Phase III - Stealth Is.

Steve Foland: I hear you’ve been working on a definitive Burroughs biography. How is that going, when can we expect it and is that going to be your final word on the subject?

James Grauerholz: In 1972, when I was not yet twenty, I wrote out-of-the-blue fan letters to Allen Ginsberg and William Burroughs, in New York and London, respectively.

Allen’s reply led to my meeting him in the Lower East Side in spring 1973, and when I returned to New York City in late January 1974, Allen told me William was in New York, too, and sent me over to meet him.

William’s reply in late ‘72 is interesting. In mine to him, I had written something to the effect that I wanted to interview him, with a focus on his childhood, his school years, his early European travels.

Very little about the first 30 years of Burroughs’ life had been published, as of 1972. Only Alan Ansen’s late-1950s essay* offered any real detail, and it compared intriguingly against Burroughs’ own tight-lipped “Prologue” written — reluctantly — in 1952 for his first book, Junkie (1953), and there were only brief, superficial bios in the early “Beat” stories in LIFE, et al.

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SF: Were you involved with William’s magickal practices personally? And if so, would you describe an experience?

JG: Not really; let’s say, a few things early on. It’s all there in the Red Night Trilogy if you want to look for it.

But I followed my own spirit guides (so to speak), and they did not impel me to participate personally in the rather well-known “Sweat Lodge” experience that William had in 1991 — with Allen Ginsberg and Michael Emerton, as well as facilitator William Lyon, and the Shaman — whose name escapes me.

I kept the same distance — supportive, respectful, encouraging — from William’s developing contacts with the I.O.T.

(Author’s Note: I.O.T. refers to the Illuminates of Thanateros — A Chaos Magick organization founded in Britain in 1978 by Ray Sherwin and Peter J Carroll)

The way some people think of me as “controlling” William and all this horse shit is ironic to the point of bitter hilarity. The truth is, I made sure that I did not come between him and the people and experiences he had, and relationships he started with them, and kept up on his own. Ask Marcus Ewert, who — bless his heart — has charmingly revealed, to the printed (or electronic) page and the motion picture camera, more details about his affair with William in the latter’s, uh, latter years, than I can imagine very many people even wanting to know. But Marc is, like me, a disciple of Ginsberg (if not also of Warhol), and I can only applaud his let-it-all-hang-out policy about those days and nights with William. But Marcus will tell you, I ran our whole little crew away from that house with the two of them in it, postponed the lawnmowing, etc., so they could — well, do whatever they wanted to.

SF: William’s magickal experimentation, the aspects of recording what he called “Danger Sounds” and replaying them in proximity to his target, or using collage to hit a specific target has become the stuff of legend. Some attribute the closing of one particular establishment to William’s hexes. Is there another specific instance which you can recall that is as dramatic and apparently self-evident?

JG: Nope, not really. You are likely referring to the Moka Bar in London, where William said he received snide, snotty service and lousy, weak tea — and his tape-recorders-and-cameras mock-surveillance routine, back and forth on the sidewalk of Frith Street, and how the Moka Bar failed and was shuttered not too long after that.

Forgive me please, but my cast of mind leads me to suspect the Moka Bar, if it really did sell lousy tea with terrible service, might have been headed out of business, with or without the sound-text-tape-film sidewalk-pacing routine…

As with William’s long-ago theory that, because he had never known a NYC junky ever to get a seasonal cold, it was likely that Junk provided a protective covering to the cells (or else, maybe Junk kept the cells well-exercised and in-shape with a constant cycle of shrinking to kick, swelling back up in re-addiction, kicking, hooked again, etc.) — I pointed out that, because a junky with a good supply on hand rarely leaves his apartment to mingle on the sidewalk with other people (which would expose him to more airborne rhinovirus particles), maybe the apparent immunity was more the result of limited exposure to current pathogens…

This all might sound terrible to you, as if I was a bringdown — in fact, William and I were beautifully balanced. He appreciated that about me, and I appreciated his love for the fantastic and extravagantly-explained. Which is funny, when I remember now that it was William’s own mention of “Ockham’s Razor” in my 1966 copy of Naked Lunch that first alerted me to the existence of Occam’s principle of parsimony….

SF: William’s painting “Creation of the Homunculus IV,” graces the cover of Phil Hine’s Prime Chaos, and a glowing endorsement from William appears on the back of Condensed Chaos. Did William have frequent contact with the leaders of the Chaos Magick movement or was his involvement on an individual by individual basis?

JG: Yes, William was very serious about his studies in, and initiation into the I.O.T. Of course, you would have to ask (if they would even describe it for you) the persons who took part in that initiation — I didn’t. Our longtime friend, Douglas Grant, was a prime mover; William met and liked Peter Carroll and Phil Hine, I am pretty sure. I myself only got to know the good Doug Grant a couple of years after William’s death, in August 1997.

SF: William’s “Orgone Chamber” is well known to his devotees. Did you feel the effects of it as well? When did William’s interest in Radionics begin? Can you recall who introduced him to the subject?

JG: Yes, I suppose I could feel something in the various Orgone Boxes I have sat in. William’s 1940s letters reveal his early contacts with the works of Wilhelm Reich, although it’s evident (from, for example, several sources gathered by Ted Morgan for Literary Outlaw, 1988) that Burroughs had come into contact with some of Reich’s writings, in translation, by the 1930s. As to who brought it to his attention, my immediate guess would be his childhood friend, Kells Elvins. And there are several sources we might search for more evidence of that source in William’s life for that particular influence.

SF: Given his influence on Magickal theory and practice (The Cut-Up, Third Mind, Dream Machine and his writing) who would you say was William’s largest influence? Crowley, Spare, none of the above?

JG: Pardon me but I don’t see many direct influences by William’s thought upon Magickal theory — the other way around, heavens, yes.

But Burroughs considered Crowley a bit of a figure of fun, referring to him as “The Greeeaaaaaat BEEEEAST!” in that behind-closed-doors, queeny comic delivery he used sometimes: his voice rising straight up in pitch, into an hysterical falsetto. You can hear it in lots of tapes, I’m pretty sure.

William knew quite a bit about Crowley’s life and work, and he certainly dug deep into the Necronomicon (anonymous but often attributed to Crowley) when it became available in a snazzy, black-morocco, tooled-leather hardback binding. He appreciated much about Aleister Crowley. Influenced by him? I don’t really see it. And to be truthful, I knew more about Austin Osman Spare than William did, in the beginning.

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SF: What, if any, opinion did William have for Jack Parsons’s work?

JG: William’s thoughts about Jack Parsons were, I believe, based far more on what he knew about Parson’s life, than on any writings or paintings by Parsons. William knew about the origins of JPL, the early ties to L. Ron Hubbard, and so forth. If memory serves, William was mainly impressed by the way that Parsons’ life ended.

Etheric Rainmaking with Trevor James Constable from Thomas Joseph Brown on Vimeo.

See Also: “The Cosmic Pulse of life” by Trevor James Constable.

A Tour of the Borderland Museum Part 2 from Borderland Sciences on Vimeo.

Peter Lindemann takes us on a tour of psionic / psychotronic talismans in the Borderlands collection, Spectrochrome devices, explains the concepts of biocircuits, and gives an in-depth overview of orgone and Wilhelm Reich’s work.

Previous experiments led by Graham Fleming, a physical chemist holding joint appointments with Berkeley Lab and UC Berkeley, pointed to quantum mechanical effects as the key to the ability of green plants, through photosynthesis, to almost instantaneously transfer solar energy from molecules in light harvesting complexes to molecules in electrochemical reaction centers. Now a new collaborative team that includes Fleming have identified entanglement as a natural feature of these quantum effects. When two quantum-sized particles, for example a pair of electrons, are “entangled,” any change to one will be instantly reflected in the other, no matter how far apart they might be. Though physically separated, the two particles act as a single entity.

The results of this study hold implications not only for the development of artificial photosynthesis systems as a renewable non-polluting source of electrical energy, but also for the future development of quantum-based technologies in areas such as computing – a quantum computer could perform certain operations thousands of times faster than any conventional computer.

The Lakhovsky Multiple Wave Oscillator on Vimeo.

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Part 1 of 14 - Preston Nichols’ Spacetime Labs - Wherein a group of researchers visit the home of Preston Nichols, Montauk Kook supreme, and are never heard from again.

Viktor Schauberger’s Biological Submarine
by Albert Zock

The biological submarine once had the attention of the German War Lords, but Viktor Schauberger made it look as though it were not very useful, as in his opinion, biotechnology is for supporting progress and not for destruction. This submarine idea was taken from the observation of fish, especially of trout, which can stand motionless in a flowing stream, just by taking water in and out. This process has two functions, first it creates a vacuum in front of the mouth into which the fish gets sucked, and at the same time provides food, as the water contains all that the fish needs. While the food goes into the digestive system, the water is forced through the fan-like structure of the gills, which not only absorb the oxygen needed,but also push the water backwards. This specially compressed water does not mingle right away with the rest, it glides along the conical body like a wedge and shoves it forward. In addition, on the scales it forms little whirls which enhance the push further.

However, Viktor Schauberger was not the sole observer of this phenomenon. Before him others not only formed the same idea but even constructed prototypes with some results. One inventor, A. Bomer, came to the conclusion that the speedy motion of a fish is relative to the size of its gills. He constructed a boat with a precise opening in its bow, where a turbine sucked in water like a fish, and pushed it out through slit-like exit ports in such a way that it glided along the hull like a sheet, not only separating it from the friction of the outside water, but also giving it an additional push forward. Further, he applied such skin depressions like sharks have on his ship’s hull, presuming that they cause small swirls, and so increased the forward motion. Bomer even incorporated the slippery skin layer that fishes have by applying oil to the hull to reduce friction. He hoped all this would bring a 60-80% reduction in fuel. Indeed, experiments with his boat FORELLE, meaning ‘trout’, achieved twice the speed, while still using the same amount of fuel.

Apparently, Bomer did not know the spiral-vortex, which is an invention of Viktor Schauberger. If property applied, it will not only increase speed, but also reduce fuel consumption to a minimum!

This drawing by Dipl. Ing. Water Schauberger, Viktor’s son, shows such a submarine. His bio-technical submarine has a movable bow, which gives the boat the flexibility fish have. The conical and rifled water-intake permits a variable step-up, creating a strong torque on the water, which, after entering the implosion turbine, will be intensified to such a pitch, that now its recoil (resonance) is driving it instead of the motor, as bio-technical applications always have a pull and push action. Such a turbine consist of tapered-down pipes with inside rifling which are bent into spirals. Such FREE ENERGY is not a question of time, rather the will to use it, as it already exists, giving us a chance to move on water, under it and in the air using only a fraction of the energy we use today!

Borderland Sciences for more Kook fun.

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Most theories that come out of the fringe are wrong. Hardly a point of any real contention to be sure. The world of kook science is populated by colourful wonks, unyielding grouches, the highly uneducated, the utterly mad, and, as follows, they’re usually working from cues that do not correspond to what is known about the world.

EYES OPEN: WE’RE GOING IN!

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Let’s pray that it does, it could be humanity’s last hope to save us from ourselves:

From the Borderlands archive.

“There is no proof. There are no authorities whatever. No president, Academy, Court of Law, Congress or Senate on this earth has the knowledge or power to decide what will be the knowledge of tomorrow. There is no use in trying to prove something that is unknown to somebody who is ignorant of the unknown, or fearful of its threatening power. Only the good old rules of learning will eventually bring about understanding of what has invaded our earthly existence.”

The invasion that Reich refers to in his introduction to CONTACT WITH SPACE is the invasion of earth by intelligences from outer space. Very few copies of this remarkable book were made available, and Reich’s extraordinary experiences during this turbulent period have been swept under the carpet by ‘orthodox’ orgonomy.

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Reich termed the space craft Ea - ‘E’ standing for ‘Energy’, ‘a’ for alpha or primordial. Ea also represented ‘Enigma’…

“Ea is a new event without precedent in our lives,” he writes. “Humanity, with the exception of a few philosophers, had no idea of the possibility of visitors from outer space. Earthman had not developed any view, method or scientific tool to cope with the problem. In addition he has developed in his offspring a character structure and a kind of thinking which obstructs the approach to the new fact by way of ridicule, slander and outright threat to the existence of the pioneer of space engineering. Therefore our new approach must start from scratch, as if no science existed at all.”

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During his orgonomic research Reich was able to measure this orgone energy and he successfully treated many patients in the orgone accumulator, a specially layered box wherein the life-energy was concentrated.

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“From the historic Oranur Experiment of 1951, Reich knew that nuclear radioactivity had a deleterious effect upon the living sea of energy in which we all live. From the observations made of the reaction of a milligram of radium put inside an Orgone Energy Accumulator, Reich knew that there was an antagonistic relationship between the energy of life (Ether, Prana, etc…) and the manmade nuclear energy so recently unleashed upon the planet. The effect of the nuclear ‘irritant’ seemed all out of proportion to the physical amount of radioactive material. The distance of this irritating and wildly exciting Orgone anti-Nuclear effect seemed to reach much farther than the actual radioactivity of the nuclear material would indicate. Perhaps, Reich reasoned, the Orgone Energy was a continuum; and this anti-nuclear reaction of the life energy (Oranur) extended and perpetuated itself in a chain reaction fashion far beyond the original limits of the nuclear radiation.” (1)

The development of the Cloudbuster was a response to the aftermath of the Oranur Experiment. Around Reich’s Oranur laboratory near Rangeley, Maine, the atmosphere became polluted with DOR (Deadly Orgone Radiation). The black and bleak DOR clouds were remarkably similar to what would later be called air pollution or smog. These clouds were present even in the midst of sunshine, and where they gathered the atmosphere felt ’suffocating’, the sky seemed to lose its sparkle and animals and humans felt lethargy and other symptoms of malaise.

Not only were the DOR clouds a noxious presence, but a black powdery substance poured down onto the area, a substance that Reich came to directly associate with the presence of Ea in the skies above Rangeley. It was here that UFOs began to appear, big yellow and reddish pulsating ’stars’ which were easily discernible from the planets and bluish colored fixed stars.

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