Nitrogeno 02 E-Book

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• Herausgeber: Fontana Editore
• Kategorie: Bildung
• Sprache: Englisch
• Veröffentlichungsjahr: 2016

Beschreibung

This second review is meant for those who are active, for those who are working in a laboratory as well as for those who love reading about Alchemy.

Editorial - the crucibles, how to make your crucibles with clay - Ge-132: how a dream made history. The surprising discovery of an oustanding healing substance - Enchantment: the experience of alchemical laboratory seen through feminine sensitivity - A permanent culture: Leonardo Anfolsi interviews Pietro Zucchetti - How spagyric & alchemical products work - Alchemical research study: ruling planets and salt of sulfur crystal structures - In memory of Manfred Junius - Vaidya Bhagwan Dash, in memoriam - A simple arcana for beginners - The count of Saint Germain’s arcana - Nitrogeno interviews Pier Luigi Tazzi, world renowned art critic and curator - Philosophical transactions II - Distillation II - The alchemist stripped bare in the bachelor - The icy dew of the mountain goddess: the longlife attainment in tibetan buddhism 2 - Erim: the subtle and penetrating power of the magnetic rithmic impulse emitter.

Leseprobe

Cover image:

This painting, entitled “Materia Prima Lapidis Philosophorum,” is from the Circle of the Gold and Rosicrucians, a manuscript inspired by Aurea Catena a Homeri (Kirchweger, 1781). It is the cover art used on The Emerald Tablet: Alchemy for Personal Transformation. Basically, the work represents the transformation of the Chaos Philosophorum (Materia Prima or First Matter) into the Coelum Philosophorum (the perfected First Matter or Lapidis Philosophorum - Philosopher’s Stone). (source)

INTERNATIONAL REVIEWOF OPERATIVE ALCHEMY

# 02

Summer Solstice 2016

ISBN: 9788898750313ISSN: 2499-6734

© FontanaEditore

Disclaimer

The implementation of any experiment described in these pages is the responsibility of those who perform it. An introductory training to the theory and the chemical laboratory is absolutely recommended. You need to take a course before attempting to do any of the experiments.

When using any substance or chemical reagent, remember to always read the warnings and the technical specifications to understand the hazards and the necessary precautions and, in your first trials, use only small quantities; this has always been adhered to carefully over the centuries. Always wear the appropriate protections. Be sure to inquire about the laws governing a laboratory and the use of chemicals in your region. It is crucial to accurately track the dates of any readings or discussions on the subject before embarking on experiments in a laboratory, either chemical or alchemical.

It is important to consult a doctor before taking what you have prepared, and do not arbitrarily replace or supplement therapies that are prescribed by your doctor. Children should never perform any of what is written here.

Any actions, substances, or tools suggested here must be managed by the reader and audience under their own advice, noting that any personal growth tools require listening to self, self-awareness and being responsible, particularly before using anything for one’s welfare or healing. Those who read this review, site, or forum will inevitably accept these warnings and all that they imply, freeing all responsibility of the writer, of all the columnists and the publisher.

Editorial

Many lecturers recount about the Alchemists, that the real ones were only scholars who were dealing symbolically with philosophy or, at best, with a wretched proto-chemistry or, worse, that they were only poor people who were experimenting wildly and without result and that, intoxicated by poisonous fumes, they imagined who knows what...

These claims are so absurd and useless that they do not deserve even to be considered.

Well, they do not know the story, they do not decipher the details and fall asleep in the common narrative of those facts springing from the most common and coward way of thinking.

If the reader wishes to remain detached from reading like a “neutral observer”, then it would lose its power to rather be the “Pure Witness of All,” or the Heroe, able to accept the mandate to manifest, with his own eye and his own will, whatever is that is living.

If he is capable of this, the reader is therefore an Alchemist, otherwise it remains a chemist, or just a curious.

Who is truly religious is not castrated by his faith, those who truly search are not misguided by what they already know and do not hold any pride about what they know.

Over the centuries the beliefs of the Masses has been slipping from religion to science as they had once listened to the bishops and preachers to know the truth, while nowadays they quote the latest most sponsored research of the equally sponsored American University.

Sponsored by whom?

Eternally it remains and will remain different, the search of a truth from the pursuit of the reality, since the first creates a scope, a target and a way of proceeding, while the second can not endorse any delay, manipulation or addiction, but it is forced to follow what is,just as it is, how it is, how it is done, how it rises, lives, how it ives, reinstates itself, and - if you can see it - for how it manifests itself.

Who contemplates this reality ends up resembling it.

You might think I’m influenced by Buddhism in this non-idea-of-mine-of-a-non-possible-general-theory but, in reality, Plotinus, Porphyry, and Zosimus had the same thinking, and before them, Parmenides, Heraclitus and so on.

Who wants to waste time, now and always, will listen to the traditions of a dead word. I hug this brother or sister, but I also, will advise them to use their time better, since the best time is neither in the past nor, however, in a possible prophetic future.

Even Paracelsus, with its invented terms and amazing names, wanted to find a temporary code, so that the reader could be part of his new intuition, where the fragment was no different from the Whole, and where a general theory was not possible. That is why he was continuously and unintentionally contradicting himself. That is also why Paracelsus remains the father of alchemy in its Western spontaneous, original (in)completeness of Inspired Science, as is still in India.

I feel sorry for those who still think that there is a big system, maybe a philosophia naturalis, an atomism or an Aristotelian way, or some ancient wiser and even broader system of contemporary science with all its allegations and denials; with no offence intended, not even, the Egyptians, the Indians and the ancient Persians had such a system, while cultivating languages, rituals and invocations, with which they could make peace with the world and decode its archetypes in operational terms, that is, always connected to the individual experience, while the plebs were given statues and symbols to worship.

Only those who are ready know what to look for, and how to find everything needed, and only by seeing the reality and penetrating the structure shaping it he has access to the place that was once called Heliopolis, Memphis, Jerusalem, Cristianopoli, Colchis, Olmo Lungring, Orgyen, Shamballa (Shams i Bal). But above all, if he wishes, he has access to the original and radical Self.

Then the laboratory really begins, with the elaboration of the desire to point it out, verify it, actualize it; and so here are the keys to re-convert it until the centrality of the experience is reached and starts to radiate a real sense.

But in the most intimate point of the experience is the contemplation of reality, that it is then totally interactive. In Meditation all the reality is embraced (com-prehended), and the memory of all that becomes its theater.

Through this one learns to get the necessary answers always, answers that in laboratory become tangible.

Know to not know means to learn always from the silent chaotic, blissful, root of everything; it has nothing to do with being only some little men.

Moreover, if you have to ask you will not know, but if you know how to know, it is enough to ask.

Leonardo Anfolsi

The crucibles

How to make your crucibles with clay

by Licia Rossi

Let’s be clear, “ceramic” is any non-metallic material with plastic qualities, therefore subject to refinement over time, in fact today we have even ceramic knives, and this material is used to cover the space shuttles.

The porcelain is a type of ceramic obtained from a mixture of kaolin and, feldspar elements, heated at temperatures above 1300°C. In the ceramists’ art often the ceramics retain the color of the baked clay color, while porcelain is usually white or of a light color.

Healthy earth, that is, cultivable, is alive and fertile because a magnetic tension maintains its particles, colloids, in a constant attraction.This gives the earth its usual structure, although it may be more clay-like, silty or sandy.

We are interested in the pure clay, which has a “sticky” texture, good for kneading, and who has the right qualities, as we will explain later, to be baked by potters.

The clay is the raw matter traditionally used for the manufacture of ceramics: it can be found in specialised stores, fine arts shops or with the potters themselves, or else you can pick it up from the ground, following certain precautions; it is usually found at about 50cm/1m deep at the points where the earth comes off cleanly, in the elbows or cracks near the streams. The clay, according to its mineralogical profile, is a rock composed of one or more minerals, chemically classified as hydrated silicates of aluminum, with lesser amounts of other elements such as magnesium, sodium, potassium, calcium and iron.

Clay from the crystallographic point of view, belongs to the phyllosilicates. Among the interlayers, as well as sodium and potassium, there are some water molecules, typical of clay materials, called water of the interlayers.[1]

Within the tetrahedrons and octahedrons formed by the oxygen, by the hydroxide, by the aluminum and silicon, some hydroxyl substances mix with those elements, forming the so-called “chemically combined water.” Also, to be kneaded, the clay needs further added water, which evaporates almost totally during drying.

How to prepare the clay to make crucibles.[2]

Processing clay

The clay must be well mixed before modelling, in order to eliminate any possible air pockets and make it compact; generally the clay ready to use, has undergone a pressurizing treatment with appropriate machinery. Furthermore you have to use little devices and care in processing, without manipulating the clay excessively, to avoid splitting its structure and to prevent the formation of cracks and breakages during the drying and firing stages.

[3]

Drying

Once created, the artifact must be left to stand in the open air. During drying, the object undergoes a reduction in volume, which varies according to the quality of clay used: the water particles evaporate, leaving empty spaces so that the other molecules slide, coming close and covering almost all the space left . The gaps left after drying, produce to the porosity of the object.

Cooking

Once dried, the artifact is baked in special ovens at very high temperatures; by cooking the object gets further reduced and becomes more lightweight and durable. There are various and numerous ways to cook the clay, but in any case the heat must increase gradually, so the cooking is a process that requires many hours.

At 200°C takes place the first elimination of the water left over after the mixing and of the water contained between the interlayers.

Approximately, between 300°C and 600°C the object undergoes the combustion of its organic materials, so it i releases the water “chemically combined”, that is, blocked by the internal chemical bonds of the clay.

At 800°C the decomposition of calcium carbonate happens.

Above 1000°C - a temperature which is reached for the cooking of gres or kaolin, the - feldspats begin to melt, giving rise to a typical vitrification of the two qualities of clays mentioned above. The cooling of the oven, when such temperatures are reached, must be even slower. The most critical time is when the temperature changes from 650°C to 500°C, at this temperature happens the process of conversion of the quartz, mineral found in all types of clay. After firing, the object has undergone a further reduction in volume, which varies according to the quality of clay used and of the type of oven in which it was fired.

Quality and variety of clay

The clay, when raw, appears as a plastic mass of different color, depending on its content of minerals and oxides. The colours vary from white, gray, yellow, red, blue, brown and black.

These are the clay’s properties:

resistanceplasticitydrying timemass reductionfiring qualityglazing

All these qualities cannot be present at the same time in a single type of clay; for example a type of highly plastic soil usually has the unfortunate characteristic of being highly reducing.

There are therefore various types of clay with different qualities: the three main constituents of a base, of clay are:

plastic matter,refractory,fluxes.

Plasticity is a quality always intrinsic to any type of clay. So all of the following clay materials are more or less plastic, but they differ even more because the other two above mentioned qualities:

Kaolin or bone china, white in color, has a low plasticity and low drying power, minimal reduction and it is refractory and difficult to melt. This type of material is used for the manufacturing of crucibles used in chemistry laboratories to bring the compounds at high temperatures. With the alchemical compounds this material is not always the most functional.Sandy clay, is used for its plasticity. It has a fine grain and has a high dry strength, but undergoes a sharp reduction.Gres has a similar plasticity with an increased refractory characteristic.Refractory clays are fire resistant. Some types are strong and plastic. They contribute to solve the problems of resistance and reduction in the drying phase. They contain: silica, sand, quartz or flint (chert). They are not plastic, but facilitate the drying of the raw clay, reducing shrinkage, even under cooking, therefore preventing breakage.Grog, fired ceramic, crumbled, added to the clay base with the purpose of making it refractory.

The fluxes most used, are:

Feldspar, which is the most common and which melts when it is fired to be then mixed together with the basic matter.Nepheline-syenite, melting at a slightly lower temperature.Calcium (bianchetto) and Magnesium (talc) which melt at higher temperatures.

Crucibles

In Europe you can find family-run companies, or industries, where the clay is fired to make garden pots, but also units for architecture, pots and souvenirs. Pierre Dujol, Athorene, says: “To make good crucibles, one should add about 40% of “chamotte”, to the normal clay”; in the old times it was produced with pieces or fragments of tiles crumbled, pounded and kneaded; probably, if we go to an earthenware manufacturer, he will pretend to listen to our request, then he will prepare a crucible with the same clay he uses to make the pots for the garden. It will work perfectly, if every time we heat it, we will do slowly and if the fire will not be applied directly on its surface, but will be diffused in the space around.

However, it is undeniable that there is a greater or lesser resistance to fire by certain materials, which in this article are listed in all their variants.

The refractory properties of some clays allows us to use them at high temperatures,therefore, for the production of crucibles for the alchemical preparations we recommend the use of refractory clay or normal clay with the addition, as previously said, of 40% of grog or chamotte. The porcelain, for its good resistance to heat, is normally used for the manufacture of crucibles used in chemical laboratories, it is not always advisable in chemistry, since it has been observed that some reagents tend to stick to it. Of course, there is no problem in the case of a decrepitatio or a calcination of a salt through heat or when calcinating herbs.

Sometimes it is simply necessary the presence of a particular ingredient, for example an iron rod, or the presence of quartz in antimony or in the crucible, to support certain processes.

For the firing of crucibles can be used in alchemical practise a goldsmith’s oven taking care that the temperature rises and falls in a way functional to the firing of this material, that, when cooked in the right way becomes very strong but before that time,it can be delicate. Certainly the reader who has followed these tips will experience more effectively and be able to manufacture their own crucibles without particular problems.

It is clearly better to try the different mixtures used to make crucibles in the furnace, that is, to see, at least once, if a crucible made from a certain dough, resists in an oven at 1100°C. When working with metals, always remember to operate on a windy day, if possible, even better under an aspirating hood, always using safety shoes - metal dripping on shoes is a risk to consider - using also a face shield, apron and gloves.

In the future we will discuss the manufacturing of the crucibles, plates for calcination, and ovens that can also be made of terracotta.

The Myth of the terra cotta

In almost all parts of the world the manufacturing of clay and ceramic is practiced and many legends and myths on the birth of man refer to the working of the clay.

In ancient times to the clay were attributed symbolic meanings related to the spiritual world, where the world was seen in a continue development: in different cultures vessels represented the Mother Goddess or Earth Mother.

Sumerian myth tells us that man was created by Enki and Ninti using a clay support.

Chinese mythology, however, said that Nuwa, the creator goddess, depicted as half human and half dragon, created men by modelling different figurines of clay: to some gave life with yang energy, and men were born, while to others he gave life with yin energy, thus creating women.

The Egyptians devised the myth of Ptah, the god creator of mankind, who was also the patron of the artisans and the one who had been spreading the art of working with clay, iron and any other knowledge in the Memphis region.

The Greeks attributed symbolically to Prometheus the creation of man modelled with clay. According to Jewish legend, those who know and practice the Kabbalah, and in particular the powers related to reciting the names of God, can produce a golem, a strong and obedient clay giant, which can be used as a servant, to perform hard labor, and a defender of the Jewish people from their persecutors.

We should also remember the biblical creation myth. In which God created man from clay and was breathing life into him.

Equally interesting are the researches that Levy-Strauss published in his book “The jealous potter “, on the various tribal peoples of South America, where he found several myths connecting the origin of terracotta work with the myths of the world’s creation and the related cosmology.

An interesting example, in the book, is given by a story of the Achvardel: Indians of South America

“It was said at one time that the Sun and the Moon were two human brothers and lived on the earth: in those days nobody slept, the day never gave way to the night. They lived in the same house and loved the same woman: Aoho, which means Nightjar, a specie of nocturnal bird. Aoho loved the warm embrace of the Sun and on the other hand she feared the cold body of the Moon: The Sun, proudly boasted of this situation making fun of his brother; the Moon became angry and went up the sky through a liane that connected heaven and earth. From above The Moon blew out the Sun provoking an eclipse. Aoho, finding herself alone, without her spouses, took a basket full of clay used by women to make ceramics and went up on the liane leading up to heaven. The Moon, mad with jealousy, cut the rope and Aoho, while falling, turned into a bird, the nightjar, and flew away. Even now she beckons him, he spouse who abandoned her, calling hims with her laments, during the full moon nights. The basket with the clay fell and was scattered here and there, forming the clay deposits. The Sun, recuperated from the blow from the Moon, pursued his brother to heaven without being able to meet him: And so, since they can never meet,the sun and the moon alternate in the sky, as day and night.

It is evident that wherever something is shaped, in particular whatever is alive, the potter’s art is evoked. The fact that a magnetic and living tension holds together an earthy mass, has not only stirred the curiosity of the ancients, but also their ability to perceive in this matter that living force that the alchemists called “niter”.

Moreover, is it not Alchemy “Al-Che- mi”, “The Black Earth”?

From "fullon" from greek leaf, in fact, its chemical structure is composed of layers of elements combined atomically in tetrahedrons and octahedrons that form these “packages", which constitute the basic unit of substance.[1]

Depiction taken from the alchemical interpretation of “Li tre libri dellArte del Vasaio” “The three books of the art of Pottery” from Cavalier Ciipriano Piccolpasso.[2]

Michael Maier, engraving of the Atalanata Fugiens, Oppenheim, 1618; On the left. Clayish terrain, On the right, argilla.[3]

GE-132 How a dream made history

The surprising discovery of an oustanding healing substance

by Leonardo Anfolsi

“I have been led to believe the existence of something in germanium that cannot be fully explained in terms of science in its present stage of development, when I see that obstinate diseases for which modern medicine is powerless are successfully cured by our germanium therapy.”[1]

“In November, 1967, a member of my research staff who stayed on, walked into the room holding a test tube of white powder. Raising it slowly, and with an expression on his face which radiated the whole room, he uttered the words I had been waiting ten years to hear. “Dr. Asai, the water-soluble organic germanium compound has at last been synthesized.” For the first time in my life I shed tears of joy in deep silence as a man in ecstasy. They were tears of almost religious exaltation. The event proved to me that all of man’s struggles are not in vain.”

Kazuhiko Asai

Germanium is a substance with an outstanding healing power and is a trace element found in very small quantities (5-10 parts per million) in the earth’s crust. But, in its edible version, as organic compound, it is concentrated in plants, especially in plants known for treating and building the body’s resistance to disease.[2]

Garlic is the plant that provides the highest content of GE-132 containing 754 ppm - parts per million (ppm) of organic germanium - ginseng contains 250-320, comfrey contains 152 ppm, and aloe vera 77 ppm.

A cup of 150 mg of organic germanium contains a quantity of germanium equal to 10 garlic heads, that is, many kilograms of fresh garlic.

On Wikipedia there is not even one page on Kazuhiko Asai. On the web the pages are all in Japanese, and are about the Germanium Institute, which is, till now the only true and credible source of this wonderful medicine, whose chemical formula GE-132, that is: Bis-carboxyethyl germanium sesquioxide (GeCH2CH-C00H).[3]

Ge-132 has been found effective for lung cancer, respiratory failure, leukemia and lymphatic cancers, brain cancers, arthritis, eye diseases, mercury poisoning, liver disease (including hepatitis), osteoporosis, candida Albans, cataracts, heart disease, and in reducing autism. It has pain-relieving, antiviral, and anticancer properties.

Despite all this, what you find on the web dell’Asai Germanium Research Institute in Western language is only this:

Asai Germanium Research Institute Co., Ltd.

As the first company to discover an organic germanium compound, known as “Asaigermanium”, which causes a wide range of activity of physiological effects, we manufacture and supply the Asaigermanium as an ingredient of supplements and cosmetics. And also, we carry out R&D works for germanium compounds. With our experience in the R&D works and scientific data obtained thereby, we continue to challenge further R&D works on the Asaigermanium to accomplish our main idea of “Biological Science and Health”. We are following in the footsteps of Dr. Kazuhiko Asai, who founded our company and is the father of the Asaigermanium. We will inform you about the new worth of Asaigermanium. We do hope that Our Asaigermanium contributes to your health.

ASAI GERMANIUM RESEARCH INSTITUTE CO., LTD.

Company Information 1-1-1, Mampukuji, Asao-Ku Kawasaki, Kanagawa, 215-0004 Japan ph.+81-449542101

We shall see, shortly, what Asai tells us about his research. Now I want t [...]