on the far left standing in front of some sort of an upright computer like machine is Professor Flux. Appearing in the same room is what appears to be an additional six other Professor Flux'es. On the right of the graphic is an upright device that has a door with a round window. That device is described in the movie as being a time machine. According to the story line, of the total seven Professor Flux'es the one on the far left is the "original," the others having been brought back from the past via the time machine to help him --- in essence setting up a scenario where not only does the time traveler meet himself, he meets multiple numbers of himself and as well, brings them back with him to his present. In the movie the original, "real" or "first" Professor Flux is accidently hit on the head by the suspended cylinder directly behind him, collapsing to the floor dead. With the onset of the sudden demise of the original Flux, who had gone back in time and brought each of the himself's back with him one by one, the other Flux'es start disappearing one by one.

Funny!

However, taken as it is, any physical place in time that Flux went back into the time stream and took himself he would no longer exist from that point forward in order to make it to being in the present (i.e., the "present" being the lab and all seven Flux'es together). So, if Flux would have taken himself out of the time stream ahead of the lab scene he would not have been there all along in the stream to do whatever he did to get to the point that he could go back in time to get himself. If such was the case then, he wouldn't have been there to go back to get himself. So too, since all seven were in the lab together at the same time, it appears he had not, prior to his death, reinserted each of the himselve's back into their initial time frame to be able then to have come forward.

Notice too, all the Flux'es appear to be in and around or near the same age. Although he could have picked himself one-by-one from the near future by backing up in time each time before he took one, none of them appear to be older than any of the others, indicating not pulling himself any distance in time out of the far future. Him being killed after he got them, however, would not impact them being there when he died. What would be impacted would be all the remaining Flux'es moving forward in time together as they each met themselves prior to the time they were taken back.

If you click the above graphic it will take you to a YouTube video showing the specific segment from the movie as so cited.


















Traveling to India with the couple during the declining health of my mother but before her death put me as a young boy arriving at the ashram proper sometime in early January 1944 and staying to sometime after April of 1944, re the following:


"(U)nknown to me, my mother was no longer at home, having become totally unable to care for herself, so much so my dad placed her into a full care sanatorium-like hospital in Santa Barbara, California on an around the clock basis. Before my dad had a chance to respond to the couple, the couple, knowing full well that my mother was in a sanatorium, without my father's grace, took me to India, simply sending him a note saying that in the end I had changed my mind about going. While I was gone my mother died. I missed the funeral and by the time I got back my family had disintegrated, my two brothers and myself all going separate ways, my dad disappearing into the countryside heavy into alcohol."

SRI RAMANA MAHARSHI: The Last American Darshan


The above quote is from the source so cited. It cuts to the quick about my mother, the foster couple, me going to India, etc. It also brings to light the fact that while I was gone my mother died and I missed the funeral. It happened that way because of me having left for India late in the year 1943 and not returning to the states until June of 1944, meaning by inference according to the quote, that it was during that six month time frame that my mother died. Taken to the extreme then, by inference it would also mean that my mother was alive at least right up to my departure and possibly sometime shortly after. So too, most likely right up to my departure I was in the U.S. on U.S. soil because as I have stated elsewhere I went to Santa Barbara with both of my real parents sometime in 1943. The question is, if I was with my parents or even the foster couple how is it during the same 1943 period I was able to hole up for the night along the Rio Felix in New Mexico with the spiritual elder waiting for my uncle to show up? There had to be in existence two of me at the same time, albeit occupying separate spaces. One of me quite possibly knowing my mother died, the other still having a mother alive. Truth be told however, when I was traveling with the spiritual elder I had no clue it was not, not 1944. It was only years later that I discovered the incident along the Rio Felix involving the German POWs was 1943. Again:


"There had to be in existence two of me at the same time, albeit occupying separate spaces. One of me quite possibly knowing my mother died, the other still having a mother alive."


THE SPIRITUAL ELDER AND THE SANTA FE CHIEF


SUPERBOY TRAVELS BACK IN TIME, ENDING

IN REAL LIFE ANALOGIES IN TIME AND PLACE

(please click image)