~ CRYSTAL VERSITILITY ~

From the food we eat to the t.v.'s we watch ~ crystals in all their remarkable forms are all around us and have been since before "us" were even here - indeed, crystals made "here" possible at all.
I found this article rather captivating considering how developed crystals were in ancient times and wonder how that development is transferred into this modern world : --


Trilobites — The Eyes Have It! Frank Sherwin, M.A., and Mark Armitage, M.S

© 2003 Creation Research Society. All Rights Reserved. Used by Permission
First published in CRSQ—Creation Research Society Quarterly, Vol. 40, No. 3, December 2003

t is well known that extinct arthropods known as trilobites occupy “ancient” (lower) sediments of the geologic column. The first trilobites appear in sediments dated by evolutionists at 520 million years ago—the upper part of the Lower Cambrian, and they extend well into the Permian (supposedly 200 million years ago).

Figure 1. Light micrograph, unidentified trilobite specimen, approximately 2 inches in length, purchased from a “rock shop” in Holbrook, AZ. The lens assembly was chipped away from the body, mounted on a metal stub for imaging. Schizochroal lens assembly is shown (large bumps with white arrows). Lens assembly arc is 180+ o (from left to right between black arrows). Scale bar = 400 microns.

Trilobites, like all arthropods, have paired, jointed appendages and a chitinous exoskeleton. The origin of arthropods in general, and trilobites in particular represents a problem for evolutionists, as mentioned by Osorio et al. (1997, p 244).

As Darwin noted in the Origin of Species, the abrupt emergence of arthropods in the fossil record during the Cambrian presents a problem for evolutionary biology. There are no obvious simpler or intermediate forms—either living or in the fossil record—that show convincingly how modern arthropods evolved from worm-like ancestors.

Additionally, trilobites represent some of the most sophisticated arthropods known to man. The trilobite eye, for example has been heralded as a structure far too complex to evolve over time by random variations in the genesof trilobite populations (Armstrong 1973 and 1976; Bergman 1992; DeYoung 2002; Wise 1989). Not only is the trilobite eye made of pure calcite (optically transparent calcium carbonate) which has a precisely aligned optical axis to eliminate any double image that would have formed (Armstrong 1973; DeYoung 2002), it is also a “doublet” of two lenses affixed together in order to eliminate spherical aberrations, commonly found in ground glass lenses (Armstrong 1976)! Trilobite eyes are massively arrayed in semicircular banks (See Figures 1–3) and even almost circular banks of up to 30-60 lenses per row, each with its own individual retina (McCormick and Fortey 1998; Gal et al. 2000).

Figure 2. Light micrograph, schizochroal lens assembly. Individual lenses marked by black arrows. Scale bar = 300 microns.

Recent work on trilobite eyes has shown them to be even more complex than originally thought. Ordovician trilobites such as Pricyclopyge binodosa and Jujuyaspis keideli are said to have had a “large visual field” (Acenolaza et al. 2001, p 349) with “close to 360-degree vision” and “could see anteriorly, laterally, dorsally, and even downwards and backwards,” from one position (McCormick and Fortey 1998, p 236). Further, it has been shown that another Ordovician trilobite, Dalmanitina socialis, actually has a doublet lens arrangement where the top calcite lens has a “conspicuous central bulge, the cause of bifocality [emphasis ours], which is a unique optical feature in the animal kingdom,” (Gal et al. 2000, p 846). It is worth noting that only within the last 500 or so years, have scientists like Rene DesCartes, Christian Huygens and Ernst Abbe solved the difficult mathematical formulae which allow us to enjoy the optics we take for granted today. Yet trilobites, (which according to evolutionists went extinct 200-100 million years ago) manufactured these complex lenses right on their bodies.

Thus, evolutionists are faced with the vexing task of explaining the development of glasslike lenses that correct for spherical (and possibly chromatic) aberration, the density of seawater, and which also perform the function of bifocality (much like prescription glasses today), as a result of the chance assemblage of genes within populations of trilobites on the “ancient” seafloor. To quote a well-known evolutionist and trilobite expert, “Trilobites had solved a very elegant physical problem and apparently knew about Fermat’s principle, Abbe’s sine law, Snell’s laws of refraction and the optics of birefringent crystals…” (Levi-Setti, 1993, p 33). This, of course, is patently absurd, since arthropods know nothing of the laws of optics. It is thus clear that evolution cannot explain the presence of these astounding biological lenses.

Figure 3. Scanning electron micrograph, unidentified trilobite specimen, schizochroal lens assembly. The specimen was coated with palladium on a scanning electron microscope (SEM) sputter coater for two minutes and viewed and photographed on a JEOL 35 SEM. Large bumps are individual lenses. Small bumps are unidentified, and their function is unknown. Scale bar = 150 microns.

Figure 4. Scanning electron micrograph (SEM), unidentified trilobite specimen, schizochroal lens assembly. Scale bar = 120 microns.

Many paleontologists working with trilobites feel that evolutionism is a gradual process and that one can see trilobites changing from one form into another. This is countered by others, however who maintain that trilobites document the model of punctuated equilibrium, or periods of long stasis with no change followed by rapid bursts of innovation (Eldredge 1985; Eldredge and Gould 1972). Clarkson and others have sought the middle ground by their theories that many pulses of trilobite extinctions have occurred (Clarkson 1986; Palmer 1999) thus driving trilobites “back to the drawing board.” Whatever evolutionary mechanisms are proposed for the development of trilobites, however, the field of trilobite classification is in disarray. One worker states, “[the field of] systematics [explaining biological diversity in an evolutionary context] is still in an unsatisfactory state…” (Fortey 2001, p 1151).

As microscopists, we do not frequent the lens “nursery” every year, hoping that new objectives have arisen from the endless procreation of “mother and father” lenses which live there. Instead, we patronize the lens factory, where intelligent designers are hard at work creating lenses that will help us gather more highly resolved images. As thinking entities, should we not acknowledge the Supreme Designer who built this capability into once living systems?

---

References

CRSQ (Creation Research Society Quarterly)

Acenolaza, G., M.F. Tortello, and I. Rabano. 2001. The eyes of the early Tremadoc Olenid trilobite Jujuyaspis keideli Kobayashi 1936. Journal of Paleontology 75(2):346–350.

Armstrong, H. 1973. Eyes of stone in trilobites. CRSQ 10(3):163.

–—–—–. 1976. Optical design in creation. CRSQ 13(1): 66.

Bergman, J. 1992. Is there any such thing as a higher creature?
Creation ex Nihilo 14(2):10.

Clarkson, E.N.K. 1986 Invertebrate Paleontology and Evolution, p 42, Allen and Unwin Publishers, London.

DeYoung, D. 2002. Vision. CRSQ 38 (4):190–192.

Eldredge, N. 1985. Time Frames, Simon and Schuster, New York.

Eldredge, N., and S.J. Gould. 1972. Punctuated equilibria, an alternative to phyletic gradualism, (in) Models in Paleobiology (T.J.M. Schopf, editor.) pp. 82–115. Freeman Press, San Francisco.

Fortey, R.A. 2001. Trilobite systematics: the last 75 years. Journal of Paleontology 75(6):1141–1151.

Gal, J., G. Horvath, E.N.K. Clarkson, and O. Haiman. 2000. Image formation by bifocal lenses in a trilobite eye? Vision Research 40:843–853.

Levi-Setti, R. 1993. Trilobites: A photographic atlas (second edition). The University of Chicago Press, Chicago.

McCormick, T. and R.A Fortey. 1998. Independent testing of a paleobiological hypothesis: the optical design of two Ordovician pelagic trilobites reveals their relative paleobathymetry. Paleobiology 24(2):235–253.

Osorio, D, J.P. Bacon, and P. Whittington. 1997. The evolution of arthropod nervous systems. American Scientist 95: 244.

Palmer, T. 1999. Controversy, catastrophism and evolution, p 335. Kluwer Academic Publishers. New York.

Wise, K. 1989. Scripture and trilobite’s eyes. Creation ex Nihilo 11(4):29.

~ KKB WAND CREATION ~

THE START OT THE PROCESS EXPLAINED

As a concise introductory guide as well as something for the more curious ~ following is an abridged explanation detailing the start of my creation-process when making a wand. This post was made at the request of my contacts and I hope you find this data informative and useful. A fuller, more detailed description of the complete process is available on request and I welcome any questions, feedback, ideas or personal preferences that you may have. Please don't hesitate to contact me if you so wish : --

(1) ~ SELECTION ~
{ Wood Selection & Initial Shaping }



Virtually all wood used is storm-fall collected notably from sacred-sites within the U.K.
All wood collected is cured for a minimum of six months before any shaping is started.
I have created wands using alder, elm, oak, spruce, hawthorn, birch, willow, beech, eucaluptus, poplar and hazel - and I am open to any ideas or personal preferences with wood - please bear in mind that very soft or very flexible woods are not a practical choice for use in wands as they do not provide sufficient resilience or rigidity.
After selecting wood for a particular wand it is then checked for natural defects and scrutinized for the most suitable mating with a crystal.
Then a preliminary shape is roughly applied to the wood, whilst constantly referring to the crystal to be used. Often the image that is formed at this stage turns out to be the final product. Occassionally this image is re-designed during the creation process and the final product is rather removed from the initial image. If more than one wooden component is to be incorporated into a wand - at this point they are shaped together to give a basic wand form.


(2) ~ SHAPING ~
{ Intermediate Shaping /Sanding & Final Sanding }



Here I focus on the shape and the mating point for the crystal to be used. With most of my wands I retain some of the wood's natural bark covering - this really gives a wand some "natural appeal" and is also quite handy and hardwearing as a place to grip a wand. I sometimes moisten or lightly wax the wood at this stage to assist in smoothing or to make the wood's natural grain more apparent. I also at this point bond together the wooden components for a wand where two or three different kinds of wood are to be used and shape / sand them.
At this stage of the process I concentrate on arriving at the original wand design, or as close to it as is possible. After reaching a satisfactory conclusion with the smoothing process ( it can take several days depending on the type of wood being used ) a light coat of wax is applied and left overnight to help bring the grain further out of the wood. Here you can see this grain in the lower picture above, it is unique to each individual wand and add's greatly to the charm, originality and natural beauty of each item.

~ CRYSTAL WANDS ~ THE WORLD OF ~

WHAT IS A CRYSTAL WAND ?

A Crystal Wand is an implement of many uses - from a simple ornament or natural room enhancer to an fine Altar adornment or a solid ritual tool. You may find a completely new purpose for your wand that is just right for you.
From the dawn of our time people have - for various purposes - used all forms of sceptre's, wands, staff's and staves, frequently to represent leadership command or control and also as a natural, prognostic symbol often with magical properties or connections to the supernatural.
Within reason - a Crystal Wand can be what you want it to be.

HOW CAN A CRYSTAL WAND BE USED ?

Crystal Wands are used in a variety of ways - as a tool used in ritual workings or a vital piece of Altar-ware, to a shamanastic accompaniment or an object of tantric use. Sometimes wands are used talismanicaly and sometimes as jewellery or toys for adults - even as a fashion accessory ! Wands are used widely within the pagan world and are superb when used for healing purposes.
Wands are also frequently used in private ways, as a personal companion, in which the wand owner can choose how to use the wand that is best suited to them, their livestyles etc. Used in this way wands can be objects used for consultation, advice / self-help, desires and beyond....

WHAT KIND OF PERSON NEEDS A CRYSTAL WAND ?

There is no stereotypic kind of person that needs a crystal wand - wands are for eveybody, although small children are an exception to this ( as they would find wands very poor toys ).
A healthy attitude towards the natural world, particularly crystals, is probably the only pre-requisite I advise. But even sceptic types can appreciate the raw beauty of these adornments - even if only as a " decorative rock on a stick" !

WHAT OCCASSION IS BEST FOR GIVING A WAND AS A PRESENT ?

Any occassion that merits the giving of a gift. Birthday's - notably coming-of-age celebrations, anniversary's ( I have discovered that for wives and husbands the exchange of wands between each other as an anniversary present is rather popular - some couples even look upon this as a spiritual equivalent of renewing their marriage vow's ! ), a talisman for success in sport or entertainment, new birth's, new job's ( and losing job's ), promotion, ( and demotion ), interviews and auditions, graduation / commencement of university or new studies, new buissness ventures, a talisman for a visit to hospital or an operation, new house or new car purchases, new personal relationships and divorce's, separation, in times of loss or loneliness etc. - all are appropriate for giving a wand as a present - remember that a wand can be a companion as well as an ornament and that the energy from a wand will react equally well for a negative as well as a positive situation.

WHY DO YOU USE WOOD WHEN CREATING WANDS ?

Over time I have encountered numerous wands made from a wide variety of elements, including precious metals and gemstones of all types. These wands do hold a certain beauty and are sometimes stunning, along with their price's - and yet I can imagine that wands like these are rarely, if at all, used for anything other than a treasured home decoration. Although this is fine - indeed some of my wands are with people who are only interested in acquiring an original room-enhancer - the delicacy, fragility and value of these items is so extreme that it make the items rather impractical. I really wanted to retain something of that random, completley natural essence that only exists outside the realm of extremley manufactured, almost industrial-like objects. ~ Wood is the natural medium that I find is best suited for Crystal Wand construction. With its numerous advantageous natural properties, its supple, flexible nature, the large variety to choose from, along with its wide availability - wood ticks all the right boxes.
As both the wood and the crystal within a wand were both once living things - there is some harmony created when these elements are mated and fused together to produce a wand.
From coppertubes filled with sacred earth - to diamond studded octagonaly-flanged rods of moldavite, there are some marvellous things out there used in making Crystal Wands, but for me wood is my medium of choice.

WHAT KIND OF WOOD IS USED IN A WAND ?

Apart from very soft woods like balsa or extremely supple woods like bamboo - any wood can be adapted into creating a wand. The only baseline is to use a type of wood as free of defects as possible ( please remember most of the wood I use is collected from storm-fall - so there is a limit to my range of selection ) and wood that can also be cured and sealed to provide a lasting, hardwearing item.
I am open to any suggestion and welcome any communication with new ideas, personal preferences or questions for specifically designed wands. If requested, I can work with other mediums to create wands and also use any type of crystals, but as my wands are all handmade - and so therefore all original, I cannot make en exact copy of a particular wand design as if made in a factory. I prefer to create a wand with my own interpretation of the target design, then at some point of the creation process - the wand seems to develop characteristics and an image of its own. Which produces a unique, individual item with its own unique, individual energies.

CAN I CHOOSE ANY OF THE COMPONENTS USED WHEN ORDERING A WAND ?

Yes - there are three inital choices when ordering a wand ; -
(1) - Leaving the choice of all components to my discretion, including type of wood, type of crystal, design style, kind of finish and additional extra's ( including altar stands, leather-work & bindings, carrying straps and presentation boxes ). This is by far the most popular way used when wands are ordered and ( if you do not have, or cannot create, a desired image for your wand ) also the choice I would politely recommend.
(2) - Collaborating together with me to choose all of the various wand components together.
(3) - Choosing all of the components to be used individualy yourself - please bear in mind there are some necessary restrictions that need to be adhered to, see the earlier chapter in this post entitled " WHAT KIND OF WOOD IS USED IN A WAND ? " and also the chapter " CLEANSING " from my post of Feb 12th 2010, entitled " ~ CHARGING AND CLEANSING CRYSTALS ~ "
If this choice is the one taken I strongly recommend that you contact me before making any final decisions regarding any of the components - mainly to avoid disappointment.

HOW LONG DOES IT TAKE TO MAKE A WAND FROM THE TIME OF ORDERING ?

Because all work is done by hand - the average wand takes three to four days to make. This can be as long as a week in the case of a more elaborate design or requests for intricate decoration or display cases or wand stands etc. From the time of ordering - once the design, choice of wood and crystal are agreed upon - a wand should be complete within one week. International postage takes a further week on average, so a wand should be delivered to most places in the good green world two weeks from the time of ordering.

WHAT FEEDBACK HAVE YOU HAD FROM OWNERS OF YOUR WANDS ?

A good friend of mine living in America consulted with me at a time when she was approaching difficult and long-winded exam's for a high-level job within an international health organization. She expained that she required something to boost her self-confidence and provide strong, supportive energy to help her pass through this particulaly challenging time and hopefully help gain successful results as she did not feel confident enough to approach this challenge under her own steam. After consultation - we decided on the design, type of wood and I suggested the type of crystals ( a large citrine godess point and a med-sized quartz triple goddess point ) to be used.
Upon completion - my friend sailed through her exam's and today is healthy, happy and doing her dream job in Switzerland in a position beyond her expectations with the desired international health organization.
A couple who are good friends of mine living in Japan ordered two quite basic wands as an anniversary present for each other. I created two wands from exactly the same branch of wood and combined these with two similar but varied quartz points. As the wood in both of the crystal wands has survived through exactly the same life-giving extreme solar heat - as well as the harsh cold of the winter wind and rain from mother nature's weather, trauma, experiences and growth together - I felt that both wands would have a connection that transfers to the wand-owning couple. After creating both wands I noticed that the energy that the wands were holding was quite similar but individual and unique to each particular wand. Since then - the couple have made travel cases for their adored wands and take and use them everywhere and are still healthy and happily together.
I created a small, petit yet rather powerful quartz point that one of my friends in Japan took a liking to and uses to assist in aura-reading sessions. As my friend is of a similar body proportions it was a perfect match and my friend and the wand seem to complement each other. People who have attended her sessions have commented extensivley about being able to strongly feel the energy contained within the wand I made and also that it helped them believe and understand that stones are record-keepers and hold the key to releasing emotions and inner spiritual peace.
As my friend rather aptly put it "the wand is just like me........small but strong"!.

< IF YOU ARE CURIOUS AS TO HOW MY WANDS ARE CREATED ~ PLEASE GO TO MY POST FROM JAN 26TH 2010 ENTITLED " ~ KKB WAND CREATION ~ " >

~ Blue Moon Origins and Traditions ~

This site caught my attention & seemed to be quite knowledgeable....
www.free-candle-spells.com/.../ - click on History of the "Blue Moon" - The Blue Moon on Dec 31st - the article by Katerina Reif-Derrico is full of wisdom.