Introduction

In the world of drug tests and job opportunities, a sneaky helper has emerged known as “The Whizzinator.” As of 2023, even though some US states have given the green light to marijuana use, many employers still use drug tests, causing stress for those who enjoy a bit of the green stuff. Enter the Whizzinator, a clever solution that stoners have discovered through a simple Google search for “Whizzinator in stores near me.” This contraption aims to help people dodge urine drug tests without getting caught.

Now, let’s break it down for you. Imagine you’re hanging out with friends who smoke, or maybe you’ve taken a puff or two yourself on occasion. Suddenly, a company calls you for a THC drug test, and the panic sets in. The Whizzinator steps in to save the day, offering a high success rate and peace of mind. This factory-made product, created by Alternative Lifestyle Systems (ALS), comes in the form of dried urine powder, with official mentions of ingredients like creatine and uric acid.

But what’s the big deal about a comprehensive review of The Whizzinator? Well, that’s where the importance of understanding this product comes into play. A detailed review helps potential users make informed decisions, weighing the pros and cons before venturing into the world of synthetic urine. So, whether you’re curious about its effectiveness or considering it for your next job-related test, a comprehensive review can be your guide in navigating the maze of The Whizzinator.

Product Description

In the captivating world of alternative solutions, one product that has stirred discussions is “The Whizzinator.” Manufactured by Clear Choice, this unique creation is a powdered concoction designed for those seeking a discreet way to navigate urine drug tests. Marketed by Alternative Lifestyle Systems (ALS), the Whizzinator is not just any synthetic pee – it’s a well-thought-out kit, complete with intriguing components.

The Whizzinator kit, often discreetly presented in stores that sell synthetic urine, is initially framed as a sex toy to evade legal complexities. However, its true prowess lies in helping individuals successfully pass urinalysis without detection. Comprising seven essential items – an instructions manual, dried urine, a syringe, four heating pads, a fake penis (the shaft), a waistband, and two leg straps for mounting the shaft – this kit is more than meets the eye.

The dried urine, a crucial component resembling powdered human urine, forms the core of the concoction. Mixed with water on the test date as per the manual, it mimics real urine remarkably well. The syringe facilitates the seamless transfer of the synthetic urine mixture into the fake penis, ensuring a clean operation. Heating pads play a pivotal role, elevating the temperature of the fake urine to a natural body temperature range, making it indistinguishable from the real deal.

Functioning like a charm, it allows individuals to pass the drug test without raising suspicions. The Whizzinator operates on a simple principle – mimicry. By injecting synthetic urine into a bag, strapping it on, and applying a heating pad, users can simulate a natural urination process. The synthetic urine flows through the fake shaft, collected in a test cup, fooling even the most discerning lab specialists.

It’s important to note that using such tactics requires meticulous preparation and attention to detail, as laboratories have become adept at detecting poor-quality fake urine. Does fake urine truly work in every situation? You can discover more in the Whizzinator Review.

Ingredients

In the Whizzinator review article’s section on Ingredients, we get a closer look at what makes up this unique product. The Whizzinator is a synthetic urine or fake pee created by Alternative Lifestyle Systems (ALS) for passing urine drug tests. The primary ingredients mentioned on the official website are creatine and uric acid, but research suggests there could be more, including sodium chloride, urea, potassium chloride, sodium phosphate, and ionized water.

The Whizzinator kit, often discreetly marketed as a sex toy, is crucial for successfully using the product. It may not be sold as a complete package, so users are advised to pre-order it well before their drug test. The complete kit typically includes an instruction manual, dried urine, a syringe, heating pads, a fake penis (the shaft), a waistband, and two leg straps for securing the shaft.

The dried urine, in powdered form, is a key component. When mixed with water, it creates the fake urine. The syringe helps collect and introduce the fake urine into the shaft without smears. Heating pads play a crucial role in maintaining the synthetic urine’s temperature to mimic real urine. The fake penis, available in various skin tones, is the core element of the product, helping users pass drug tests by providing a realistic urine sample.

The article also delves into the working mechanism of the Whizzinator, likening it to wearing a condom. Users inject synthetic urine into a bag, strap it on, and use a heating pad to maintain an optimal temperature. The fake urine is released through a fake shaft, collected in a cup, and then given to the lab specialist, mimicking a natural urination process.

For users looking to pass a urine drug test with confidence, following the step-by-step instructions provided with the Whizzinator kit is essential. The article emphasizes the importance of preparing two hours before the test, mixing the powdered urine just before the test, and ensuring the synthetic urine is at the correct temperature range.

How to Use

For anyone using “The Whizzinator,” it’s essential to follow a step-by-step guide to ensure a successful experience. First and foremost, start preparing at least two hours before the urine test to allow ample time. Gather all the components of the device and remove the heat pad from its pack. Then, mix the Powdered Urine with water according to the manual, making sure to do this just two hours before the test to maintain its effectiveness.

Moving on, carefully inject the mixed synthetic urine into the bag, making sure not to overfill it. Attach a heating pad to the back of the bag and use the temperature stripe on the opposite side to confirm that the urine reaches the optimal temperature range of 90 to 100 degrees Fahrenheit within an hour. With the setup complete, the urine will stay at the right temperature for up to 8 hours.

Next, wear the straps on your waist, adjusting the shaft to fit comfortably. Ensure the temperature stripe presses against your body to regulate the urine temperature. Confirm that the urine maintains the specified temperature range before confidently heading to the bathroom for the test.

When producing the sample, position the uncovered sample cup at the base of the shaft and gently squeeze the bottom to allow the urine to flow into the cup. Once you have enough, gently close the valve and hand the cup to the lab specialist, awaiting your test result with confidence. Following these steps diligently ensures a smooth and successful use of “The Whizzinator.”

Pros and Cons

The Whizzinator has gained popularity on social media, and many users praise its performance compared to other brands. Customers appreciate the ability to use it multiple times, and its urine outperforms detox pills. One notable feature is the variety of choices for the shaft’s skin tone, with more than five options available. Users find it easy to use without discomfort, and the realistic look and feel of the shafts make them challenging to detect, even during supervised urinalysis. Additionally, the product comes with a user-friendly instruction manual, ensuring that first-time users won’t encounter difficulties.

However, it’s essential to consider some drawbacks. The Whizzinator comes with a relatively higher price tag compared to its competitors. Successfully using it requires stealth and wit to avoid detection, as there are legal consequences in many states for its use. Some users reported minor leaks in the male version’s shaft, and panicking during use could give away the deception. Furthermore, the product lacks FDA certification, and it’s crucial to use the heating pad to achieve the recommended urine temperature for optimal results. Despite a 14-day return policy for unsatisfied customers, the potential legal risks and restrictions in various states should be carefully considered before deciding to use the Whizzinator.

Customer Feedback

In the section about Customer Feedback for The Whizzinator Review, we dive into what people are saying about the Whizzinator touch kit. This part is crucial because it gives us insights into the real experiences of those who have used the product.

The feedback is collected from various customers, and their comments and ratings are put together to form an overall picture. When we talk about “aggregated customer reviews and ratings,” it means that we look at all the feedback as a whole, combining positive and negative comments to get a comprehensive view.

Positive reviews highlight the good aspects of the Whizzinator touch kit. Despite some users facing minor issues due to their inexperience in handling the product, the overall feedback remains positive. This tells us that, for the most part, people are satisfied with their experience using the Whizzinator touch kit.

Moving on to “Common themes in feedback,” we explore the recurring topics or patterns in what customers are saying. This helps us understand the key points that stand out in people’s experiences, providing valuable information for potential users and giving a well-rounded perspective on the product.

Q&A Section

Q1: What is The Whizzinator, and why do people use it?

A1: The Whizzinator is a synthetic urine product designed to assist individuals in passing urine drug tests undetected. It includes components like dried urine, a syringe, heating pads, and a fake penis, allowing users to provide a synthetic urine sample.

Q2: How does The Whizzinator work?

A2: The Whizzinator operates by simulating the process of natural urination. Users mix dried urine with water, inject the synthetic urine into a bag attached to a fake penis, and use heating pads to maintain the temperature, making it appear like a real urine sample during testing.

Q3: Is The Whizzinator legal to use?

A3: The legality of The Whizzinator varies by state. While it is marketed as a sex toy to avoid legal issues, users should be aware that using synthetic urine to deceive drug tests might have legal consequences, depending on local laws.

Q4: What components are included in The Whizzinator kit?

A4: The Whizzinator kit typically contains dried urine, a syringe, heating pads, a fake penis (shaft), a waistband, two leg straps for mounting the shaft, and an instruction manual. The complete kit is designed to help users pass urine drug tests.

Q5: How should users prepare and use The Whizzinator?

A5: Users need to follow detailed instructions provided in the manual. Preparation involves mixing dried urine with water, injecting it into the bag, attaching heating pads, and ensuring the synthetic urine maintains the required temperature. Users then discreetly provide the sample during the test.

Q6: Can The Whizzinator be detected during a drug test?

A6: If used correctly, The Whizzinator is designed to go undetected during standard urine drug tests. However, users should exercise caution and follow instructions to avoid revealing the kit, as discovery may lead to serious consequences.

Q7: What legal and support information is provided by the manufacturer, Alternative Lifestyle Systems (ALS)?

A7: ALS emphasizes user responsibility and provides a 14-day return policy for unused products. The Whizzinator is not FDA-certified. Users can contact ALS support via phone or email for additional information or assistance.

Q8: Are there any risks or consequences associated with using The Whizzinator?

A8: Using The Whizzinator involves legal risks, as laws regarding synthetic urine vary by state. Users may face consequences if caught attempting to deceive drug tests. Additionally, there have been reported cases of minor issues, such as leaks, with the product.

Q9: Can The Whizzinator be used for probation drug testing?

A9: Yes, some reviews suggest that The Whizzinator may help individuals pass probation drug tests that involve urinalysis. However, users should be aware of the specific requirements of their probation test and potential consequences of using synthetic urine.

Q10: Where can users purchase The Whizzinator?

A10: The Whizzinator kit is available on various e-commerce sites, including Amazon. Users can also order directly from the manufacturer, ALS, and may find nearby retailers by searching “where to buy Whizzinator near me” online.

Summing Up

In conclusion, The Whizzinator touch kit stands out as a reliable option for individuals facing urine drug tests. As we sum up our discussion, let’s revisit the key points that make this product noteworthy.

The Whizzinator has proven to be one of the few successful methods that people rely on to pass urine drug tests. Its track record of almost 16 years in the market signifies a level of trustworthiness that users appreciate. The positive reviews from users further validate its effectiveness and reliability in crucial situations.

When it comes to ensuring job security or aiming for that long-awaited promotion, having a Whizzinator kit on hand can be the safeguard you need to avoid the embarrassment of a failed drug test. It’s worth noting that, in comparison to other brands like The Monkey Dong kits, the Whizzinator stands out as a popular and consistently reliable choice.

In our final thoughts on the product, we can confidently say that the Whizzinator is a reputable brand that has maintained its dominance in the market, offering users a reliable solution to navigate the challenges posed by urine drug tests.

Lila very much recommends a visit to the brilliant October Gallery and Robert Beer’s talks.

Robert Beer

Robert Beer has studied and practiced Tibetan Art for the past forty years and is now recognized as one of the foremost scholars in this field. Over the past fifteen years he has been working closely with the finest Newar artists and Tibetan thangka painters of the Kathmandu Valley to create the most comprehensive collection of contemporary Newar Buddhist and Hindu tantric art.

Martina Hoffmann works as a painter and sculptress. Her painting style can be described as Transpersonal Realism and her imagery offer the viewer a detailed glimpse into her inner landscapes – imagery that has been inspired by expanded states of consciousness: the realms of the imagination, meditation, shamanic journeys and the dream state.

Today she is considered one of the foremost contemporary female visionary artists.

In addition to exhibiting her art internationally, Martina has spoken on behalf of visionary art and culture at events such as The International Conference on Expanded States of Conscioussness in Cuernavaca, Mexico, Convergence and The Amazonian Shamanism Conference in Iquitos Peru, the AllChemical Conference in Kona, Hawaii, MindStates Conference in Berkeley, The Prophets Conference in Santa Fe, as well as Burning Man and the Boom Festival in Portugal.

She also teaches painting workshops worldwide together with her partner Robert Venosa.

Her work has been exhibited and collected internationally as well as having been published in books such as ‘The Visionary World of Hansruedi Giger’ by Stanislav Grof, , ‘Be The Change’ by Ed and Deb Shapiro (Sterlibg Publishing), ‘Inner Paths To Outer Space’ (Park Street Press 2008), ‘Metamorphosis’ (BeinArt Publishing 2007), ‘True Visions’ (Betty Books 2006), ‘Drinking Lightning’ (Fine Arts Press 2001), ‘Illuminatus’, (Fine Arts Press1999), ‘One Source, Sacred Journeys’ (Markowitz Publishers 1997), ‘The Return Of The Great Goddess’ (Shambhala Publishing 2001, ‘Noospheres’ (Pomegranate 1991), and in magazines and publications such as such as ‘Juxtapoz’, ‘Inscape’, Magical Blend, Shaman’s Drum and Nexus, etc.

“The visionary artist makes visible the more subtle and intuitive states of our existence and creates maps and symbols reflecting consciousness. My work is an attempt to show spirit as the one universal force beyond the confines of cultural and religious differences. By embracing our oneness as a global human family and the concepts of our universal interconnectedness as well as the interdependency of all life, we have a chance to heal and transform the planet’s general state of woundedness. In using art as a tool for transformation, we have the opportunity to create a reality as beautiful, healthy and strong as our imagination permits.”

Similarly to all objective processes, Art represents an energy flow, which has its own beginning, length and end. Like all things, it has own conception, birth, childhood, youth, maturity, old age and finally death, with the destruction of the body. The energy duration could be imagined as a sinusoid, with its starting point at the zero ground, which goes on upwards to its culmination of development–the Apogee–and then it descends back again to the point of zero. This way, it could be imagined as one of those thousand-year cycles in a chain. Countless cycles preceded it, and new countless cycles to come will continue this eternal vibration, like the heart beats, like inhalations and exhalations, like ebb and flow, like day and night, up to the end of being. A force for the continuation of the everlasting immanent sinusoid comes from the zero point, which is always unchangeable. The point of Zero, although it depicts an image of the nothingness, is a symbol of the ultimate Transcendence and this is the only unchanging Eternity.

A starting process is always constructive, and therefore any beginning cannot start from destruction. It means that art in its youth, in its starting point could be only constructive, purely spiritual, and in this state still close to the Transcendent. Even if the art was not so technically developed, it was still healthy and had a huge potentiality of growth. Such a sort of art we can see in the history of the early ages of the present humanity on the murals of the caves of Altamira and Lascaux, in sculptural works, such as Venus of Willendorf or Venus of Kostenki. This is a sacred and shamanic art, wild and rough, but there it is already possible to notice a way of a certain stylization and one can find there some sort of an artistic language. As an example of the highest point of the sinusoid, as a point of the perfection of the technical skill in the visual arts, where ripe, matured human personality had been harmoniously combined with the still non-lost connection with the spiritual, we can probably point out the Renaissance, as well as the Baroque.

The whole period of the art historical and simultaneously a social development of a human person had very bright evolutionary features; everything followed in order and could continue this natural flow for ages, until the process of evolution was blown up by a revolution. The European “Enlightenment”, with a help of a mass education has become a catalyst of a new civil self-identity. Since then, the process has changed a nature and trajectory. The Pre-Modern part of the white man’s history has ended, and a new “educated” person has got new features: “own will” and “own concept”, which could differ and which could contradict or be even much more advanced than that one, which was accepted by the state and church hierarchy. If in the past it was a fate of the individuals, like Galileo Galilei, Leonardo da Vinci or Nicolaus Copernicus, now the possibility has become available for the masses. So, since then the “new person” could not tolerate the traditional old system of values and a form of state as its projection. The first bell-ring of such a revolution of consciousness had sounded on the scaffolds and guillotines of the British and French coup d’?tats, and was immediately reflected in art. We can hear its echo in the paintings of Delacroix, Gericault and in the tragic themes of Goya. A new bright feature of a mentality of that period–a neurotic euphoric state of the romantic attitude to the new social reality. Romanticism itself had become a new belief and a charm for this new, “liberated” man. The ecstatic neuroticism, which has appeared in this period in art, reflected a new state of the person, which obtained a new form of Ego. The conventionally high education formed a new outlook, where religion got a very small space. Starting from that time, among of the “educated”, “progressive” people to be religious, almost automatically meant to be ignorant. So, a “new man” had subconsciously started to sense a danger of a disconnection with the divine Transcendental, and at the same time to feel a sort of exaltation as an effect of the self-will. Those also were the first steps of the “prodigal son” in the spiritual aberration on the art paths. It was the start of the epoch of the Big Modern.

One of the results of the Second World War was the disillusionment in the ideal of the “new man”. It was disillusionment in the failure of the romantic idealism. The post-war generation, having seen millions the killed and suffering across Europe, got a feeling of a certain falsehood in the values of Romanticism, and started to doubt in its potential as a main stream of the way of a social thought development. As a reaction, there was the total rejection of all that had even a slightest connection with the romantic and idealistic. Some artists of the new Avant-guard decided to reject all that which had any connection to the human feelings, seeing in them a danger of the future relapse of a romantic war. Dehumanization by destruction of the human image and just of any live form in art has become the main stream of the artistic thought of Modernism.

However, a different part of the art society, which still believed in humanism and in the centuries-old cultural and art traditions, reacted differently, calling everyone to the “return to order”, and to get a new look at the humanism. They came to be called the ‘Neo-Romantics’.

They believed in man and his potentiality. The Neo-Humanists, Neo-Romantics, who have got the knowledge of the new psychological research, saw a human being through the prism of new anthropological doctrines, and their way became alternative to the art of the Avant-gardists (the Post-Humanists).

Thus in 1910-1920s, the Art, as a holistic energy stream was separated into two parts, according to the belief in humanity and humaneness itself, to the human sensuality and emotionality, to the sensation and the connection to the Transcendent itself. The first part, which was represented by the Neo-Humanistic art and which struggled for the “art salvation”, has become a natural continuation of the Evolutionary development; but the second one — art of the dehumanization, art created by the post-human pioneers, so-called “Modernists”, appeared as the anti-human Revolutionary art trend. The sources of the art of both these art branches were very different; the humanistic art had a source in the human soul, which is always connected to the Transcendent; but the post-human art of Modernists had originated in the mental constructs of the dual mind, which is closed to the Divine, and cut off from the Transcendent.

It is amazing to notice that from that time (perhaps starting with the Douchamp’s urinal in 1917) they still didn’t make a step forward in relations with the people. They shout that even Karl Marx wrote that only an artistically educated man can understand and enjoy art. So, even if Marx wrote not about Modernism, according to the point of view of the Modernists, most people must see themselves as uneducated sub-humans, animals, like “Mules, without understanding” (see more on this theme at http://www.meaus.com/0-151-korolev-2.htm )

Of course, it is true that most people hated this sort of modern art in the past, and they continue to hate it in the present. Why? The point is that this modern art is dehumanized, but people are still human! What does it mean? Dehumanization, first of all it is a refusal of any connection to the Transcendent. Transcendent ability is what makes a human being to be human. A beast has no such feature, so it cannot attain Enlightenment, Liberation and Salvation. Without Transcendence, a man really becomes a sort of a beast, or in this context–a post-human.

Modernism has devalued the soul, sensations, and sensuality. All that which it could do is to warp all natural forms, build from them some cubes and other geometrical things to prove the correctness of the most proud egocentric, materialistic rationality to take rise over all the living divine creation. Modernism could not tolerate any spirituality and religiosity, just because its adepts had no personal connection with the Spirit.

The Modernists perceive all the spiritual, visionary and imaginative works as being “too melodramatic”, “kitschy”, “surfeit of spiritual”.

The problem is that they, saying this about the live human art, told the truth! But, this was their own truth, which came from the sensation of their own “reality”! We cannot judge them for this, as we cannot judge the insane or dead. They “saw” this world exactly this way. So, they didn’t lie! Their souls simply had no any chance to respond to any spiritual maters, just because of the lack of any ability to do that.

It is impossible to say that Modernists, and nowadays the Post-Modernists, are untalented and they cannot have own fans even among of the morally and spiritually non-decadent art audience. However, it is necessary to remember that destruction and decay also can be sort of beautiful, and an explosion and death, or even suffering, can look aesthetic.

Sometimes, for someone for psychological reasons–maybe when one has a too brutal and non-moving mentality–it is necessary to blast it as an ice-jam on the river in the spring, and Modernism, perhaps can be helpful in it. Such a person can even feel some relief. But still, one needs to remember that it is a destruction of the natural flow and humanism.

Originally, all state institutions didn’t accept Modernists, seeing their “deconstructivism”, as they called it, and called it their enemies – “degeneration”, of the cultural values of the nations generated by ages. In 1930s, the European Modernists were pushed out to emigrate from the continental Nazi Europe to the United States, and since they were mostly the “Left” political persuasion (of the Trotsky type). Initially, they were considered by the US Government to be also a part of the “Red Threat”. But, in spite of the prospering Modern Classicism in America of that period, it was the same way as in the Third Reich and Soviet Union. In spite of the fact that some US Congressmen were against of the support and sponsorship of the Revolutionary artists of Modernism, very soon their counter-cultural gist was obviously found out as a friendly to the “Melting pot” concept, as well as there was found a way to repurchase a big part of those pro-Communists, Modernists artists of the Avant-garde and turn them into kind of Liberals (Democrats) and even Liberal-fundamentalists (Neo-Conservatives).

Thus they killed two birds with one stone: Pro-Communist (Pro-Trotskyists) artists, the potential agents of Comintern, have become Democrats and thus their destructive force was directed not against of the Capitalists of the United States, but against Communists of the Stalin’s type, considering that they already were their enemies. It is necessary to say that it was a masterful move of the US secret services, and here they played their part of a Paganini, if we compare them to the awkward and imprudent play of the Soviet Cultural Department.

Since then, in 1950s, the “Avant-garde”, the pioneering part of the of the ideological post-humans in art, got a new name of the “Contemporary art” and thus, the Revolutionary art branch set up a claim to all present time itself, making the Evolutionary art being illegal not only in space of the art field, but in the time continuum itself. Since then, all other art was automatically labeled as old fashioned, even though it was created in the present time. It has become one more brilliant trick and substitution of the notions in the frames of the Cultural Cold War, which was conducted by the USA against the USSR. The “Contemporary art” has become the only art acceptable, and all the rest of art has become either non-art at all, or still an art but non-contemporary, outdated. The Evolutionary art got the labels of “Nazi Kunst”, “Communist art”, “Conservative art” etc. This way, all sorts of Figurative, Imaginative, Visionary art, even of the highest artistic levels were marginalized, and posed rather as Craft (similar to the wood carving or embroidery); artists of the Evolutionary art had become to be considered instead as artisans, and the art galleries, which still represented this sort of art were instead perceived as art shops, sothey could not have a major role, or even any minor role on the art market.

Actually, there is nothing new and surprising in the fact that some country conducts a certain art policy which expresses its own ideology via the art visualization, elevating some styles and lowering the importance of the others, by the means of setting up certain art canons. Such a behavior was normal in all civilizations, starting maybe with ancient Egypt, Greece and Babylon. In the USSR and also in the Third Reich, it also was their art and cultural politics, but it was proclaimed openly and was openly sponsored by the state. Very unlike from the United States, where this kind of sponsorship was of a secret character. The point is: Modernism in USA had to be posed as a “free art” of the “free world”, in the opposition to the “non-free art” of the “non-free world”. So, US government, which established this system and rules and spread them also around the countries of the all “free world”, by the reasons of the officially stated “ideology of freedom”, could not publically admit that there is some censorship in art. The censorship had a hidden character, and it was carried out by financial and media mechanisms, by the cutting out of the politically unwanted artists from the art market, by a marginalization and concealment of their art activity and thus, dooming the artists, due to the total lack of funds to death by hunger or to compel them to change their occupations. The same vein, they would not publicly admit that they sponsored those Modernists loyal to the regime (by opening them all the doors and supporting all their steps which were necessary in the propagandists’ play of the Cultural Cold War).

The secrecy of the ongoing Cultural Cold War has become a very big problem for artists of the Evolutionary stream in the West. They, also being politically loyal to the Democratic states, could not understand why their art, while having incomparably higher artistic level, due to the value of the ideas and skill, could not be exhibited in most of the important art galleries and museums. Why could they not be accepted in the art market, why did not the art critics pay any attention to their art, why did they call it “Nazi Kunst”, “Communist art”, “Conservative art” or “Kitsch”? Such situations were faced by and still are faced by thousands of artists! Usually, when they come to some important gallery to show art works, the most polite answer they hear: “Sorry, we do not exhibit this style”. So, such an artist understands nothing, and he or she is just overwhelmed. The artist thinks that he did his best, and sees that his works are much better than many of those, which are represented by the galleries. But in most cases, the poor wretch comes to accept that a problem is with in his works, in his art, thinking that maybe he is not talented enough. The artist cannot even imagine that the problem is not in him because he is healthy, but that the problem is with the present mainstream of art itself, – the former “Revolutionary” art branch, which occupied the whole art scene, and which is spiritually sick. The artist cannot realize that the problem is in the art system, which still acts as a hidden tool of the Cultural war, passing off a genuine Soviet-style of the “Planning economics” as the “Free market” of Capitalism.

Some years ago, a similar situation happened to a Norwegian fellow named Odd Nerdrum; being a talented and devoted “Evolutionary” artist, he was refused by the “Revolutionary”, but politically corrupted art system and it made him to draw some conclusions, which only were possible to do in that time and that place. He recalls: “Even though I was captured by art early in life, I soon came into contact with something else. By the age of 20, I was caught up by the red light of the sunset. Still I heard my stepfather’s warning: “Remember the moderns. This go well for them. If you go on like this, you will do badly”. As I forced my way into the art world in the late 1960?s, I could hear the echo of his words in my head. The reactions to my work were ferocious. The harassment I was put through had deeper roots than the opposition against Edvard Munch, which soon turned into a noisy adoration as he became a Modernist. At the time I understood that something was wrong, but exactly what was beyond of my comprehension. I tried to act like an artist to the best of my abilities, and for many years I actually believed I was an artist. The first time I got an idea of what might be wrong in the late 1970?s. I had been allowed to hang two of my larger paintings &endash; ‘Arrest’ and ‘The Murder of Andereas Baader’ — in the new students house at the University of Oslo. I must confess I had bribed the board with prints, though this was at time where artists were paid to exhibit. However, I felt it served its purpose as long as I could fulfill the dream of seeing my larger compositions displayed to the public. They were beautifully hung above a staircase, which almost looked like a Caravaggio chapel. But it did not take long before someone disliked the show. A committee at the Academy of Art had decided that the paintings on this particular staircase had to come down. They surprised me with the letter saying that “All decorations” had to be removed within a fortnight. Than I ran into one of those who had made the decision, the recognized artist Arvid Pettersen. I looked him straight in the eyes and asked: “How could you do this to a colleague?”. He just stared at me and could not answer. Then I got the feeling he had understood something I had not: That I wasn’t an artist.”

This adaptation of my introduction to True Visions (Betty Books, 2006) first appeared in the COSM Journal, issue 4.

The sad truth about descriptive categories like “visionary art” is that they are both useful and lame. Especially in the art world, the language of genres and styles often has more to do with galleries and critics than with making and enjoying art. But reflecting about categories can also be fruitful, because it shapes the context of our seeing—and more importantly, the way we share and talk about our seeing. So here is my seed crystal: visionary art is art that resonates with visionary experiences, those undeniably powerful eruptions of numinous and multidimensional perception that suggest other orders of reality.
Certain individuals have a predilection for visionary experiences, but these luminous glimpses bless us all at some point in our lives—sometimes through intentionally induced trance states or psychoactive raptures, and sometimes through the gratuitous grace of deep dreams or the demented funhouse of a quasi-schizophrenic break. But we also understand and experience visionary experience through visionary culture, those artifacts of human culture with its eyes agog.

From the perspective of the mainstream art system, however, visionary art could be seen as an attempt to broaden and extend the notion of the outsider artist—those creative madmen, religious eccentrics, and poor folk considered to be outside the boundaries of conventional art history. The American Visionary Art Museum in Baltimore, for example, describes its collection as “art produced by self-taught individuals, usually without formal training, whose works arise from an innate personal vision that revels foremost in the creative act itself.” That’s all fine and well, and the museum is cool, but this definition is pretty lacking. By insisting that visionary artists are self-taught, the AVAM implies that visionary art is not found inside the schools, movements, or lineages that compose the dominant flows of art history. It becomes a purely idiosyncratic affair, reduced to the solitary, obsessive individual, a Simon Rodia or a Howard Finster. But many visionary artists—by my definition—are and have been formally educated. More importantly, many visionary artists self-consciously locate their work within a lineage of inspired image-makers that stretches back through generations of Surrealist dreamers, mystic minimalists, and medieval icon painters. Abstract art, the most exalted and intellectualized gesture of the modernist avant-garde, actually emerged from a lotus pond of theosophy, spiritualism, and occult meditation practices.

The historical lineage of visionary artists masks a deeper and more commanding claim that sets the genre apart from the marvelous idiosyncrasies of outsider art. The claim is that the visionary artist gives personal expression to a transpersonal dimension, a cosmic plane that uncovers the nature that lies beyond naturalism, and that reveals, not an individual imagination, but an imaginal world, a mundus imaginalis. Far from being outside, this world lies within. Henry Corbin, the brilliant twentieth century scholar of Sufism, coined the term mundus imaginalis to describe the ‘alam al-mithal, the visionary realm where prophetic experience is said to literally take place.

“In many of her enthralling pieces the human form is a catalyst for exploring such themes as immateriality, metamorphosis, and transcendence.”

Wow, so this was really the height of the 1960s psychedelic revolution. What connection does your image making have with the other breakthroughs of those times, such as psychedelic rock and the explosion of awareness in psychedelic substances?

While I was familiar with the pre-psychedelic rock that was popular in 1966-7, my initiation into the psychedelic culture that day in San Francisco included attending a concert that featured Jefferson Airplane, The Grateful Dead, Quicksilver Messenger Service, and Big Brother & the Holding Company. This was my first exposure to extended rock pieces and light shows that were mesmerizing and trance inducing. I had what they call a “contact high” that night. It was truly what Richard Tarnas might call a Promethean and Dionysian experience. I first experimented with marijuana and LSD the following year and this awakened me to the potential of entheogens for stimulating one’s own inner imagery. A mescaline experience in 1971 took me to what some call “I AM” consciousness. From then on my art became more mystical.

 

The deep heart and clarity in the work is very strong. Have you had any prophetic experiences with your work, or experiences whereby personal meanings or events symbolised in the work actually manifest later on?

Only one instance immediately comes to mind. In 1984, while living in New York, I arranged to learn the mische technique from Carlos Madrid. I did a sketch for my first painting “Lovers Dream Journey.” At this time I had just learned of Jungian picture analysis and took a Saturday workshop from a Jungian analyst. I took along the sketch to show him. While he thought the image had beauty, he also found it disturbing for two reasons. In this picture the movement is going towards the left, which the Jungians consider a movement from consciousness towards unconsciousness. Secondly the flying image of merged couples with eagle heads and foetus was ungrounded. I wonder if all flying images are seen this way. As this sketch was on tracing paper, I switched sides to see how it would look with the movement to the right, but didn’t like it. Thus I painted it as I originally sketched it. About a year after I made the sketch, my girl friend became pregnant. We were not in a good financial situation so I persuaded her to get an abortion, something I have never been very proud of. We soon broke up and I have largely lived a solitary life since. I have always wondered if the outcome would have been different had I painted the picture differently.

How do things manifest for you with the art? Are they primarily based on dream, vision, intentional engineering of composition or spontaneous surprises? What do you feel facilitates your own creativity?

First of all, to facilitate one’s creativity, the most important thing is to have an expanded mind. Not just from drug experiences, but from a deep exposure to the world of art, and an ever growing acquaintance with metaphysical ideas. The goal for any visionary artist should be to access what is deep and timeless within him/herself. If we do this then that vision that emerges will express itself through our individual uniqueness. We all begin slowly. Besides experimenting with drugs, I also read all kinds of books that were very stimulating in helping me awaken to a much greater set of realities. I read Gurdjieff, Ouspensky, Carlos Castaneda, Hermann Hesse, channeled material from Jane Roberts and others, Robert Graves, Carl Jung, James Hillman, Yogananda, Daniel Andreev, and more recently Richard Tarnas. I made friends with a few psychics and learned something of the way they see things. Over the years I also connected with spiritual teachers and did spiritual workshops. This opened me up inwardly and provided me with many frames of reference.

When I first started doing art, I learned that marijuana was useful for stimulating surreal visual imagery in one’s mind. This was my first exposure to the power of the human psyche. I would jot down quick sketches of images that seemed to have substance. However once the drug effects wore off, these sketches didn’t always hold up. I began working in the collage medium in 1972. Working this way offered a different way of accessing the psyche, providing a multiple choice way of combining images, and freed me from the necessity of using drugs. I would combine different images in various ways in an attempt to find something that “worked.” Over time I gained a deeper understanding of symbols and became familiar with those that had real meaning and authenticity for me.

The combination of symbols expresses ideas. They help to define each other and make a larger statement. They offer the potential of creating an art laden with rich and substantive meaning. However this potential is contingent on the progress that one makes in their own spiritual development. I think in this respect I am still a novice. But my cut and paste collage creations were not quick juxtapositions of incongruous imagery, but rather painstaking efforts that sought a real poetic magic, something that mirrored my own soul.

I would say it is the same for my paintings. Some of these were inspired by collages. Others with the intent of expressing some metaphysical idea, where the vision slowly materialized as the painting progressed. More recently I have begun paintings by creating interesting textures, and then seeing what images these might conjure. I don’t recall that dreams have ever inspired any of my art creations, nor has intentional engineering ever worked..

Visionary art is not easily defined. As a recognised genre it is recent, a half-century old at most – its first generation masters are still practicing, its horizons are still expanding. Visionary art is contemporary. To search for a defining boundary therefore is fruitless; definitions, being restrictive, are more readily established in retrospect. But if we cannot define, then we can unearth. For there exists in any art genre a lineage, a bloodline, and in Visionary art we find a genealogy that can be traced through the Surrealist and Fantastic Realist movements of last century, past the Renaissance, across continents and centuries, back to the first dawn.

The position of drawing as a specialised discipline within this genealogy is an even more subtle ancestry to unthread. In Visionary art we find a bewildering breadth of subject matter; we find particular attention given to dreams, to death and memory, unexplored terrains of the psyche, madness, mythic creatures, gods and demons, the organic and mechanical, anatomy, animal consciousness and organic emergence, geometry and mandalas, and the symbolism of alchemy, astrology and assorted wisdom traditions. Yet none of this is essential, none of this in itself is sufficient to make a piece of art ‘Visionary’, for the genre rests upon a unified and identifiable foundation of technique, a technical style and temperament that those artists specialising in ink and pencil share with their painter siblings.

Ernst Fuchs has named this “ein verschollener Stil”- a “hidden prime of styles.”  This unity of style is the genetic code writ through the Visionary artist’s bloodline; it is the grammar upon which their language is constructed.

Visionary art rests upon a unified and identifiable foundation of technique, a technical style and temperament that those artists specialising in ink and pencil share with their painter siblings – a “hidden prime of styles.” This unity of style is the genetic code writ through the Visionary artist’s bloodline; it is the grammar upon which their language is constructed.

To begin at the beginning.

The underground caverns of Lascaux in Dordogne, the guide switches off his flashlight. “The senses suddenly are wiped out,” one visitor recounts, “the millennia drop away… you were never in deeper darkness in your life. It was – I don’t know, just a complete knock out. You don’t know whether you are looking north, south, east, or west. All orientation is gone, and you are in a darkness that never saw the sun.”

This primordial darkness is a space of pre-conceptual potential. This is a creative space.

The guide switches his torch back on and turns it to the roof and walls. Emerging from the depths of the rock are painted animals, images of bizarre creatures, half-human and half-animal hybrids. “A strange beast with a gravid belly and long pointed horns walks behind a line of wild cattle, horses, deer and bulls that seem simultaneously in motion and at rest.”

What motivates this art?

3D Photo Crystals: Artful Appearance and Precision Craftsmanship

Capturing Instant Memories: The Art of 3D Photo Crystals

Today, in a world where moments are instantly captured and shared, there’s a special allure to preserving these cherished memories. That’s where the magic of 3D photo crystals comes in. These crystals, with pictures inside, offer a unique way to encapsulate passing moments. This article will explore the rising trend in 3D photo crystals, taking a closer look at what they are and how they provide a distinctive method to preserve memories.

Overview of the rising trend in 3D photo crystals

Living in an era of instant sharing, the desire to preserve memories is met with the enchantment of 3D photo crystals. Crafted from high-quality optical glass, these crystals transform 2D photos into breathtaking 3D images, capturing the depth and contours of moments in a mesmerizing way. The article will delve into the varieties and shapes of 3D photo crystals, including dual-sided designs and illuminated crystals.

How 3D crystals offer a unique way to preserve memories

Not just ordinary pieces of glass, 3D photo crystals are exquisite works of art. Their appearance is characterized by clean, uncluttered designs that draw the viewer directly to the encapsulated memory. Beyond appearance, the craftsmanship involves cutting-edge laser technology, precise laser etching, and extensive polishing to enhance clarity. The process of making these crystals includes image conversion, laser etching, polishing and finishing, quality control, and personalization. The article will also explore captivating types of 3D photo crystals, ranging from rectangular blocks to keychain crystals, each offering a unique way to showcase treasured moments.

Varieties of 3D Crystals

Dual-Sided and Illuminated Designs

As we explore the enchanting world of 3D photo crystals, we encounter various types, each designed to serve a unique purpose. Among these, two common design types stand out: Dual-Sided Design and Illuminated Crystals.

Exploring different types of 3D crystal designs

Let’s take a closer look at these fascinating designs. Dual-Sided Design crystals create a captivating visual experience by combining 2D and 3D elements on opposite sides. One side reveals a flat image, while the other showcases a stunning three-dimensional masterpiece. On the other hand, Illuminated Crystals have become increasingly popular due to their color-changing light bases. This feature enhances the visual impact, creating a mesmerizing effect that takes you on a journey back to the moment the photo was taken.

Features and advantages of dual-sided and illuminated options

Both design options offer unique features. Dual-Sided Design provides a blend of two worlds, allowing you to appreciate both the simplicity of a flat image and the depth of a 3D masterpiece. Illuminated Crystals, with their color-changing light bases, offer a broader visual impact, making each glance a captivating experience. The article will further explore the distinctive qualities of these designs and why they add an extra layer of magic to the already mesmerizing world of 3D photo crystals.

3D Photo Crystals: Artful Appearance and Precision Craftsmanship

The aesthetic appeal of 3D crystal pictures

Embarking on the magical journey of 3D photo crystals unveils not just ordinary glass pieces but exquisite works of art. The appearance of these crystals is a testament to their beauty and minimalistic design. With clean and uncluttered features, these crystals attract the viewer’s attention directly to the encapsulated memory. The minimalist aesthetic ensures no distractions, allowing a profound connection with the captured moment. Whether placed in a modern or traditional setting, the crystals exude elegance, seamlessly blending with any decor style and enhancing the ambiance of the displayed picture.

Precision craftsmanship behind the creation of 3D crystals

The beauty of 3D crystal pictures goes beyond appearance; it extends to the meticulous craftsmanship involved in their creation. Cutting-edge laser technology is employed by skilled artisans to etch selected images into high-quality optical glass. The resulting crystal-etched photos faithfully reproduce intricate details, showcasing unmatched brilliance. The 3D laser crystal engraving process focuses a laser beam on the glass surface, creating precise and tiny engraving points that, when connected, form a lifelike 3D image.

Technology used in the production process

The production of 3D crystals involves a harmonious amalgamation of art and technology. Artisans use specialized software for image conversion, turning meaningful 2D images into intricate 3D models. The subsequent laser etching phase utilizes cutting-edge laser technology to engrave the 3D model onto a crystal block. Extensive polishing and finishing follow, enhancing clarity, transparency, and brilliance. This meticulous process ensures that the 3D image is visible to its full potential, while polishing adds a smooth and reflective surface, enhancing the crystal’s visual charm.

Attention to detail and quality

Quality is paramount in the world of 3D photo crystals. After completion, each crystal undergoes rigorous quality control checks. A team of experts examines the minutest details, ensuring that every engraved crystal is sharp, clear, and a true representation of the original picture. Only the finest specimens pass these stringent quality control measures, exemplifying the commitment to delivering exceptional and meaningful pieces that capture and preserve the essence of cherished memories.

Diverse Styles of 3D Photo Crystals

Embarking on the enchanting world of 3D photo crystals reveals a myriad of styles, ranging from Rectangular Blocks to Personalized Pendants. Each style presents a unique way to showcase and preserve your cherished memories in a stunning and personalized manner.

Exploring different shapes and styles available

These crystals come in various shapes and designs, serving different purposes and occasions. From the common Rectangular Blocks, typically rectangular or cuboid, to the smaller Cube Crystals used for desk ornaments, the diversity ensures there’s a perfect fit for every memory. Heart-Shaped Crystals add a romantic touch, while Diamond-Shaped Crystals bring elegance for various occasions. Tower Crystals elongate to showcase tall subjects, and Sphere or Ball Crystals offer a rounded format. Miniature Keychain Crystals ensure your precious memories are always with you, while stylish Crystal Pendants worn close to the heart become meaningful and sentimental pieces of jewelry.

Customization options for personalized pendants

What makes 3D photo crystals even more special is the room for personalization and customization. Depending on your preference and occasion, you can select from various crystals, shapes, sizes, and bases. A 3D photo crystal with an LED light base is particularly beloved. The Customization options for personalized pendants allow you to carry your cherished memories in a unique and stylish accessory, turning each pendant into a meaningful piece of jewelry that resonates with your individuality.

Ordering Your 3D Photo Crystal

Entering the realm of 3D photo crystals unveils a personalized and timeless process, ensuring your memories are encapsulated in a truly unique way. Let’s take a closer look at the overview of the ordering process and how the myriad of personalization options enhances the overall experience.

Overview of the ordering process

The process of ordering your 3D photo crystal is a journey that begins with selecting meaningful 2D images. These carefully chosen images undergo a transformation through specialized software, converting them into intricate 3D models. The precise and cutting-edge laser technology comes into play, etching these models onto a crystal block. Extensive polishing follows, enhancing clarity, transparency, and brilliance to ensure the 3D image is visible to its full potential. Rigorous quality control checks guarantee that each crystal is sharp, clear, and a faithful representation of the original picture.

How personalization options enhance the overall experience

One of the key reasons 3D photo crystals are beloved is the freedom for personalization and customization. Depending on your preferences and the occasion, you can choose from various crystals, shapes, sizes, and bases. The option of having an LED light base adds an extra layer of enchantment. The process of personalizing your crystal ensures that each piece becomes a unique and cherished keepsake, tailor-made to resonate with the essence of your memories.

Conclusion

Stepping into the concluding thoughts, 3D photo crystals emerge as a bridge between the past and present, magically transforming fleeting moments into everlasting keepsakes. Reflecting on the profound significance of these crystals reveals their unique ability to encapsulate the essence of cherished memories, transcending the boundaries of traditional photography on a global scale.

Embodying a fusion of art and technology, 3D photo crystals stand as extraordinary keepsakes, meticulously crafted from high-quality optical glass. As we explore the diverse varieties and shapes, from dual-sided designs to illuminated crystals, each one serves a distinct purpose, allowing for a personalized and timeless representation of your most treasured moments.

Delving into the appearance and craftsmanship, these crystals boast a clean, uncluttered design, drawing the viewer’s attention directly to the encapsulated memory. The meticulous artistry involved in 3D laser crystal engraving showcases the precision with which artisans breathe life into 2D photographs, preserving intricate details with exceptional clarity.

As we journey through the intricate process of creating these masterpieces, from image conversion to laser etching, polishing, and quality control, the emphasis on personalization and customization becomes evident. The freedom to choose from various crystals, shapes, sizes, and bases, including the enchanting LED light base, ensures that each 3D photo crystal becomes a unique and cherished representation of one’s memories.

In conclusion, 3D photo crystals are not merely objects; they are captivating works of art that hold timeless and sentimental value. Each type, whether rectangular blocks, cube crystals, heart-shaped crystals, or others, offers a distinctive way to showcase your most treasured moments. Choosing a 3D photo crystal becomes a heartfelt decision, transforming the act of preserving memories into a meaningful and sentimental journey.

Entering a drug rehab program is the first step towards leading a fuller and richer life. Many people want to stop abusing alcohol and drugs, but are unable to do so on their own. For this reason, alcohol and drug rehab centers and programs are a great way for people to overcome this obstacle in their life and start making the appropriate changes that will prevent relapse and allow them to become a more productive person for themselves and their loved ones.

Depending on the treatment program or center you use, you will find that there are different philosophies to alcohol and drug rehab. For instance, some medical professionals believe that drug abuse is a neurological disease that one can never fully recover from. They focus on trying to keep it in remission and addressing the issue when it comes back. Other professionals believe that full recovery is possible if you are able to address the underlying causes of the drug abuse. The belief is that the drug addiction is merely a symptom of other problems or missing elements in the patient’s life. However, regardless of the underlying philosophy, the key is to make sure you or your loved one can give their full commitment to it. A critical factor in the success of any treatment and counseling program is the patient’s belief and confidence in the staff and program.

Alcohol and drug rehab info.com is an information website dedicated to provided key information on drug and alcohol rehabilitation programs and centers. Our goal is to give everyone at least a basic understanding of what you can expect to find in rehab and also, what you should consider to help find the best program for you or your loved one.

Electronic cigarette starter kits contain everything necessary to use e-cigarettes. Consumers have a variety of options from the mouthpiece design to flavored nicotine cartridges. Nicotine levels vary from product to product and can range from 0 mg to 18 mg or more. Currently, there is no ban on using e-cigarettes in malls, theaters and other public areas. The vapor emitted from the electronic cigarettes is not offensive to non-smokers.

Most smokers try several times before they successfully stop smoking. Since smokers start so early in life, giving up cigarettes can be like losing a family member or best friend. Over time, smokers not only deal with an addiction to nicotine, but a chronic behavior that can fill (or seem to fill) a variety of needs. Some smokers find medical or psychological assistance helpful while others do well with searching for new ways to meet perceived needs that cigarettes appear to fill. When giving up something that has been central to a lifestyle and deeply ingrained as a pattern, finding replacement interests and activities can make a difference.

As always, it is wise to check with a family medical practitioner when making any major lifestyle changes.