At last, a true and beautiful Wand of Art!

I’ve done it.  I have my Wand.  A true, 24k gold-gilded, silver-capped, quartz-set ebony Wand of Art.

Wand of Art

And yes, for those who are interested, I wrote about how I constructed and consecrated it, from the design to the angels, and you can read the whole thing here if you want.  (You totally should, especially if you’re interested in seeing the process I used to make and consecrate it.)  I’m calling it my Wand of Art, because I don’t think I’ll ever need another wand after this, unless it’s for some extraordinarily specific purpose.  After putting the hours and labor into this project, with the help of some very generous friends of mine, there’s no way I can not use this wand.  My deepest thanks go to Raven Orthaevelve and Sr. Satelle. for their extraordinary generosity and patience with this project.  I couldn’t have done it without these guys for putting up with my incessant questions, nor for helping me out nontrivially with supplies.

Now, some of you may mention, “But polyphanes, don’t you have two other wands?”  Why, yes, I do!  I have the fire wand I made back in 2011 as a fire-specific wand, and my original wand that I made for my Table of Practice at the beginning of this journey.  The ebony Wand, though, replaces both of them.  The fire wand is dedicated to a friend of mine for use in his Work, while the other wand…I haven’t yet decided what to do with it just yet.  I may keep it to sell or as a gift, or as a “travel wand” just in case.  We’ll see, I suppose.  I’m certainly not opposed to selling or passing on my own ritual tools, especially the ones I made in my magical infancy, but if that’s the case, I prefer that people use them to start with, make better ones, and pass the old ones on to others as I would.

More Quick Experiments with Orgone

Jarandhel and I are at it again!  While helping move some furniture at his place now that one of his and friend’s roommates moved out yesterday, we spent some down time playing with more orgone generator setups.  Since I’m building my own permanent orgone installation, I’m working with him to refine and learn more about the theory, applications, and methods of development of orgone.  We’ve played with it before, but this time we made use of different setups and an experimental circuitboard/magic circle to be used with orgone.  Because the circuitboard is still under heavy experimentation, I’ll refrain from talking about it here, but I’ll talk about it later once I have my full-blown writeup discussing my orgone system.  Here, I’ll just describe what we did last night involving different perimeter crystal setups.

(I swear I have the writeup forthcoming, once I have more experiments and a few more supplies gotten in the mail.  At this rate, it looks like early November for the complete write-up, but it’ll be a doozy.)

To recap (I really really need to do the writeup soon so I can stop recapping this): the orgone system, or Babalon Matrix, is a crystal grid (a series of crystals or force-channeling objects “energetically linked” to produce an effect) combined with an orgone accumulator or shooter.  The crystal grid is composed of a series of perimeter crystals (normally four) linked up to a central focus and to each other; this produces a kind of field around the focus, like an aura-expanding magical circle (I used this in my Mercury election ritual).  The orgone accumulator is like a trickle charge, constantly feeding energy or force into the field, while the field simply binds and reflects the energy out from the focus, which radiates force outwards.  The orgone accumulator itself doesn’t need much to it; it works naturally, like a kind of magnetic propulsion for ambient energy.  The crystal grid itself is what needs to be “activated” by energetically linking them up, kinda like programming them for a purpose.  The orgone accumulator feeds energy in, while the crystals are linked up to contain and recycle the energy.

Normally, the Babalon Matrix uses four perimeter crystals arranged in a square around the central focus.  This produces a kind of spherical field around the focus, which can be used to charge an object in the focus or felt by stepping into the field directly.  Jarandhel has aspirations of using such a field as a gate to better obtain access, astrally or otherwise, to other places or planes, something like a Vortex that Fr. Rufus Opus suggests in his Astral Warrior Handbook.  By stepping into this field based on a focus that was synched or energetically linked to a certain place, we were able to clearly view or experience that given place; a Martian talisman, for instance, would yield a Martian environment.  However, we experimented using different numbers of crystals and different ways in linking them up:

  • Three crystals in a triangle: A feeling of motion, erasure, being moved from one place to another, but no sensation of the place or images.  Not really dependent or affected by the object in the focus.
  • Six crystals in a hexagon: A feeling of presence, of feeling the energy or sensations of the place without being there.  Pure information, nothing material or visible.
  • Six crystals in two overlapping triangles: Being both pushed and pulled to the place, bidirectional movement, able to clearly see and “step through” as it were.  A combination of sensation between both worlds, suitable for being a gate.
  • Seven crystals: Not good; confusion, a mess, different mixes of random and varying sensations.  Inverted or messed up colors, nothing clear or discernible.  Highly uncomfortable.
  • Eight crystals in an octagon: A singularity of sensation and time; all things together at once, all space and history compressed into one spot.  Confusing, hard to make individual things out since everything is completely conjoined, like viewing the entire world as a whole unit.
  • Eight crystals in two overlapping, crossing squares:  Being “upside down” or criss-crossed, a sensation of vertigo, like seeing with crossed eyes, two images of the same thing overlaid slightly askew over each other.  Sensations dulled, like feeling through gauze.  Being a doubled form of the normal set up but rotated, this makes sense.
  • Eight crystals in two nested squares lined up at the corners: Sharp, clear, easily discernible forms and place.  Like putting on perfectly-fitted and prescription glasses.  Still like trying to see through something, but everything was brought into “focus” but still with using an intermediate but easily passable boundary.

In all cases, there was a kind of “boundary” beyond which we couldn’t pass, but which we could easily sense; this is partially because we were actively and consciously doing an energetic form of remote viewing not involving any trance or actual projection, but may also be due to the nature of the field itself and its own bounded nature.  Based on this and our experiments, four crystals seems sufficient for most needs, though six crystals set up as two overlapping triangular fields works as well.  We didn’t do five or ten crystal setups, but we plan to in the future.  It seems like the more crystals one adds to the matrix, the different properties one obtains in the “view” or sensation of the field when stepped inside.  For gate-making purposes, six-as-overlapping-triangles seems to be the way to go if possible, but four crystals as a simple materialization or basis for remote viewing suffices.

Another thing we tested was the orientation of the perimeter crystals themselves.  The crystals in question are long crystal bars, about 8″ long, that were lab-grown on a flat surface (one example can be found at this site); these are pure quartz crystals that terminate into points on either end but have a long flat side to them.  The crystal points are put parallel to the central orgone system so that the flat side of the crystals either face in towards the focus or out away from the focus.  When facing inwards, the field was contained to the area marked off by the crystals, roughly in the shape of a sphere.  When reversed so that the flat sides faced outward, the force within the area marked by the crystals seemed to vanish to mere threads, but was projected equally in all directions from the crystals.  However, this only really works when there are a balanced and stable number of crystals; using only one crystal to “reflect” the field back towards the orgone system, it seemed to overwhelm the other direction and reflected it back (so that if the crystal was placed south of the orgone system with the flat side facing north, the field would be reflected all towards the north).  Using only two crystals, one on each side, produced a field, but it seemed unstable and ill-defined; we presume that at least three crystals are necessary to form a “stable” field in this manner.

Also, we noticed a neat little thing: instead of putting one object into the field focus, we also tried two (an agate pendant I always wear as a reservoir for excess force/Light, and a phylactery I made for protection) items.  The field at first glance seemed to combine or merge both auras or objects into a single field, but after a while seemed to feel more like it was two fields overlaid on top of each other.  It’s like being able to taste several ingredients in a dish separately at once without anything actually combining them.  Using objects or crystals charged with a certain intent or force as perimeter crystals or placed randomly in the field had interesting effects themselves:

  • Placed in the center focus: Whole field took on the force/aura of the object.
  • Placed at the perimeter as a perimeter crystal: Field took on the force of the object, but only in the direction “radiated/reflected” by the object.  The field was otherwise unaffected by the object and kept the force of the object in the focus.
  • Placed inside the field not at the focus: Field took on the force of the object only locally around the object’s location, like a tumor in a mass of flesh.  It felt like the area from the object outwards to the perimeter was a mixture of that force and the force from the focus, but inside that “boundary”, it was just the focus’ force itself.

Next up (probably): seeing the difference between using a normal orgone accumulator versus one doused with a Bardonian simple fluid condenser, testing the material of the central force radiator (metal orb, crystal orb, nothing, etc.).,  thoughts and experiments with that circuitboard-like magic circle I mentioned, using different orientations of crystals, and so forth.  I may as well just make a series of these orgone posts and use that as my write-up for my whole system; since I’m combining several ill-understood technologies at this point, I’m really only finding this stuff out as I go along.  Half the time it seems like nonsense, but it works and looks cool to boot.

Building the Fire Wand

Good news, everyone!  I built my fire wand!  AND IT IS THE MOST AWESOME THING AMONG AWESOME THINGS.

To remind you of the original plan, dear reader, the wand was to have a copper tube with a brass end piece for the butt and a brass connector for the point.  The brass end piece would be inscribed with the symbols of the planets, and the connector with ADONAI.  A quartz point with a small metal ring on it would be fitted and soldered into the brass connector.  Onto the inside of the brass end piece would be soldered some gold and iron wires and would tie onto the metal ring on the crystal.  Around the wires inside the length of the tube would be a cotton wrap of “fire powder”.

In the process of building the wand, though, a number of problems came up, and I had to make on-the-fly changes to the wand’s design.  Even with the changes to the design and a few minor problems that cropped up, I’m really pleased with how it turned out.  This is the most expensive project I’ve done yet, but it was so worth it.  Holding it aloft just feels incredible, and if I ever get rid of it, some mage will be very happy to find himself with this little treasure.

Pictures are up under Crafts, and a page about the construction of the wand as well.

Odyssey of the Fire Wand

…or, I Like Planning Stuff and Hope to Actually Build This Shit.

Earlier I mentioned that I was building a wand from copper and brass hardware, and the brass bits would have planetary symbols engraved on them.  It’s a good idea for a wand and I like the feel of it, but since I’m hopped up on some major air influence I’ve decided to make the whole thing so much better.  I also had fun with OpenOffice Draw, so get ready for some awesome drawings with my formidable artistic skill.  I just have too much time on my hands, really, because what else am I going to do on a three-day weekend?.

So, the wand is the symbol of fire or divine Will and is related to the phallus.  It’s used to point, direct, and issue forth power and commands (lol inadvertent male chauvinism).  Having a wand that was the same on either end and flat on both ends without any actual focal point left the wand feeling, well, pointless.  The old plan of the wand looked something like this:

Simple and basic, but it has the problem of being without a point or a focus through which I’d channel energy.  I decided to rectify that by swapping one of the end caps with a flare nut that has a hole in it, through which I’d put a long thin quartz point:

Better, but there’s still something awry: the wand is hollow.  I want to empower the wand by making some kind of core inside the wand, something that would give it a real kick.  I didn’t know where to begin, though, so I turned to a few people on the Internet and returned with a flurry of ideas and suggestions.   Working with a hollow tube, I had a lot of flexibility of choice, and some of the suggestions were outlandishly wonderful.  I eventually came up with something fancy:

There’d be three gemstones inside the wand besides the quartz: two bits of obsidian at either end of the shaft pointing towards the quartz, and a ruby (uncut and small, unlike me (we’re talking about a symbolic penis, let me have my jokes)) between the two.  The obsidians and ruby would be connected by a wire, probably tungsten if I could get enough due to its association with lightbulbs and heat, which would also be connected to the quartz.  I’d loosely pack the shaft with a sort of “fire powder”, which would contain volcanic ash, sulfur, cayenne pepper, and cinnamon, all reasonably fiery substances.  The cotton fluff (or wool, if I wanted to be traditional) would be there to insulate and buffer the ends of the wand.

This is really awesome and sounds more like I’d be making a fire lightsaber than a fire wand, but there are problems with this: the extra weight of the crystals inside, the cost of the crystals, and the ability to get sufficient tungsten wire (those filaments in lightbulbs are short and hard to work with).  Plus, if I’m right in guessing about the natural power of these ingredients, I’d probably be starting off at way too high a level and might injure myself in the process.  It’d be more like a spiritual pipe-bomb, and I’m not sure I’d be too pleased with the results.

So, I decided to step back and come up with a simpler plan:

I’d omit the inside gems entirely but keep the fire powder.  Running the length of the wand, from the bottom cap to the quartz, would be iron and gold wire.  Iron and gold are metals corresponding to elemental fire due to their associations with Mars and the Sun, according to Agrippa (Book II, Chapter VII).  I’d have the wires soldered to the bottom cap, and since the cap would be touching the metal shaft, I could use the whole wand inside and outside to direct or “conduct” my energy and will to and through the quartz at the focus.  Nifty!  The use of the fire powder, though, causes a slight problem: it’s hard to loosely pack powder into a tube without messing up the balance or weight, and it’s not like it’s pumice-like chunks of powder.  To fix this, instead of using cotton fluff, I’d use cheesecloth or cotton muslin.  The fire powder gets sprinkled on top of that, then wrapped around the bundle of wires in the wand.  The wand would still have the fire powder while staying light and balanced.

After all this, I realized that I goofed on some of the parts.  The flare nut I got was the wrong size both for screwing onto the shaft and letting the quartz I already bought through the hole in the top (you’d think I’d have tested these things more thoroughly, but noooooo).  Thankfully, I have a few other crystals around, and it turns out that I have one with a small metal ring inserted into the bottom (it was once a keychain).  I could use the ring to “plug” the wires into the crystal.  Plus, since I knew in my flurry-of-ideas mood that I might want to try other caps besides the flare nut, I had a brass connector that was wide enough to fit the quartz snugly.  Just to make sure the wand was tightly sealed from both ends and the quartz sealed in for good, I’m electing to solder the crystal around the top of or inside the connector; the torch gently applied to the quartz could bathe it in the heat and energy appropriate for this kind of tool.


That’s the final plan I’ve decided on.  Getting it built has a few tricky parts, though:

  1. Getting the fire powder and wire supplies.  The local metaphysical shop doesn’t carry them, but Amazon does.
  2. The thread on the ends of the copper pipe are exposed.  Turns out that the thread is tapered slightly, so while it feels that the brass ends don’t screw on all the way, they can feasibly screw on tightly and permanently.  If I can’t muscle this, I’ll apply solder to cover the thread and seal the ends.
  3. Applying the torch to or near the quartz can shatter it.  I might be able to simply drip the solder around the quartz to seal it tight, but this might be tricky.
  4. Unclear if I want to inscribe anything on the six sides of the brass connector or the copper tube itself.  If so, this will be done first.
  5. The order of construction.  That the bottom cap to the quartz to the top cap are all connected by the wires poses a problem of sensibly arranging the assembly process.
This is no trivial project, and it’s not cheap (I’ve spent far more before my upcoming paycheck than I should).  Still, this is going to be my wand, the archetypal tool of the magus.  It better be super awesome.  I should be able to get all the supplies and assembly done before the start of Leo and get this thing consecrated when the Sun’s in a powerful fiery spot.