Radionic Technology has survived better than a hundred years since it was first discovered by Dr. Albert Abrams in the early 20th Century. Not since that era has radionics been so full of promise. Over time, radionics has morphed into hundreds of forms and is used successfully worldwide, despite profound skepticism as to its scientific validity. Naturally, the opaque nature of what makes a radionic device actually work has made exploitation common and kept skeptics self-satisfied. The drawbacks have not stopped radionics at all. So what does a radionic device purport to do and how is that result best explained by its proponents?

Historically radionics primarily has been an alternative health technology used for diagnosing and treating disease. However, in the 1950's agricultural devices were developed that helped farmers treat their animals and soil, replacing expensive vet bills, pesticides and fertilizers with radionic procedures. Modern improvements on those early discoveries have resulted in a renaissance of radionics on the farm. Sadly, the use of radionics to treat humans has been outlawed in most states, with many practitioners forced to quit or go underground. The only place one can readily find skeptics using radionics is in veterinary medicine, where the prohibitive costs of hospitalizing large animals has made radionic treatments an attractive alternative, even to disbelievers.

In the historical development of radionics, certain inventors worked to make a scientific case for radionics according to the prevailing science of the times. Frustrating theorists and reassuring skeptics is the stubborn fact that many inventors have made successful radionic devices out of simple materials that require no electricity and little or no mechanics. Regardless, this peculiar “artistic” from of radionics has not stopped the experts from producing compelling arguments about why instrumental radionics work according to rules and SHOULD be studied scientifically. A brief insight by one inventor will hopefully provide the reader with a window into how radionics is thought to work scientifically.

Ed Kelly of Kelly Research Technologies (KRT) is a successful second generation designer, manufacturer and teacher of radionic technology. He has gone a long way in removing the barriers to understanding how his devices operate and making their methodology transparent to his customers. The efforts of Ed and the staff of KRT have literally changed the lives and livelihoods of hundreds if not thousands of individuals.

KRT’s technology is primarily analog in design and employs both electronic and resonant components. In Book 2: Applied Radionics, Ed asks us to consider the mysterious nature of sub-atomic particles. He points out that these particles appear and disappear from what is called a ‘virtual particle flux’—a “boundless sea of of potential energy whose native randomness may be externally ordered by frequency information defined by the focused intent of the trained operator and broadcast by the radionic instrument.” Quoting String Theory in his paper, Kelly points out that contemporary physics has already confirmed “the direct and inseparable relationship between vibratory energy and the manifestation of matter.”

In radionics, every element or compound can be defined by its unique blueprint of vibratory energy termed signatures or frequencies, which can be detected by the radionic instrument and then defined as numerical rates. These rates are considered patterns, or what Ed calls “information-as-energy”. He states, “And just like tuning a radio to a particular sports station can reveal information about the latest baseball scores, the radionic analyzer can be tuned to a specific signature frequency in order to receive information about the relative energetic strength of that particular aspect of the specimen.”

Tuning requires parallel plate capacitors that act as adjustable, high resolution tuning forks that physically resonate when tuned to the the energy of the substance being tested. The tuning capacitors allow for open scanning and signal amplification, leading ultimately to the manner by which a radionic device is designed and operated. Kelly describes the many intricacies and subtleties of these procedures in detail in his well written books.

Beyond the ability of the instrument to respond to the frequencies of the world around it, lies the power of the operator to train their mind to the task of operating the device. As Kelly states: “The human mind is innately equipped with the ability to to pre-engineer a future reality through delivery of vibratory information back to the energetic realm through the process of focused intent.” Therein lies the capacity of the operator of a radionic device to influence and mitigate conditions of wellness on the farm and in the clinic. Kelly points out: “Here the radionic instrument provides one of its most important features, allowing the operator to focus on scanning for a rate for a relatively short period of time, turn on the amplifier, and walk away. In this way, the radionic instrument serves as an automated repeating station for the focused intent of the operator.”

Continual training and use on radionic equipment builds confidence through direct feedback. The whole spectrum of theory and diagnostic/treatment training that goes with building competence in using radionics equipment will not be expanded upon here. Our purpose is to introduce the reader to the theoretical basis upon which one inventor explains the manner by which his equipment functions in the field. For the interested, further research is warranted. As Kelly summarizes:

“The universe is a symphony of living energy that sings out to a cosmos far greater than the physical realm we perceive as reality. The radionic instrument allows quantified analysis and balancing of the subtle energy fields emitted by everyone and everything in that realm. Because the information is communicated through to the energetic universe that binds us, radionic analysis, balancing and pre-engineering of future realities takes place beyond conventional limits of space and time. The radionic instrument allows the operator to make informed choices rather than guesses about the world they live in while building skills and abilities that can maximize personal potential.”


Gordon Salisbury, instrument designer and electronics engineer, Todd Thille creative coder, web designer, and VJ, along with Laurie and others combined talents to sonify the small voltages emanating from rocks and plants. We were looking for some measurable form of radionic output that would appear on a meter or a graph. Indications that mysterious signals were appearing in wired up plants was evident in the work of Cleve Backster. We hoped a better understanding of subtle energy would become apparent in the sonic output of plants and petrovoltaic rocks, which were soon observed to be generating unusual output. Plants and rocks seemed to respond in different ways to individual people who touched or played music to them. At times they appeared to play along with music and exchange signals with each other. While it was not entirely clear what we were observing or why they were taking place, the effects were impressive enough to be considered ‘radionic.’

Our collaboration led to setting up a radionics sound lab in Dragonline Studios to further explore and publish our findings. One result led to collaborations with musicians and composers: Steve Nalepa, Benton Bainbridge, Brian Kane, John Lario, David Last, Justin Boreta, Richard Devine, Josh Kay, Michele Darling, Terry Golob, Sariah Storm, Brendan Angelides, Raphael Attias, David Lublin, Josh Randall, Jamie Watts and others. Our large sonically based sculpture, The Purr Generator, designed as an immersive radionic listening device went on extended loan to The American Museum of Visionary Art (AVAM) and later the Gregg Museum.

Jamestown, Rhode Island

Josh Kay, Richard Devine, Duncan
Duncan and Todd Thille
Gordon Salisbury
David Lublin
Aerostatic ( Terry Golob & Michele Darling )
Steve Nalepa
John Lario
Benton C. Bainbridge
Duncan and Brian Kane
Lena Laurie and Richard Devine
Kim Butler
Oona Laurie
Bryn Laurie
Bryn Laurie

Machiasport, Maine


Todd Thille and I recently returned from Maine where we completed an intensive review of the IBVA sound acquisition technology. Pictured below, it is hooked up to a large granite stone. The stone came from my grandparents old house in Jamestown. When still on the ground in R.I, I spray fitted two copper wires to each end with molten zinc, using the thermal arc spray system I employed for metalizing glass. This allowed us to sample the small mille-voltages coming from within the stone, and convert them into electronic music.

I brought the stone to Maine where it serves as a bench, but I always wanted to see whether it could output enough voltage to create a Sonoform (i.e. an electronic music composition made from the small voltages of rocks or plants). My weeks tutorial with Todd on all things IBVA and ABLETON LIVE provided the perfect opportunity.

The stone proved very active that evening, providing us with a long, uninterrupted recording opportunity, especially in the area of 7-9Hz, the area of the Earth’s resonant frequency. Perhaps that should not be too surprising, given that directly across the bay are 26 enormous towers, (the most powerful VLF transmitter in the world ). Purportedly used for submarine communications, the towers likely broadcast on frequencies that pass through the earth, possibly being picked up by the stone.

VLF transmission towers at Cutler Naval Base, from wikipedia

The evening, pictured at the top of this section, has me at the desk of the Maine studio with the IBVA receiver pictured in the foreground, in front of the door. Outside, about 40’ away, in a direct line of sight, sits the rock, with the IBVA transmitter fitted to the leads. It was a magical evening, during which a mysterious ‘duende’ appeared, animating the surroundings. (Duende is a Flamenco term that describes a mysterious, creative force of Nature that spontaneously appears and permeates the performance, but only, it is said, in the most private of settings.)

Not discernable in the recording is the contribution of our friend Henry Platt. I asked Henry, who is at once a fine musician, music teacher and designer of retro electronics, to come up with a desktop tube amplifier and speaker set for us to experiment with. His design has the purpose of rendering the sounds from the plants and rocks in the purest and simplest manner to the ear. Would these finely rendered sonics carry something more from those unusual sources to our perception and imagination? For my money, the system certainly adds value on both counts. The Full Monty of electronics, room, locale, company and attitude factored into the evenings sublime quality. More about the amplifier and speaker setup.

Todd Thille
Dan Nordstrom