I will start here by defining radionics as an instrument-aided manifestation modality. Historically radionics was exclusively the use of electronic instruments for therapeutic purposes by doctors and trained medical practitioners, but in more recent years it is increasingly being used for manifestation of personal desires and incorporated into occult practices. It was first understood that radionics instruments measured electrical resistance in body tissue (and treatment was by similarly electrical means), before it was found that diagnosis and treatment could be done at a distance with devices which had no electrical power at all. In fact, all this could be done by simply drawing the instrument on paper. So is radionics all in the mind?
This eyebrow-raising diversity may lead to any number of further questions: What actually is the instrument, and how must it function? – or does it have to function at all? What about “symbolic radionics” that can be nothing but a schematic or diagram sketched on paper? Can it be just a random collection of stuff thrown into a bag? (I have to say that I’ve never actually seen this, but it is a logical if absurd extension to the argument that radionics is all in the practitioner’s mental focus.)
Allowing for the myriad diverse schematic designs of radionic instruments – so diverse, in fact, that many cannot even be compared – in the practice of radionics there seems to be a necessity for three things to be present for a successful operation: That the instrument is (1) “doing something [anything]”, (2) “appearing to do something [observation]” and (3) “actually doing something [outcome]”.
Naturally it is clear to any observer that the radionic device isn’t actually impacting material reality according to physical laws (point 3 above), which is sufficient fuel for sceptics, although its effects are frequently seen by those who practice radionics with conviction.
With this in mind, and returning to points 1 and 2, it therefore seems likely that if the instrument is actually designed to do something (e.g. to generate an RF signal or amplify “vibrational” information) and is appearing to do something (e.g. lights on, dials turned), then these – together with the will and commitment of the operator – fulfil the purpose and perform the function for which the radionic device was initially created and subsequently tuned by the operator.
“Things that are equal to the same thing are equal to each other.”
I don’t believe that we can separate any of these three factors from radionics, and that they are present in whatever form radionics takes, to a greater or lesser degree, whether we are talking about radionics as commonly understood, symbolic radionics, or radiesthesia.
(I may now add, almost as an afterthought, to the list of three above, namely point (4) that the instrument “appears to be something” [form].)
Symbolic radionics, which is usually a schematic drawn or printed on paper or some other non-functional substrate, works perhaps as well as a “real” device constructed using electronic components. For symbolic radionics to function requires the operator’s interaction with it, just as “real” radionics does – and of course, even as radiesthesia does. Each of these devices has tangible form, in either 2 or 3 dimensions.
Nothing of this, clearly, occurs outside the consciousness, either of the operator, or the collective consciousness of humanity, or of the universal or Absolute consciousness (God, Brahman, or whatever name you wish to give it). Observation, intention, will, purpose, belief… many aspects arise in the operator in relationship with the instrument, whose consciousness is altered by both the presence and function of the instrument – and who in turn influences the instrument!
“In your own consciousness create the world as you like. In truth, the Infinite Consciousness, the mind (individual consciousness) and the infinite space are all of one substance, pervaded by the Infinite Consciousness.”
[The Sun talking to Brahma the Creator, from Yoga Vasistha]
All is taking place in the field of consciousness, localised in a node that is the operator, and subject to his/her intention and reaction to stimuli. The stimuli appear to create a kind of feedback loop, so, for example, if the instrument turns on a light when the operator presses a switch, then the purpose and confidence of the operator is reinforced by a mental confirmation that the device is working in accordance with his/her intention. This intention is thus increasingly harmonised with the purpose of the tuning of the instrument, and vice versa, in a symbiotic loop.
The radionics instrument is a vital component of, and inseparable from, material reality – just as are all other parts in this material universe which we inhabit. The instrument must have form. Yet it is essentially symbolic. As observed above, the instrument itself does not have a direct, measureable effect on the material world while it is, itself, material. The power is in the symbol. The device is a bridge or an interface between the will of consciousness and the outcome of that will, between the immaterial and the material. We are in relationship with the device, and as in all relationships, one influences the other, although the effect is frequently intangible. The symbol holds the meaning. It is the symbol which is the reality, rather than the tangible and material.
“Truth did not come into the world naked, but it came in symbols and images. The world will not receive truth in any other way. There is a rebirth and an image of rebirth. It is a necessity to be born again through the image.”
[Apocryphal Gospel of Philip]
There is often a tendency to divide radionics into categories according to their physical design, applying labels which may be useful but not particularly helpful, and which tends to partition unifying elements (the symbols, the “patterns”) and blur our perception of these commonalities. If this categorisation is rigidly adhered to, the conclusion might be that type A relies on the willpower of the operator, type B on the schematic design, etc. It is also tempting to think that because we use a particular design or schematic, and it works, then that must be the basis of the radionic function – e.g. “this” type of tuning device, or “that” type of waveform, etc. But the fact that a wide variety of designs work that do not use those forms of technology – at all – should make us pause for consideration.
The same may be said for the numerical rates that are used on possibly the majority of radionics instruments. There may be several different rates for the same situation or condition, and conversely, the same rate may represent more than one condition. What are we to make of this? A radionics instrument maker and practitioner recently observed:
“What I’ve been noticing from the start is that there’s no right and wrong rates. Any rate someone takes is good for that moment, for that session, for that target, for that practitioner. Rate books are redundant. There, I said it!
Rates are momentary. The machine records something you do in that moment and replays it…but what it plays is a small portion of time in which you did all the work.”
I propose that radionics isn’t so much in what it does, but that it must do something, and it requires a pattern (e.g. functional electronic schematic, rate or geometry of some kind – i.e. the “symbol” of reality) through which it may “act”, initiated by the work put in by the operator. The informational energy that the operator wishes to direct to some end must follow a pattern with which it resonates, so as to express itself. But the mode of operation itself can be almost anything – an RF transmitter, an audio amplifier, a light… so long as something is happening.
This “something” also includes the turning of dials, operation of a switch, use of a pendulum, etc. Equally, all these “somethings” are the flow of information within the field, in a similar way to electrons moving through an amplifier and into an antenna. Everything, including radionics, functions in a dynamic, relational way.
“If a relationship-per se is involved, then the presence or absence of a power supply in the Hieronymus machine would make no difference; it doesn’t change the relationship of the parts. But a burned out tube would make a difference; it would alter the relationship of the parts. And the seemingly random wiring system, and all soldered-together switches of the Drown and De la Warr machines would also make sense, it was the position of the switch – its relationship that counted. But a loose connection that came unsoldered would introduce a false relationship…
“Relationship-per se seems to be best concentrated, in the purest state, when we deal with purely symbolic things. The closer we get to a pure symbol, the less objective reality we have, and the more nearly pure-relationship we have… The material object structure has zero significance; only the relationship-pattern has meaning.”
[John W Campbell, Astounding Science Fiction. (Italics in the original.)]
Everything is a functional pattern – a tree, a river delta, a human body, a galaxy… each in intimate relationship within itself and with the other. It is through these things that consciousness and its expressive information flow – similarly (and inversely) that same flow of information creates the patterns themselves! Each is entirely dependent on, and inseparable from, the other. Thus if we create a device that is at least symbolically resonant with the information of what we wish to manifest or achieve, then we encourage and enhance the manifestation.
All of this implies that the device (whether physically 3D or 2D) must be of functional design to have an influence on other dimensions/levels that are “prior” to and supports this physical one, where the seed information of physical reality is sown. By “functional”, I mean that it is either “doing something” (such as having rotating dials, glowing lights, or moving electrons through amplifiers or silicone chips) or “harmonising with something” (i.e. possessing sacred geometric angles, dimensions or ratios). In other words, each component of the whole is in relationship. Break that relationship, via a faulty part or broken wire, or a line out of place, and the radionic function is inhibited. We can observe this same principle in the world which we inhabit. Break our relationship with the dynamic environment, and we may go insane or even die.
Essentially, radionics isn’t just “one thing” standing alone, discrete – or even two things, or any number of things. In fact all things are in relationship with, and given cause and purpose to, the radionics instrument. It is a “node” in the whole network of interconnectedness. Because it is “interdimensional”, in tune with information in more than one plane, we can see only the aspects of it that we ourselves have projected into this level of existence which we inhabit.
“In the heavenly abode of the great god Indra, there is a wonderful net which has been hung by some cunning artificer in such a manner that it stretches out indefinitely in all directions. In accordance with the extravagant tastes of the deities, the artificer has hung a single glittering jewel at the Net’s every node, and since the net is infinite in dimension, the jewels are infinite in number. There hang the jewels, glittering like stars of the first magnitude, a wonderful sight to behold. If we now arbitrarily select one of these jewels for inspection and look closely at it, we will discover that in its polished surface there are reflected all the other jewels in the net, infinite in number. Not only that, but each of the jewels reflected in this one jewel is also reflecting all the other jewels, so that the process of reflection is infinite.”
It can be seen, therefore, that the practice of radionics replicates (or at least mimics) the creative, sustaining processes of the cosmos. The world around us constantly reveals conscious (or structured, coherent) design following principle, archetypal patterns. Since the purpose of a radionic instrument is essentially to participate in the creative process that is endlessly pouring forth this finely structured universe, it follows that the device, too, must be as finely structured.
Consciousness and the manifested universe are the coherence emerging from chaos or infinite potential. We cannot expect that a device intended to attract convergence of desire and outcome to be scattered and uncoordinated and disconnected in either appearance or function – unless, that is, the focus and intensity of the operator’s mind is above that of the average mere mortal. (I’m joking, but only partially.) Ideally, the instrument should symbolise, in every aspect of its design, harmony and coherence between the intention in our mind and its projection into the universe.
It is also worth noting that the tuning of the instrument, the turning of dials, the placement of sigils or reagents, etc, alters the pattern, creating a shift in tension, shape and space. Even changes in electrical potential in a circuit is analogous to change of form.
“By changing the structure of Space, you can change connections, events and their consequences that take place in it… Harmonious geometric proportions (e.g. corresponding to the Golden Ratio) structure Space with a high degree of harmony… All connections, processes, events and their consequences in such Space will strive for the most harmonious manifestation in time… A space with a high degree of harmony of all possible scenarios for the development of events will give priority to the most harmonious. It will seek to push out everything that does not correspond to its structure.”
[Alexander Efimovich Golod]
In summary, I feel that the design and functionality of the instruments themselves do play a vital role. We are living in a universe that answers to archetypal regulatory rules of patterns that play throughout and give form to it: e.g. Fibonacci, Pi, Phi (Golden Ratio), etc. It is preferable that the instrument embodies patterns and ratios in various forms, such as relationships between resistance or capacitance values of electronic components, angles of the dial rotations, number sequences, etc, and use wires or inscribed lines to simulate the flow of energetic information. And then, of course, there is the aesthetic factor, by which the practitioner can feel more or less emotionally (and thus subconsciously) engaged with the process he or she has initiated.
The instrument must have a coherent structure, or pattern, which reflects the workings of the cosmos. The practitioner and his or her intention are components of the overall “pattern” when tuning the instrument. The purpose of the instrument and the manifested outcome are united by the operator, within the field of consciousness.
Thanks for reading this far! I hope you have received some insights from this stream of consciousness. Please join the conversation and leave your thoughts in the comments below.