Is this too wild a claim to make? I think not, and my reasons will follow. But to answer the question adequately, it is first necessary to endeavour to understand Butcher’s thinking, for he never did anything without a reason.
Much of his life was spent as an aircraft engineer, a career which proved invaluable when in the 1950s he became interested in Radionics, and which led to years of unique experiment and research.
In the beginning he found himself unable to use the conventional means of registering the Radionic impulse by ‘stick-pad’ or pendulum, but where most men would have given in and sought another field of endeavour, he, with his creative faculty and technical skill, overcame this obstacle by the simple expedient of designing his own very personal instruments. Some, at least, appear to work entirely on their own, whilst others make use of the operator’s mind.
As yet undisclosed information about his experiments has come to light, together with interesting comments by himself. These I propose to give, together with illustrations and descriptions of eight of his instruments.
But before doing so, I must pay tribute to his exceptional creative ability, and to the quite exquisite precision work in their construction. He made every piece of equipment himself, and all of these are masterpieces of design and craftsmanship. These I will show with photographs.
With the exception of Pegotty, I found his instruments far too time-consuming for everyday work, but I could and did use them all in his laboratory and in my home.
Whilst describing his work I will give notes of what he had in mind and indicate his own words in quotes:
“We are going to discuss the Downpouring first. This is a known force. It has been given many names. I am of the personal opinion that different people are able to attract different amounts of this force, but it is always with us. And that it does come down vertically under normal circumstances and this can only be made use of if we abide by the laws of light, one of which states that: ‘Vibrations of the ether take place, not in the direction of the wave, but in a plane at right angles to it, and the latter are called transversal vibrations’. This is from Ganot’s Physics.”
“The meter is only important to those people who cannot use the ‘stick’ or pendulum. The Meter was necessary to me because I was quite unable to operate either of these. Which has been one great asset all the way through the 14 years of experimentation. Having to use a Meter one has had a useful form of comparison. For that is what all meters are. They are comparators. Meters have been of different sizes and shapes during all this time. The latest one, which is thought to be the best, though I do not suppose it will be the last, is very simple.” I will now describe his instruments beginning with the Meter.
I believe that this was one of his early efforts. It is made of black perspex with a circular band 1″ deep and the circumference 6″ in diameter. On the top and bottom are fixed black hexagonal perspect plates. The central portion is covered to hide all working parts, with the exception of a white perspex measuring dial and a needle arm protruding from the suspension mechanism. On the top is a small black ring with a hole in it, presumably for a needle on which can be balanced a small metal holder for the patient’s sample. The feet are adjustable for levelling. When the cover is removed we find underneath the needle suspension frame – a plate 5-1/2″ in diameter, with a clearly engraved Archimedian Spiral and extending from the centre a carefully bevelled slit to the extremity.
In all other Meters I have seen the framework is rectangular. Needles appear to have been of different designs. In this Meter the Archimedian Spiral lies on the base and is made of black paper.
Here again we have a black base, but above it and under the needle suspension we find a different item which can only be appreciated from the following photograph.
“It has been ascertained that a cone made of thin paper, suspended freely, will revolve clockwise when in the presence of a human aura; I consider that the Fundamental Force comes into this, and in order for us, as human beings, to use it we have first to turn it into a spiral and that is why one hears so much about spirals in Radionics.”
“When the operator is facing a patient and a machine at resonance, the meter reacts in a clockwise direction taking up the spiral of the operator. Or that’s what appears to happen. And that is the basis of our diagnosis.”
“All this was made use of in the latest model and a form of cone was simulated within the rotar bar. The rotar bar itself which supports the needle has a small pin magnet and this is repelled by two other pin magnets, one at each side of the meter. The whole thing is adjustable for centering. And that broadly speaking is the meter.”
We must now centre our attention on his Pegotty Instrument.
This consists of a black perspex box frame with a white perspex top marked with a rectangular design 6″ x 5″ and divided into 120 squares. Each square has a small hole to take a round black peg. There is a double dividing line down the centre and the two sets of squares adjacent to this line represent the number 5.
“It has been found that if a surface made up of black and white is placed in a convenient position and a transverse beam of light is reflected across it, then a message, or whatever it may be, can be reflected onto a nearby sample. And that very briefly speaking is that.” B “Nothing much more to be said except to get down to the form of message.”
“And we find that, if we again obey the laws of light by saying that white reflects and black absorbs light, and therefore put on a platform a mixture of black and white, our message will be made up of those waves which have either been attracted or vice versa.” B “Pegotty, of course, has been designed on those very broad principles. There are ten white lines in the ‘message’ portion which are divided up by, if necessary, ten black pegs and it has been found that the waveforms already used throughout the Radionic world do apply, react and cure, or treat, whatever the word may be, in a most satisfactory manner.”
“For Pegotty you don’t necessarily want a bright light because a bright light won’t necessarily bring any more of the force. The amount of force that is present in a room is at the control, or the ability of the operator. And that is very important. (Underlining by Butcher). An even light is what is wanted. It is not an advantage to have a light coming in at 45° or some other angle, because the Fundamental Force comes straight down, and why put a beam of light across it and interfere with it?”
Butcher also made an instrument incorporating both the meter and Pegotty as illustrated. Although not mentioned in his notes, Butcher used this instrument by putting a ‘rate’ on the peg-board, for either a gland, organ or disease and watched the reaction of the meter for response. I was able to see this in operation.
“Why it works is a little difficult, in as much that it seems to be completely dependent upon the operator. Yet, a set, with Meter, has been observed from outside the window, and has been found working 20 minutes after the operator has left the room, but after that it does appear to weaken.
“Whether this is the set or the Meter that is in need of a human presence I do not know. It may be that the patient’s etheric is fully charged.”
“It has also been found that the operator is not required so much as had been necessary in the past, because the machine is capable of working by itself.” (My comment AUTOMATIC).
“Gadgets called ‘Straw Hats’ were manufactured and used, and proved to our satisfaction at any rate, that there was such a thing as the Radionic Wave, and I believe that up to now this has been in question, or might have been by quite a few.”
“Having accepted the working hypothesis of Pegotty it Was found that almost the same effect could be obtained by small bits of paper cut out to 12 squares by 10, and punctured, 1/16th holes in all the lines where in the ordinary way a peg would be placed in a Pegboard.” B “These things having been made were then mounted on a rim of an article which we called ‘Straw Hat’ because that’s just what it looks like. It was placed on a needle, freely supported. It has a lamp underneath it, which gives a beam of light coming outwards through the side of the ‘Straw Hat’ in a horizontal direction.”
“The lamp also gives rising heat to the top of the ‘Straw Hat’, which because of the flutes revolves it in one direction.” B “All things being equal, once the ‘Straw Hat’ is revolving in accordance with the rising heat, it should not stop. But it has been found that if a patient’s sample is placed close to the rim of this ‘Straw Hat’ when it is revolving, and when the symptom from which the patient is suffering comes by on one of our bits of graph paper, the thing hesitates and stops. Sometimes it goes past and comes back again, but whatever happens it stops.”
“This is quite revealing and can be useful. It is a form of diagnosis over which we have no control, and with which we do not interfere. (Underlining by Butcher. My comment AUTOMATIC). B “It is especially useful as regards toxins and hormones and we also use colours for treatment in this manner. Here again we have the story of the cones. It is the Downpouring.”
“When you get a really good ‘stick’ the ‘Straw Hat’ goes round in the opposite direction, because you get a downpouring from above that sits on the back of the flutes and instead of the air from underneath pushing it one way, the downpouring pushes it the other. It’s incredible it should have this amount of power.”
“One little instrument was evolved which is rather puzzling and it has bothered a few scientific types, and that is three paper cones freely supported, something like a windmeter. It has been found they go backwards, i.e. that is towards their bases when in a room where there is resonance with a patient, meaning by that, when we have what would be known in ordinary parlance as a ‘stick’, then we find this incredible breeze coming along that blows these things round in the opposite direction to which they should go.”
“This puzzled us for years, and after further checking, it was found that when we placed a piece of board above the cones all this stopped, so it rather looks as if this is another example of the Fundamental Force being brought down and accelerated by the fact that we have attained our objective, and impinging on the outside of the cones, which are at an angle of 45° and pushing them forward towards their bases.”
“People have been puzzled because cones have been placed on a window-shelf, near air coming in and have been gaily going round in the normal direction, which is to their apex, blown by the wind. And it is very strange to see them stop, stagger, struggle and eventually go in the opposite direction.”
I have no notes from Butcher on this instrument, but it no doubt follows a pattern similar to his Meter and Pegotty. I can therefore only give a description and measurements.
I begin with the front panel. This consists of a black perspex plate 8″ square, with nine dials and marked with rings of dots in white paint. There are also adjustable dials which have a ‘nitch’ cut out of the side at one point. The outer ring of dots is permanently visible. The inner ring can only be seen by turning the dial until the ‘nitch’ reaches the appropriate point on the panel. A small hole is also drilled in the panel at 45° from horizontal of each dial. The dots are not equidistant.
Total height with base … 26cm, width … 24.5cm.
On the back of the black panel we have a transparent plate IVz” x 7%” on which are glued, for each dial, a circle of black paper 5″ diameter with a cut-out of an Archimedian Spiral in its centre. Over this is a black perspex disc cut with a slit 1cm wide from the edge and almost to the centre. This is adjustable from the front. Finally there is a white disc 4.5cm.
Why did Butcher go to such endless trouble with this instrument, and what was in his mind when he designed it? This was the conundrum I had to answer. I felt that it might well lie in the two sets of dots. Maybe there was some link between them? This proved to be a false trail. So I then made a sketch of the rings of dots and tried drawing lines between any two points. This took a long time because I was still using both rings. This too proved worthless. I made a final effort, but this time using the inner and outer circles separately, and the result, with diagonal lines was reassuring. At least I had a pattern.
I still had no idea what they might mean. My next approach, therefore, was to measure the distance between dots on each ring, and up came a fascinating discovery.
It will be seen that there is no relationship between the two sets, but each has a central balance figure from which measurements are the same in both directions.
In an endeavour to find an interpretation of these two sets of figures, inner and outer, and the diagonal lines, and knowing that Butcher was interested in Light, I felt that I must look for some theory on Light that might fit the case. An endless task, but eventually I came across the proposition of Huygen (about 1680) known as ‘Huygens’ Principle’ and in this I believe I found the explanation for which I had been searching.
But before drawing any conclusions I must introduce one more instrument built on similar lines.
The photograph shows the front panel lying flat, but this can be raised into a vertical position for operation.
The dials are exactly the same as in the previous instrument, but have ‘quick stick’ measuring points. The two sets of rings are also identical. But in addition there are two further larger rings on the front horizontal plate. Under the left is a prism which is adjustable from the top. That on the right has a double triangle underneath … one fixed and one variable. The central dial has a small hole, presumably for a needle and sample balancing strip as used in all Butcher’s instruments. The whole is enclosed in a carrying case and in the lid is provision for a set of Delaware diagnostic cards with an adjustable sliding arm.
It remained for me, with all the information now available, to determine what lay behind Butcher’s thinking in the creation of his instruments. Not by uninformed speculation, but from scientifically acceptable facts. Butcher would have worked in no other way. This I have done, and my findings are that they are all based on three concepts acceptable to science.
1. ‘The Principle of Light’ which he gleaned from Elementary Treaties on Physics by Prof. Ganot. The fifth edition, illustrated by a coloured plate and 726 woodcuts, was translated by E. Atkinson, Ph.D., F.C.S., in 1872. This gave him his initial inspiration, and was the book he said he bought from a street bookstall for 1 /- (5p.).
Article Source : http://borderlandresearch.com/book/radionic-truths/darrell-butcher