An orgone condenser by any other name…

Karl Hans Welz, Austrian scientist and inventor, owns the trademarks for: orgone and orgone generator and has owned it for at least a decade, but he didn’t enforce it until a few years ago. orgonomers(?) and orgonite artists claim the term has become generic through common usage. find a petition challenging this trademark on Change.org.

Welz looking grumpy

(yes, i signed it. mostly due to my first impression of Welz, who likes to shut down peoples’ websites for selling ‘orgonite’.)
a few observations about Welz: he does not look like a person one would like to join for lunch, he talks like a robot, and builds some of the most hideous websites you’ll ever see. his orgone generator devices are not at all the odd but aesthetic configurations popularized by Don and Carol Croft. surf his wave on the web for 10 minutes, and your bions will be screaming for some metal filings and a hunk of quartz suspended in some type of resin.

organite by Carol Croft (crystalinsights.net)

that is, orgonite.

drop that term into the google machine to find much more than the hideous, primary-hued sites of Welz.
First, wade through the products, because people love to make this stuff and he can’t shut them down fast enough.
Follow some links that reference the Croft couple and their work as Etheric Warriors.
then, follow a link to the biography of Wilhelm Reich, the scientist that became, in essence, the good doctor of the free-love movement.
experience the rabbit hole of endearingly weird psuedo-science, conspiracy theory, glowing anectodal accounts, and pop culture references.
maybe, discover this song from the 70s. bonus: check that off the list.

Welz did in fact coin the term organite and is responsible for organite as we know it today: metal filings suspended in resin. the Crofts improved on the design by adding a crystal for the piezoelectric punch, and because crystals make everything better.

the original term orgone belongs to Reich. his orgone chambers were enclosures the size of phone booths with walls made from layers of steel wool alternating with sheep wool or plastic fibers or some other type of organic material. a person seeking the therapeutic benefits would sit on a chair in the enclosure until feeling slightly nauseous – the sign that they were charged to the max with potent orgone energy.

Reich claimed his orgone accumulators could cure cancer. William S. Burroughs, who used the method as a cure for ‘junk-sickness’, had an orgone generator inside an orgone generator. he also claimed it got him off, yes, sexually.

for your friend.

in case you know someone with a problem that might be solved thus, here is a pdf with instructions. you know, for your friend. The Orgone Accumulator Handbook

Reich, a contemporary of Freud, nurtured a fierce conviction that most of what troubled humankind could be solved by a good orgasm. he portmanteau-ed ‘orgone’ from ‘orgasm’ and ‘ozone’ and defined it as a universal life-force vital energy and an organizing principle running counter to entropy.

out of fairness to Welz, Reich was not a universally loved and respected figure either. his contemporaries scoffed at his research, his books were burned, the FDA banned his treatments, and he was eventually thrown in jail. in short, he was a perfect fit for the Beat Generation and a natural segue into the Free Love movement of the 60s.

that was the mid 20th century. a little more digging will reveal deeper roots.
Oscar Korschelt, German chemist and inventor, build the Solar Ether Radiation Apparatus in 1890 possibly on the same principles.
Franz Anton Mesmer, who pioneered the system of therapuetics known as mesmerism, may have build the first device to accumulate ‘animal magnetism’ in the middle of the 18th century.
i also stumbled on a few mentions of Czech occultist Franz Bardon. Ostensibly, Bardon wangled some ideas that eventually resulted in the concept of orgone and then orgonite, like wee idea-generating bions.

now i want to make things.

i am a beginner at working in  this medium. i will share discoveries and woes transparently.

materials:
clearcast 7050 – this is the only resin i have ever used. it is a 1:2 part epoxy resin. i researched a lot, and then i bought this. i have no basis for comparison.
containers and stirrers – disposable things to mix the resin
lots of little silicon molds – find an endless variety of these online.
bits of metal and gem stone crystals and whatever random beads and things one has laying around
butane torch – priceless for removing bubbles and inexpensive at home depot
some attractive material – and maybe a bead, sanded flat on one side with a Dremel – and some glue like E6000


the resin: Clearcast 7050 epoxy resin for making jewelry

silicone molds of any kind can work. butane torch = game changer.

dust is the enemy,  so use a box. Dremel photobomb.

putting little random things in art is the bestest

no issues with curing using small batches. measure very carefully.

smells like starburst if you’re me ( but do not eat it)


observations on material and process:
this resin doesn’t mix quite as thin as one convincing youtube lady claimed. a watery resin is a plus because it allows bubbles to escape.
these youtube crafters hold up sample chunks of resin that seem to glow with an ethereal flawlessness. but despite stirring very carefully, i am getting micro-bubbles in my pieces. not the end of the world for these are busier pieces, but i want to have more control. i am concerned it might have something to do how i time multiple pours on a single piece or my timing in using the torch to draw existing bubbles to the surface. i’ll learn more as i go. the reader is encouraged to comment.
this ClearCast 7050 is really crystal clear and cures rock hard. and it actually smells kind of… good. citrus-y. but i also find E6000 glue smells like fake watermelon flavor, so it could just be me.

using Novus 1, 2 & 3 with a microfiber cloth. got bored, used dremel

had to polish because i got excited and poked it before it was cured.

my intention is not to find the very best materials or totally refine the process or teach other people. my goal is to make something that i can confidently sell. i rely on the information i dredge from forums and product reviews before deciding what to buy or try. i expect a learning curve, but experiment as efficiently and optimistically as possible until i reach the goal of a sufficiently refined finished product.
i might come back and affiliate link this post. if i do, i will note it. i will never blow any smoke about how wonderful this or that linked product might be, just describe my experience.


look: a micro-organite.
that’s my fun-at-nomenclature stab at a TM-free name for this guy. this is a prototype for a pocket-sized ‘orgone collecting’ charm.

for the fabric, i used a piece of ribbon. first i glued it to the bottom, then cut around it leaving a couple millimeters to fold and glue to the sides. i cut the seam off the ribbon and glued that around the circumference to give it a finished look. this ribbon has wire in it, so i threaded the bead on that. it worked well. i taped off the resin and sprayed the fabric with a gloss enamel to prevent stray threads.


i looked up orgonite on a lark and found a lot of talented artists making resin sculptures full of color and personality. i believe good art is energizing. that’s not the same as mainlining animal magnetism, but it’s ample reason to create or enjoy the craft.
is there more to it? what is the efficacy of these hippie EMF dissruptors?  what do i think? i think i don’t know enough, and i would hate for my arbitrary opinion to sway another away from conducting ones own research.
may the artventure continue!

next micro-organite project in its mold. metal filings.

resin pendants using pendant trays and printed artwork

experiment: teeny micro-organite pendants.

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a wall-hanging altar space

achetypal language, folk religion, ritual, art. nothing is more engrossing than the rabbit hole of the self.
an encounter with the Pachkuti Mesa of Universal Shamanism inspired me to make this altar prototype. it is not intended to be a precise model for an altar of that tradition. i was inspired, and i wanted to make something.

my original project plans

short version: the Universal Shaman tradition is an unified assemblage of concepts and practices from traditions around the world that follows a template of Peruvian Shamanism. the purposeful result is a practice that is appropriate for the modern world and suitable persons of varied backgrounds.
i went to see the man responsible for pioneering this tradition, a Peruvian curandero don Oscar Miro Quesada. it was a packed house at a metaphysical center down in Hollywood, FL. don Oscar has a sense of humor, which may be the most important and under-rated trait of any kind of spirit-man. i didn’t engage him at length, but i did purchase a book and had him sign it. good vibes.

(i am not faithful to any particular practice. my bookshelves are populated, my mind is open. my reading and researching isn’t limited to metaphysical subjects; i read plenty of science. i can’t have anyone thinking i am some fluffy new-age-mystic love-is-all-we-need type. don’t box me in, man. )

this is a tradition, in a way, intended for appropriation. rather, how can one appropriate something that professes itself universal?
it Would be wrong to appropriate religious symbolism from a tradition whose adherents regard their practices as too arcane and secret to be utilized by a non-initiate, especially to publish it on the interweb. this is just to say: Respect.

‘new world’ traditions generally align directions and elements in this way: South – Earth, East – Fire, North – Air, West – Water. the central nexus, is Ether/Space. this adds the aspect of the mandala (sanskrit word, global archetype) to the altar space.
note: the elements are the same as the platonic or classic elements: Earth, Fire, Air, and Water, but these are pretty archetypal and, so, typical of most symbolic systems. one could refer to the Platonic solids in their practice if they wished, thanks to the inclusive nature of Universal Shamanism: earth/cube, air/octahedron, water/icosahedron, fire/tetrahedron, dodecahedron/aether.

in a modern metaphysical practice, one can extrapolate indefinitely from any point. the conceptual paths followed might have significance to where one is in life or spiritual practice. they may reflect ones needs or goals.
this is not unlike Jung’s foray into the unconscious. it’s not totally unlike some methods of Kabalistic Torah interpretation. start with the belief that the Word (Logos) is alive, and that it is written on the world (or that the world expresses it or is the expression of it.)
one might discover that the distinction between inner and outer is not definite, but very blurry. like a low-res photo of sasquatch through a dusty lens. might not even exist.
what does exist is a rich and aesthetically engrossing archetypal language that seemingly flows through a measureless medium of universal consciousness. (totally want to tap in to that.)

there’s a flip side of exploring symbolic languages as if they all share a common, universal grammar. a concept/practice/symbol can’t be fully divorced from the culture, religion, and history of its origin without greatly impairing its potency. example: yoga as Pilates is not as good as a yoga practice seeped in original philosophy and dharma.
one solution is to choose an axis for exploration and stay on it. go x axis and explore within a tradition. or go y axis and explore a single concept across multiple traditions. my assignment of axes is arbitrary and it’s nigh-impossible to avoid diagonal movement. but i’ve found attempting this will help prevent attachment to watered-down new age things by keeping it a little structured and ‘real’.

here it is with a faery flower garland draped across it. at the top, a feather holder for the air element. left, a vessel for water that has a seashell in it. to the right, a place for a candle and some incense. at the bottom, a piece of driftwood with little shelves for stones and bones. in the middle is a little box i made from a shell pendant and a wooden bowl. the clasp is a shark tooth. secret things representing the inner self should be contained in this little box. copper wire accentuates the mandala effect and provides a place to hang meaningful trinkets or miniature flags. i build it on a wooden picture frame and designed it to be modular and customize-able. i would especially like to replace the altar cloth with something better. building this brought me joy, and i smile when i see it on my wall. especially with the faery lights. i make and sell those, btw. if you would like one for your sacred space, find them in my etsy store.

back by my altar device. my rendition is pretty generic. for one, it is a prototype. as such, i have claimed it for my own use which is admittedly half-assed. i stand facing it, pray silently or mumble words of gratitude. huff some sage, which is the part i am most into… i swear it does something…
for two, the project is meant to evolve over time. sacred spaces such as altars exist in relationship with those who utilize them. also, i would like to carve some imagery into the frame and make meaningful additions as they occur to me.

how to fully use such a thing as this altar? plenty has been espoused by people more qualified to teach that. those who want the knowledge may look for it, and it will find them.
start at: heartofthehealer.org

i’d like to make more of these but it might be a while. i’m making lots of things.

_C


assorted materials

the frame and wire

feather holder for air element

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easy on the monkey

things people say sometimes about mediation that prevent them from really doing it:

  • i don’t/can’t meditate because i can’t stop myself from thinking.
  •  i meditate by doing things i like. when something causes me contentment, i am meditating.
  • in the dictionary, meditate is defined as: to think carefully or deeply about something.

meditation changes lives. a regular, formal practice alters the brain in objectively (scientifically) observable ways. the inner experience of these changes and those less observable are profoundly freeing and uplifting. the benefits are too great to wave aside arbitrarily for a lack of information or understanding. let’s dispel some common misconceptions.

stopping the mind from thinking through use of volition is virtually impossible

a common misconception: meditation is about quieting the mind, therefore we must use our will power to squelch and strangle every poor little thought… if this were the case, no one would ever meditate. there’s no way such self-abuse could ever lead anyone to an inner state of peace.

the thinking mind has long been compared to a monkey. the monkey chatters. the monkey swings from branch to branch. it’s attention span leaves much to be desired. the monkey is not tame and obeys it’s own nature.
don’t strangle your monkey. first of all, he’s only doing what he does because it is his nature. secondly, monkeys freak when you try to strangle them. don’t be a jerk to your monkey.

so, decoding the above: it is the nature of the mind to think. why expect otherwise? the important realization, the absolutely critical realization, is that you are not your thoughts, you are not your mind. ask: who is it that is watching the monkey…?

and where does this leave us? in a position to stop chasing the poor little simian all over the place. chill and monkey-watch. human awareness is powerful. giving chase to thoughts imbues them with energy and gives rise to potentially endless narratives. observing rather than engaging thoughts will calm and quiet the monkey-mind. this takes practice, but practice is synonymous with success. every time i remember to disengage from the stream of thoughts and become the witness once more, i have succeeded.

liking what your are doing at the moment is not the same as meditating.

as an artist, i’m no stranger to the meditative mood. accessing creativity is like a switching back and forth between rational thinking states and deeper no-thought states that yield inspiration. those no-thought states might be same as or similar to a meditative state. but without the intention of meditating, of encouraging that inner space one moment at a time, it isn’t meditating.

i experience random sensations of deep interconnection with all of creation. it’s a good time that might relate directly to my own spiritual foundation, but it does not offer the same benefits as actually meditating. meditation might foster in one a deep sense of affinity, contentment, and joy, but the reverse is not valid logic.

the dictionary definition implying intentional thought is clearly not the subject at hand

i’m not saying that the definition in Websters is invalid. lots of words have multiple meanings or mean different things in different contexts. but clearly we are talking about the not-thinking kind here.

in closing:

give it a shot because there are no substitutions for becoming the master of your own mind. how powerful are your thoughts? do they serve you well? do they sweep you up in a storm? leave you with clenched fists over a scenario merely imagined? how much energy could be refocused to better use with an improvement in your thought-life?

i recommend this book:
“Joy of Living” by Yongey Mingyur Rinpoche
for its great basic meditation techniques. his approach is lighthearted and accessible. this book is very secular and mentions more science than faith. i’m big on faith, don’t get me wrong – my own faith is deepened by the benefits of meditation. but sometimes you just need to retrain your brain. its non-religiousness renders it suitable for all audiences.

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Creative Process pt. 1

Creative Process, Thoroughly Unprofessional Discourse pt. 1 (Setting the Stage)

All familiar demons rose to taunt me as I procrastinated. I had given myself a writing assignment: a short series of articles on the creative process. My topic is so contextual, with subtopics thoroughly enmeshed. Where would I start? How to divide content? Outline or free-write? Conduct research or write from experience?
I did everything else on the list first. I checked out a library book, renewed it twice, and returned it weeks late. Searched for the right mood, the right lighting…Until the project intended to ensure I would write was preventing me from writing anything else.

Writers block: a formidable impasse. A long stare into a chaotic soup of unformulated thoughts, a morass of vowels droning indistinctly. Or worse, a lonely stand at the brink of nothingness. So, maybe the ideal starting point is a look at the bogies that thwart the creative adventurer on the road to manifestation… Except, it may be necessary to take a step back. Isn’t it essential to provide at least a vague and general conceptualization of the creative process as well?

Yes, but.
One more step back. The afore-mentioned library book explores creativity as a discrete concept. I sympathize with the author who tackled this daunting task, but I returned the book unread. Despite some effort to be general and abstract, my description of the creative process will be contextual. The context is by necessity Me, so a brief introduction is in order:

I’ll introduce myself as a general-creative. I’m of the type that commits various creative acts with fair aptitude. More specifically: I can paint, draw, sculpt, design a website or a logo, structure a yoga class, and make soap from scratch. I like to write poetry and short prose. I’m a versatile and skilled cook, I’m learning to professionally decorate cakes, and I’ve tried my hand at bonsai with a fair measure of success.
This is a partial list. I love doing all of these things and more.
One of my challenges in being effectively creative has been completing projects because I tend to have a few going at the same time. Sometimes my focus is too diffused, and even my finished projects lack a sense of fullness and completion. Personal challenges aside, my varied forays are deeply enriching in the broader context of my life.

As somewhat a Jack of all trades, one of my primary skills is translating effectively between media. This is what drives me, hopefully qualifies me, to write on the subject of the creative process. If my take is subjective, it is also diverse.

Time to return to the second skipped topic: a general overview of the process involved in manifesting an idea as an intended representational form.
A looping function this may be. But if it has a beginning, it is a moment of acknowledged inspiration. A brilliant idea coalesces unbidden out of the ether!
‘But is it brilliant, really?’ hopefully the mind asks. If the idea passes a test of being plausible and potentially executable, the mind may take firmer hold. The idea has to evolve through some stages of conceptualization and formulation. If the inspiring idea makes it this far, then next would come planning. Once an executable plan of attack has been formulated, it’s time for the action that will manifest the finished product.

Mind may be unbounded, but space-time relativity comes with rules by which we play for the most part. This is the skill game. The physical actions performed to achieve a complete manifested form will be temporally ordered, specific and have definite results. The planning stage, whether done initially or in phases, is a translation of idea into form by the means of action.
The formula I’m postulating seems accumulative and linear, but one must allow for back-to-the-drawing-board insights. The process is not complete without them. Further qualifying my outlined structure, microcosmic versions of the whole erupt spontaneously, whirring in and out of existence like the quantum phenomena they likely are.
And one more important qualification: I have created a model for something abstract or metaphysical, then broke this continuum into distinct phases that don’t really exist as such so that they can be discussed. This is a common function of human thought and arguably the whole basis for language, therefore I feel that it’s allowed. (End disclaimer.)

Coming back to the first skipped topic:
Impediments to project completion can occur at any phase of the creative cycle. If it’s a jungle out there, then it’s a jumble ‘in here’. So, perspective and discipline have rolls to play in the life of any effectively creative person. True, many artist-types identify with a free-spirit, non-conformist, do-what-you-feel fantasy image. There will be no career in the arts for them. The more the ‘D’ (discipline) word scares one, the more likely that person would benefit from developing the trait.

Conversely to what the art-hippies believe, the right dose of prudence and discipline enhances ones capacity for creative fun and freedom. But the lack of these traits isn’t the only impeding factor, so why the focus? Other challenges require persistence to be overcome, for which discipline is required.
Example: Jumping the puddle of doubt between planning and acting is a recurrent challenge. Learning to take it less seriously and let go of perfectionism, I find a motive to splash through it. Then, I can achieve results that are validating and improve my faith in my abilities.
But to overcome my inertia requires discipline. Without that, I couldn’t build better creative habits.

A change in perspective can have a radical effect on experience. Walls or bridges can grow from the stories we secretly tell ourselves. Ultimately, it is this inner narrative that determines a life of self-imposed limitation versus self-created opportunity.
So, what are the stories behind our habits? We all have our own. The general theme is fear. The common manifestations are many and known. A guide to creativity-snuffing demons and methods for foiling their attempts is in order. For next time!

_C

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