Projects Incorporating Eclectic Layering

a continuation of OTB 9

Unfortunately I didn't think of marking on the backs and fronts of the printed pictures until 9/13/4, so the earlier pics that follow do not show this step. Nor had it occurred to me to mark on the copper with markers, after having already written on them with pens. Nor did I print on both sides of the paper. And, unfortunately, these items are not nearly as powerful as they could have been. Further down, you will see the first of these neglected steps integrated into the construction.

Here's how it works with a bottle/mobius combo:

Here's a bottle that has labyrinths taped to it, copper foil over that, and a spiral mobius over that.

Here I wrapped it with aluminum tape. But I could also have taped the coil on with clear or electrical tape, and covered that with copper foil.

 

Now, since we have labyrinths permanently beaming into the bottle, we will not have to worry about magnetism destructuring the water. So I glued neodymium magnets (south side in) to the caps and the bases with silicone. South pole magnetism excites the water.

Then I sealed it all with aluminum tape, because I was going to cast it.

How did the unit turn out? Well, I let the curing process get too hot, boiling out unknown quantities of water and probably frying the magnets. Beware!

The above was done using thin, hard copper foil that was very rough on one side. The rough side of foil, incidentally, is receptive, and the shiny side radiative. This is why the rough side is out (I wanted to pack energy in).

August 10/04: I got some different foil from www.ssww.com. I got their 1.4 mil thickness rolls, though 1 mil would be enough. This is much thicker and softer (annealed) than the other stuff I had. I noticed that, energy-wise, the thicker copper makes a far stronger "plate". It is also much more difficult (compared with the other foil) to write on the backside over the ridges left by writing on the face, because the indentations are so deep (less deep if one uses a hard surface behind the foil). So with this stuff I more lightly lightly draw Reiki and OM symbols on the back, which does seem to add a a lot of energy.)

Here is something I made with 4 layers of this thick foil, some packing tape, and 5 copies of the Arras labyrinth, one of my favorites. This unit is slightly larger than a CD. I made all the foils unidirectional and aimed toward the viewer, except for the top one which faces the other way for "bucking energy" (explained in OTB 10). Likewise, you are looking at the backside of the labyrinth pic here.

Speaking of applying bucking energy to this work, originally I put the first 2 foils facing each other (with a taped labyrinth in between). This produced terrific energy, but most of it was out the edges. Then when I added another 2 foils facing one of the directions, it drew a large portion of that edge energy toward the front.

Then I put a 5th foil over the front, this one cut a slightly larger diameter, and crimped the edges over the back. (I had ensured that tape covered the other foils for insulation.) Doing this will draw even more of edge energy forward, although this is not really necessary within a coil like this (a Spurling-type ring would also work) as the coil uses that edge energy.
This foil was also facing the dominant direction, though I accidentally made some of the words facing backward. Anyway, I hung this big "medallion" within one of my tubular oscillating circuit coils on my wall, which makes for some reasonably potent orgone decor. I call it my gong.The lovely green shade of the wall is an inadvertent embellishment courtesy of my digital camera, by the way.

Now, the guy who wrote about this coil said it should never touch metal, but I break that rule sometimes. Here I deliberately have bare copper wire connecting the coil and medallion.

I have cast a somewhat similar disk in orgonite in the past, and expect to do more of that in the future.

Now, some further construction details. I find the best energy results from having GOD FORCE and the reiki symbol dominant, but also including GOLDEN C CRYSTAL and the OM symbol, and even other little symbols you like. I put little OM symbols and reiki symbols in any empty spots left on the foil after the bigger stuff has been done.
For me the best energy comes from aligning the entry path of the labyrinth right over the O in GOD; 2nd best is 180 degrees off. I always alternate, that is, GOD on one foil will be over the FORCE on the next foil, and the labyrinth tunnel will be 180 degrees from the next closest one.
If you're energy-sensitive, you may find that tweaking the rotation a degree or two can help the energy sometimes.

I tried a little one. Pain in the butt, cutting out all those little disks with scissors. I probably won't work with small disks again unless I find a suitable punch.

I used 7 small disks, and 8 labyrinths of the same diameter, so I did not need to cover the labyrinths with tape.

I made 2 disks, each consisting of 3 labys and 3 foils all facing the same way, and turned these 2 disks facing each other for "bucking energy" also sandwiching 1 more laby between these 2 disks. I was surprised how much the direction of the 1 middle laby determined the energy direction of the piece. I snugged up the edges with tape, and taped over the whole disk before casting.

I did stick in a small flat coil, too.

A lot of the energy still comes out the edges, but that's not so bad for a pocket piece.

Warning: a lot of strongly energized copper vibe may not be good for one. In post # 63906 at cloud-busters.com, Trimegistos, a professional acupuncturist, said, on the subject of copper coils:

I can offer you my view of it: Copper coils add a great deal to the "punch" of any orgonite device, all things I gift have one, but not those things that are near to me on a daily basis, like bedroom HHG (you will have trouble sleeping) or pendant, because its too energetic to be around people. Especially on pendants, I discovered wearing a pendant with one would give me arrythmia, probably too much energy on the heart area. Copper is a highly YANG energy metal. You could always try to balance it with a YIN energy metal, like silver.

I've stopped carrying the above piece in my pocket, and cleared a lot of the energized copper coils out of my cabin. I still have a fair bit of coils in there, but it seems i can tolerate a fair amount. Actually, I don't know how much of the problem was copper, and how much was too much orgone (if that is possible). However, with the amounts I had, I was running on 2-4 hours of sleep most of the time, and feeling pretty good, but getting deep bags under my eyes. Incidentally, brass and bronze are mostly copper.



Cutting out circular pieces of foil is time-consuming and a bit wasteful. (Though I do save the scraps, cut smaller rectangles out of them for putting in bottles, and save the dregs for orgonite metal.) Better to make large circles than small ones, in terms of reward for your labor.

Squares, rectangles, and triangles are much more efficient to work with.

OK, so now here's a cool application: a layered tetrahedron.

I made a template out of stiff cardboard, an exactly 5" equilateral triangle, and marked out 9 triangles, then cut them.

Here are 3 of the triangles along with labyrinths.

I made 3 triangles consisting of 3 layers foil, and 3 labyrinths each, like this one.

All energy directed toward viewer.

One corner of a blank copper triangle is always somewhat stonger than the others, so I put that upward. But that's not terribly important.

I forgot to tape labys to the backs! Can always add later.

Anyway, I taped them together from the backs, then flipped these around and taped the last junction from the front to form a tetrahedron.

After all that work, I ended up with a fairly powerful little item, though delicate and vulnerable.

Then I decided to make a large-ish rectangle. Note: unless you have some way of perceiving the energy, I do not recommend you undertake as complex a unit as this; slight differences in placement can make a large difference in energy.
On this unit I started putting 2 layers of taped-over printouts between each layer of foil. Why not? It only increases the energy dramatically, without costing you as much in copper.

Now, as mentioned in OTB 12, most labyrinths have a bit of a direction along the flat plane, in addition to the upward direction. This holds true of all the ones I mostly use, namely Chartres, Arras, Reims2, Dalby, Alasnan, Elypl. Some others, e.g. Amiens, St.Bertin, Maastricht, do not have a clear direction. Dransberg actually has more energy coming out the openings.

So, what I did in this unit was attempt to put a spin in it. Here we have 2 layer units, each consisting of a foil with pics taped on both sides. I'm about to set the back of the one on the left on top of the one on the right. (Note that in placing these together, turning one foil 180 degrees around, vis-a-vis the other foil, tends to make a big difference.)

We know from coil work that a CW wind from the outside inward usually drives energy toward the viewer. Here you see how I do the backsides (the left plate) CCW, so that when flipped over the front of the other one, they will agree in direction. I placed the openings of the labyrinths facing outside.

I did a sloppy job cutting those rectangles; it would be more ideal to have a print-shop style of paper cutter.

Incidentally, I like variety: the energy seems stronger, usually, when I use different labyrinths, etc., and different patterns on the foils.

Now, remember I'm using somewhat thick foil, 1.4 mils, which does provide a bit of structural backbone. I decided to add a coil so I can hook this up to a circuit.
I twisted some 22g insulated phone wire into a 2-strand cable, and formed a simple spiral with it, and taped it securely in place.

Another type of coil that can be incorporated into these devices is the hotplate coil.

In all, I used 6 layers of foil, with the coil sandwiched in the middle. I decided to just tack the corners of the 6 layer units together with a small amount of tape, as I may well re-open this unit at a later time to add more stuff. Those empty spaces on the foil can accomodate more small graphics.

Incidentally, that's one of the torus pics in the center, with Lakhovsky coil decals around it.

Then, I sandwiched the unit between 2 layers of corrugated cardboard, to hold everything in place and protect it. Guess what? I noticed that, surprisingly, there is a dramatic energy and direction to the cardboard! I was amazed. Attaching cardboard to one of these devices actually seems to increase the energy greatly. The smoother side is receptive, and the more corrugated-looking side is radiative, which is opposite what I would have expected. (Usually; I did find some that was more the other way around.)

Naturally, I took my copper-ink marker and drew symbols and words on both sides of the cardboard, too; mirror-image-wise on the backs, as I wanted a dominant energy direction. What I should have done for even greater power, is use 2, or even more, colors of ink, e.g. draw symbols with copper ink, then print the power words over that.

Whew! Close to 6 hours' work here, but it is very powerful and compact.

The pictures were taken with the coil simply passively closed on itself.



Now I'm getting into stuff that employs writing/drawing on both sides of all the paper/cardboard components, as well as the copper. A more powerful technology:

A hollow vessel. I wanted something hollow and open on one end for various uses. I took a half-gallon wide-mouth, squarish jar and taped 4 "doctored up" labyrinths on it, face in. Then I placed a single rectangle of copper foil over that, so as to wrap completely around the bottle. Then 4 torus pics over that.

After covering those with tape just for protection, I wrapped some bronze-wool (a very high-energy metal containing silicon) around all that. I wanted to see how well it worked for layering. Then a layer of cardboard. This felt pretty good.

Again, the drawing/writing is mirror-image-wise on the outside, to drive energy in to the center.

After taping on 4 more labyrinths, I added another layer of bronze wool, and this time I decided to spend more time doctoring the next layer of cardboard. How far can one push the concept of writing/drawing as much as possible on every layer? I don't know, but so far, the more the better (though I'm inclined to use some respect/sensitivity when drawing on the labyrinth faces; I suspect it may be possible to damage their action).

Close-up of the detail. You can make out the copper marker, black marker, and ball-point.

It took a while to make this, with mirror-image on the backside equally complex. But then I had one powerful piece of cardboard, long enough to jazz several chakras at once.
This felt quite a bit stronger than some pricey commercial items I have of similar thickness.

Really, if you're poor, can't afford resin, you can always scrounge up some cardboard and something to write with, and make devices for your home and car, etc. Put them under your bed/seat, behind the car seat, under your PC, tape small ones to appliances, carry them in your vest pocket, purse, whatever. Make 3 large cardboard triangles, and tape them together to make a tetrahedron.

Here it is to the left, taped on along with more labyrinths.

Next I added 4 more labyrinths. Then I discovered I had a Spurling-type ring laying around which fit snugly around it. It seemed to add a lot of energy if centered over the pics. I taped that on.

Also, on the bottom, I taped on a flat disc made of 3 layers of copper foil, a layer of cardboard, several torus and labyrinth pics, tape, and a Lakhovsky decal. This really directs energy toward the top. The bronze wool was exposed at the bottom of the unit before I placed this disc over that, and the direct contact between the bare metals (copper and bronze) caused the bronze to be "lit up" energetically from this bottom plate.

The duct tape in the mouth is to prevent epoxy from dripping in when I cast it. I also taped the whole thing well with clear packing tape to prevent epoxy from leaking into the bronze, etc.


Then I cast (in stages to avoid overheating) the whole thing in a plastic food storage container, in a relatively low-density orgonite using mainly magnesium (another very fine-quality metal), crunched-up selenite, and a modest amount of powder additives. (The duct-taped jar at the top is a stopper to keep resin out when I re-cast.) Why low-density? See Wanderingwizzer's article which states:

Low Density orgonite offers very little resistance to the orgone as it flows through the device. This means that the device is not very suited to cleaning the orgone, it will not convert DOR to OR with much efficiency. But, since it attracts the orgone and allows it to flow through it very easily, low density orgonite is useful for sending and receiving orgone energy, and for collecting and moving orgone energy from one place to another.

Actually, what I made here looks a lot like what he calls medium-density, but the point is, I did not want a real dense orgonite on the outside and bottom, to slow the flow inward and upward. Remember, my components were all designed to drive energy inward and upward.
I did pour a thin layer of very dense stuff loaded with metallic minerals, etc. on the very inside bottom of the jar, in part to protect it from objects that may be dropped in. This dense layer is excited by all the energy being driven into it, and in turn transmits it well (is less insulative). A less-dense layer would tend to counteract the objective, by tending slightly to pull down energy.
Elsewhere, WW has also pointed out that clear resin will draw in orgone from the environment, thus a person might leave a thin clear layer at the base of a cone casting, so that the finished product will take in energy more at the base. Essentially, clear resin draws in, whereas the more metal you add to it, the more it is prone to radiate. Cast orgonite in a copper pipe, and the metal surface will cause energy to radiate out.
It behooves one to keep in mind these dynamics of flow when casting. And layering! A layer of tape on the face of a piece of foil will tend to make it radiate less. I still will often cover a face with a paper pic and tape, because the net energy will still be stronger foreward, due to the directionality of the symbols.
And I tend to use cardboard on the backs of things, as that is a thick organic layer.



TO BE CONTINUED..

Loohan


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