ALICE IN WONDERLAND

ALICE IN WONDERLAND SYNDROME

“Alice-in-Wonderland syndrome also known as Todd’s syndrome or lilliputian hallucinations, is a disorienting neurological condition that affects human perception. Sufferers may experience micropsiamacropsia, or size distortion of other sensory modalities. A temporary condition, it is often associated with migrainesbrain tumors, and the use of psychoactive drugs. Alice in Wonderland Syndrome is experienced after ingestion of muscimol. The famous hallucinogenic that Alice from Alice in Wonderland eats (“red and white toadstool”) is Amanita muscaria or Fly Agaric, which contains the psychoactive alkaloid muscimol. Alice in Wonderland Syndrome is sometimes called Todd’s syndrome, in reference to an influential description of the condition by John Todd (1914-1987) in 1955, a British psychiatrist who worked in Yorkshire. Todd discovered that several patients under his care experienced severe migraine headaches causing them to see and perceive objects as greatly out of proportion.  Since Lewis Carroll was a well-known migraine sufferer with similar symptoms, John Todd speculated that Carroll had used his own migraine experiences as a source of inspiration for his famous 1865 novel Alice’s Adventures in Wonderland. Carroll’s diary reveals that in 1856 he consulted William Bowman, an eminent ophthalmologist about the visual manifestations of migraine he regularly experienced. Since Lewis Carroll suffered from these symptoms of migraine years before writing Alice’s Adventures in Wonderland, it is reasonable to presume that Carroll used his experiences as inspiration.”

“milk, mint…

milk-mint-lemon-sugar-free

 “Once upon a time there were three little Sisters. They lived in treacle and drew all manner of things that begin with an M…….
…..mobiles and mammary glands, margarines and motor cars, and the mysterious manners of manta rays, macabre mascara, magic macaroni, marvellous mackerel, masterful madrigal, and mellow, melon, meager, meadow, mealy mouth’d, meanness, meanwhile, medley, mood, muse, mouth, murmur, muscat, muscle, muse and music, music, more, manicure, melancholic megalomaniac, morning stars…” 
DORMOUSE

(Korean Milk Mint Candy)

“I’m glad to be leaving the game which had grown quite chaotic” (Alice)

  1. When striking a ball the striker may NOT:
    1. touch the head of the mallet with his hand, or slide the mallet along his foot or leg to guide it; touch the head of the mallet with his hand;
    2. rest the shaft of the mallet or a hand or arm on the ground or an outside agency;
    3. rest the shaft of the mallet or a hand or arm directly connected with the stroke against any part of his legs or feet;
    4. move the striker’s ball other than by striking it with the mallet audibly and distinctly;
    5. causes or attempts to cause the mallet to strike the striker’s ball by kicking, hitting, dropping or throwing the mallet;
    6. strike the striker’s ball with any part of the mallet other than an end face of the head, either:
      1. deliberately; or
      2. accidentally in a stroke which requires special care because of the proximity of a hoop or the peg or another ball;
    7. subject to Law 28(d), maintain contact between the mallet and the striker’s ball for an appreciable period when the striker’s ball is not in contact with any other ball or after the striker’s ball has hit another ball;allow the mallet to be in contact with the striker’s ball after the striker’s ball has hit another ball; subject to Law 28(d), strike the striker’s ball more than once in the same stroke or allow the striker’s ball to retouch the malletstrike the striker’s ball so as to cause it to touch a hoop upright or, unless the striker’s ball is pegged out in the stroke, the peg when in contact with the mallet;
      1. in a croquet stroke, or continuation stroke when the striker’s ball is touching another ball, allow the mallet to contact the striker’s ball visibly more than once; or
      2. in any other stroke, allow the mallet to contact the striker’s ball more than once; or
      3. in any stroke, allow the mallet to remain in contact with the striker’s ball for an observable period;
    8. strike the striker’s ball when it lies in contact with a hoop upright or, unless the striker’s ball is pegged out in the stroke, the peg other than in a direction away therefrom;
    9. move or shake a ball at rest by hitting a hoop or the peg with the mallet or with any part of his body or clothes;
    10. touch any ball, other than the striker’s ball, with the mallet;
    11. touch any ball with any part of his body or clothes;
    12. in a croquet stroke, play away from or fail to move or shake the croqueted ball;
    13. damage the court with the mallet, to the extent that a subsequent stroke played over the damaged area could be significantly affected, in a stroke in which either:
      1. his swing is restricted by a hoop, or the peg, or a ball not in contact with the striker’s ball; or
      2. he is attempting to make the striker’s ball jump; or
      3. the striker’s ball is part of a group.
        The penalty for all of these is that the turn ends, it is the opponent’s option as to whether the balls are replaced or remain where they lie. In the event of a croqueted ball leaving the lawn and a fault being claimed, the adversary may waive the fault and the balls remain where they end up and the turn finishes.
        http://www.oxfordcroquet.com